MARGATE ROCK FESTIVAL - DREAMLAND ROLLER ROOM, SATURDAY 25TH OCTOBER 2025

The festival looked quite different this year - still housed in Dreamland amusement park, it had been moved to the venue’s ‘Roller Room’, a quirky event space that usually plays host to retro roller discos and features an original arched Art Deco ceiling (if you’re into that kind of thing). It’s a decent space with plenty of places to sit down when your legs are feeling a bit weary, but it’s cold. Really bloody cold. And though I imagined it would warm up as more bodies filled the room, I can confirm that it didn’t. Thank goodness for my winter coat which I retrieved from the cloak room a little earlier than anticipated! 

There’s just one stage this time around, the newly christened ‘Ozzy Osbourne Stage’ in tribute to the Prince of Darkness, and his influence, or at least that of Sabbath, seems to loom appropriately over proceedings. Whether it’s the monolithic riffs of Margarita Witch Cult or the occult imagery of Lucifer, it’s easy to trace a thread back to the originators of heavy metal. 

German trio Samavayo clearly know their way around a heavy riff, starting the day right with the sprawling ‘Hate of Thousands’, somewhat reminiscent of Queens of the Stone Age and probably best described as stoner rock. Andreas Voland is an unusually melodic bassist, all over the fretboard and really bringing something special to these songs. His brother Stephan is similarly adept behind the drums, showcasing some devilishly technical offbeat trickery during a thunderous ‘Sirens’. Though brief, it’s a diverse and interesting set; Where ‘Talagh’ is unusual, cyclical and sung beautifully in Persian by frontman Behrang Alavi, ‘Keep on Rollin’ is unexpectedly catchy and boasts a chorus that marks the first singalong of the day. 

It’s great to see some local acts on the bill, and Atravion certainly seem to have a following here. In Kelsey Graham, the band have an engaging and theatrical frontman; a singer rather than a screamer, there’s something of Bruce Dickinson in his occasionally operatic delivery, albeit given a distinctly modern update. Guitarist George Potter occasionally lends his more aggressive vocals, giving this melodic heavy metal a sharp edge. 

I’ve heard a lot of good things about local foursome The SuperMicks, who I’m happy to report, are a lot better than their name suggests! With a host of catchy songs and energetic stage presence, there is much to appreciate in their uplifting, no-nonsense rock. ‘We Don’t Need Work’ waves a joyful middle finger at the man and frontman Wayne Jones’ likeable lad persona ensures that the crowd lap it up. 

Flying in from the Netherlands to make their UK debut, TankZilla give one of the knockout performances of the day. With eyes closed, it’s hard to believe there’s only two men on stage. Peter van Elderen is an intense presence, knocking bludgeoning riffs from his guitar whilst hollering into his microphone with real power. He’s the kind of frontman who doesn’t shy away from a bit of eye contact, prowling the stage with a confidence that makes him utterly captivating. Drummer Marcin Hurkmans is rightfully positioned at the front of the stage, laying down the rhythm that makes songs like ‘Rubber Man’ and ‘Highway’ really groove. Even with my earplugs in place, these guys are loud. Royal Blood? Nah, I’ll take TankZilla thanks. 

There’s been a lot of excitement around The Motherz, a modern supergroup made up of virtuoso guitarist Miguel Montalban, bassist Cedric Pfister (better known as one quarter of Daxx & Roxane) and drummer Jake Cook (formerly of Famyne and organiser of this very festival). It’s a band founded on friendship and the camaraderie these lads share is infectious; better yet, they sound pretty damn good together too. Though I can’t give you any song titles (I don’t know them yet!), it’s a very promising debut, Montalban’s guitar mastery setting them apart from the average power trio. Dirty, heavy and powerful, I look forward to hearing more from this band. 

