Live Review: Brighton Pride in the Park – 2nd August 2025 – Brighton, UK

Brighton Pride 2025 returned this past weekend with a vibrant celebration of music, community, and equality, reaffirming its status as one of the UK’s most anticipated annual events. Drawing thousands to the seaside city, the festival offered a packed programme that fused high-profile live performances with grassroots activism and inclusive entertainment. From the iconic Pride Parade through the city centre to the lively atmosphere of Preston Park, this year’s edition balanced joyful celebration with meaningful reflection, showcasing a strong sense of purpose behind the party.

The weekend celebrations began with the annual parade; this years theme being Ravishing Rage. A bold display of colour and activism, the parade featured everything from drag artists and trans rights campaigners to LGBTQ+ choirs and NHS staff, reminding attendees that Pride remains rooted in protest and the strong community visibility.

While we didnt make it to town in time to catch most of the parade, it was the pop spectacle – Brighton Pride in the Park (formerly known as Fabuloso) that we were particularly keen to catch again this year, having made it to many of the previous years to see the likes of Steps, Girls Aloud and Christina Aguilera dominate the main stage, along with dozens of other tents and stages that fill up the space. Unfortunately, the magic faltered at the gates of Preston Park. For many, entry into Preston Park proved a patience-testing ordeal. Queues at the main entrance stretched for up to two hours, with little clear signage or staff direction. A couple of friends of ours, after standing in the heat for over an hour with no movement in sight, chose to abandon the queue altogether. Once inside, the atmosphere was vibrant, but overcrowding persisted throughout the park. Long lines snaked from every bar and food vendor, and inconsistent service made staying hydrated or fed feel like a logistical mission.

Still, the musical line-up delivered on range and a mix of new and nostalgic acts.

The afternoon built gradually, with Slayyyter’s glitchy, Y2K-inspired pop making an impression on the early crowd. Ashnikko followed with a fierce, chaotic set that included Stupid, Daisy, and Cheerleader, serving her signature fusion of industrial beats and pop hooks.

Sister Sledge featuring Kathy Sledge brought a hit parade of disco gold. Thinking of You, Lost in Music, and We Are Family added early sparkle to the day. Smooth and charismatic, it was a performance rooted in timeless groove and effortless class.

Then came one of the clear highlights of the day: Confidence Man who we have seen several times before and who have always blown us away. In full theatrical form, the Aussie pair and their Conman DJ’s dressed in black and performing at the decks at the rear delivered a barnstorming, high-energy set that stole the show. With fronting duo, Janet Planet and Sugar Bones, dressed in stark white with signature light-up shoulder pads and an exaggerated cone bra, the energetic pair tore through a fast-paced set that blurred the line between pop concert and performance art. Tracks like Boyfriend (Repeat) and Holiday had the crowd bouncing, but it was C.O.O.L Party that sparked a euphoric sing-along, transforming the park into a glowing, grinning mass of hands-in-the-air dancers. It was the songs from their first two albums (Confident Music for Confident People and TILT) that landed the hardest, with fans clearly dialed into the band’s tongue-in-cheek, rhythm-heavy and quirky formula. With tight choreography, tongue-in-cheek swagger, and full crowd control, it was the kind of set that elevates a festival.

Loreen followed with theatrical flair and vocal precision, her set bookended by Tattoo and a powerhouse performance of Euphoria. Her stage presence was commanding, her vocals unwavering, and the emotional weight of her delivery left a deep impression.

Outside of the big performers of the day, the event played host to many other talented artists who came to perform from around the country.

We managed to catch a small part of singer Katy B’s set over on the new False Idols stage which was overflowing with fans while the Legends Cabaret Tent once again proved to be a highlight of Brighton Pride 2025, delivering a vibrant mix of drag, cabaret, and community-led performances. Known for its inclusive and intimate atmosphere, the popular stage provided a refreshing contrast to the main stage pop acts, offering a space rooted in queer community culture and grassroots talent. Regular favourites Martha D’Arthur and Sandra offered much talked about moments, bringing their signature wit and show-stopping charisma to this years event. Both are staples of the UK LGBTQ+ scene, especially in London and Brighton, and both drew packed crowds with their effortless ability to entertain the masses.

As night fell, Mariah Carey took the main stage for her long-awaited Brighton Pride debut – five years after she was originally scheduled to headline, before COVID-19 forced widespread cancellations. For many, her appearance was not just a headliner moment, but a delayed dream come true.

Opening with Dreamlover, Carey led the crowd through a sprawling 23-song set that balanced nostalgic hits with newer material. Fan favourites were delivered in full: We Belong Together soared with raw emotion, Without You silenced the crowd into reverent awe, and Fantasy brought a welcome shot of 90s glitter. My All showcased her vocal control at its most delicate, while her latest single Type Dangerous made its live debut—a sultry, mid-tempo track that, while unfamiliar to some, landed confidently among the classics.

Carey changed outfits multiple times throughout the set, as the iconic self-proclaimed Diva that she is, but it was her glittering pink jacket emblazoned with ‘Protect The Dolls’ – a public show of support for the trans community – that drew some of the biggest cheers of the night. Though her movement remained minimal – a point of many a joke since that famous New Years Eve Times Square performance several years ago – her voice, especially on Vision of Love, Hero, and Emotions, was on top form, reminding everyone why her status as a pop icon remains untouched – especially the hundreds of dedicated Lambs that were in attendance in their nostalgic Mariah tees.

While set closer Fly Like a Bird lacked the explosive energy some may have hoped for to end the evening, its message of hope and resilience was fitting for the Pride stage.

Despite the musical highs, the festival once again struggled under the weight of its own popularity. Previous years have seen issues related to COVID and then train cancellations while the last two years the issues have been down to bad weather and now, this year, poor crowd management. Between the difficult entry, overcrowded grounds, and unmanageable bar queues, it was clear that logistics had not kept pace with ticket sales. For many, these issues affected the overall experience with several people we know leaving the queues out of frustration and for the rest, dampening what could have been a fairly faultless day. While the performances were incredible, lets hope the team behind Brighton Pride get their act together next year and learn from these very obvious missteps

Brendon Veevers

::: RenownedForSound.com’s Editor and Founder –
Interviewing and reviewing the best in new music and globally recognized artists is his passion.
Over the years he has been lucky enough to review thousands of music releases and concerts and interview artists ranging from top selling superstars like 27-time Grammy Award winner Alison Krauss, Boyz II Men, Roxette, Cyndi Lauper, Lisa Loeb and iconic Eagles front man/songwriter, Glenn Frey through to more recent successes including Newton Faulkner, Janelle Monae and Caro Emerald.
Brendon manages and coordinates the amazing team of writers on RenownedForSound.com who are based in the UK, the U.S and Australia.