Hailing from the home of heavy metal, Birmingham’s Margarita Witch Cult make no secret of their debt to Sabbath, even throwing in a medley of some of the band’s classic riffs in the latter half of their set. There’s more than whiff of Tony Iommi about ‘Diabolical Influence’, but the band infuse things with their own unique stamp, a blend of their three voices that is quite hypnotic. ‘The Witchfinder Comes’ rings with doom and ‘Sacrifice’ is similarly apocalyptic. There are far worse bands to sound like than Black Sabbath; Margarita Witch Cult have taken the template and created something quite magnificent. 

Bobbie Dazzle is utterly joyful. With her wonderful band, she is bringing a sense of fun back to rock music, a genre sometimes guilty of taking itself a little too seriously. ‘Flowers on Mars’ and ‘Back to the City’ are bouncy, good time tunes that harken back to a time when glam rock was king. Dazzle’s striking animal print catsuit and the presence of a keytarist serve to uphold the illusion that we have in fact travelled back in time. Whatever you think of Bobbie Dazzle, it’s hard to dispute that she’s armed with the most memorable songs of the day.  

Bad Touch are as reliably enjoyable as ever, bringing the party to Margate with the kind of feel-good anthems that appear to come naturally. Having seen the band many times over the years, shamefully it’s my first time since the addition of drummer Brad Newlands and guitarist Pete Lance, both of whom seem to have injected a renewed sense of energy. A true classic rock band, in sound and image, Stevie Westwood is a frontman capable of winning over any audience with his charisma and impressive vocals. And it’s hard to imagine many things more pleasing than singing along to ‘99%’ or ‘Baby Get It On’. 

Another European act deserving of more recognition here, The Vintage Caravan put on one of the most impressive performances of the day. A power trio in the truest sense, these Icelandic lads bring the fire (and the snazzy outfits!). Alexander Örn Númason’s bass is so loud that you feel it in your chest, and the riff that introduces ‘Crystallise’ is just brilliant. Though big, dynamic riffs are abundant, ‘On the Run’ shows a somewhat different side, taking some time to build and centring around an insistent hook. A truly spectacular set indicative of men who spend a lot of time on the road honing their craft. 

Somehow, Lucifer had completely passed me by, but the news that Rosalie Cunningham and bassist Claudia Gonzalez Diaz had joined the ranks was enough to pique my interest. Centred around the only constant member Johanna Platow, drummer Kevin Khun is now seriously outnumbered by ladies. And what ladies! Rocking the catsuits and crucifixes, I’m very taken with the imagery (and wondering if I could ever look so cool!). Despite some vocal problems that temporarily stall Platow (apparently the result of a couple of nights in a cold environment), she keeps us spellbound, and the harmonies that dominate ‘Crucifix (I Burn For You’ are the best of the day. A cover of ‘Because the Night’ is pleasingly familiar, a welcome singalong that nestles perfectly with the band’s own heavy but catchy, 70s inspired rock. 

By that time South of Salem finally take to the stage around 22:30 (about half an hour later than billed), the hall has thinned out considerably - perhaps the result of people having to leave to catch trains or maybe just a bit of impatience. In any case, it’s a shame, as South of Salem are left with just half an hour until curfew and are forced to headline with one of the shorter sets of the day. To their credit, there are no signs of frustration from the band as they get underway, and their show is as gloriously theatrical as ever. In terms of spectacle, they’ve got it all - illuminated coffins, scantily clad dancing ladies and even pyrotechnics. And it’s easy to see why they’re building such a dedicated following with songs like ‘Let Us Prey’ and ‘Jet Black Eyes’ striking just the right balance between heavy and catchy. Dynamic and watchable, none of the band are static, giving their all to an audience who are with them for every minute they can get. 

Margate Rock Festival deserves to be successful. For me, the mix of local talent, established groups and some lesser known names from Europe hits the mark and makes the festival more interesting than some of the more familiar offerings.

A limited number of very early tickets for next year are on sale now - I’ve already got mine!