Famous worldwide, firmly lodged on countless bucket lists and, frankly, a bit bonkers, Edinburgh Hogmanay remains one of the great global New Year celebrations. Spanning several days, its centrepiece—at least for Scottish Music Network—continues to be the live music spectacular in Princes Street Gardens. In 2025, that honour fell to the meteoric Wet Leg, crowned by fireworks, frost, and a fiercely proud crowd ushering in 2026 beneath the Castle.
Scottish Music Network arrived in the capital around lunchtime to soak up the atmosphere and complete media accreditation with the ever-brilliant Unique Assembly team—friendly, efficient, and a genuine pleasure to work with. The media hub alone set a new benchmark: housed within the University of Divinity building on The Mound, guarded by the stern gaze of John Knox and opening into the breathtaking Rainy Hall. Quite simply, the most impressive media hall we’ve ever had the privilege to use.
A wander through the city in the biting winter cold confirmed Hogmanay’s magnetic pull. Thousands from all corners of the world filled the streets as carousels spun, music drifted through the air, laughter echoed off stone walls, and the unmistakable aroma of street food followed you everywhere. Edinburgh was doing what Edinburgh does best.
As Wet Leg sound-checked in Princes Street Gardens and the temperature dipped further, it was time for some much-needed scran and warmth before scaling The Mound once more to ready kit for the night ahead. Base camp established, anticipation high.
As the gates swung open at 8pm, it was a good-natured sprint to the barrier, and—just like that—the night was underway. Hosting duties fell to comedian Susie McCabe, who introduced herself (in her own words) as a “perimenopausal lesbian”—a tone-setter if ever there was one. Early attempts to whip up the crowd were met with polite enthusiasm rather than uproar, but it was early and there was still whisky to be had.
Opening proceedings were Lucia & The Best Boys—an unknown quantity to this reviewer but one that quickly made themselves known. Their soundcheck earlier in the evening had hinted at something special and they delivered in style. Tartan featured heavily across the band, while Lucia herself cut a striking figure in black leather, red tartan kilt and wild, flowing black hair.
Indie rock fronted by a dynamic vocalist is always a festival winner, and this was very much festival energy rather than a conventional gig. Short but sharp, their set fell short only in duration, not quality, and earned a deserved ovation from an ever-swelling crowd. Ending with the sheer audacity—and confidence—of a Blue Nile cover sealed the deal. With a Barrowland Ballroom date in Glasgow this May, Lucia & The Best Boys come highly recommended.
After another spirited (if still slightly doomed) attempt by Suzi McCabe to rally the crowd into ‘No Scotland, No Party’, it was time for Hamish Hawk and band. A familiar face to Scottish Music Network and a name gathering serious momentum, Hawk once again proved why the buzz is real.
Simply put: Hamish Hawk and his band are superb.
A true wordsmith, Hawk’s material brims with left-field narratives, homoerotic subtext and wry humor. He cuts a curious figure—confident in his craft yet softly spoken between songs; eccentric, slightly awkward, and utterly magnetic. You can’t take your eyes off him. Big stages and headline slots feel not just inevitable but overdue. Consider this your official instruction from Scottish Music Network: go and see him.
By the time Wet Leg were due on stage, the whisky had clearly begun to work its magic. A brief delay saw schedules flexing on the fly, while a packed photography pit created momentary chaos—handled admirably by Unique Assembly staff under pressure.
Then came Wet Leg, though initially more sensed than seen. Blinding WWII-esque searchlights and thick stage smoke obscured the band almost entirely—a familiar theatrical choice for them. Dramatic? Perhaps. Frustrating? Undeniably so.
Still, once visible, the band reminded everyone why they’re currently gripping the UK music scene. Frontwoman Rhian Teasdale commanded centre stage in trademark tight shorts, wielding her luminous green see-through guitar, while the rest of the band occupied the fringes, giving her ample room to own the moment.
The set rolled confidently towards midnight, pausing only for the countdown to 2026—marked by a truly staggering 10,000 fireworks launched from Edinburgh Castle itself. Auld Lang Syne followed, sung by nearly 5,000 voices in the Gardens and an estimated 45,000 more across the city above. Arms linked, drams balanced, the Scots once again demonstrated their mastery of welcoming the New Year with equal parts dignity and chaos.
With the fireworks fading and the UNESCO-protected skyline thankfully intact, Wet Leg returned to complete the set—pushing the crowd that final step closer to euphoric exhaustion. The perfect soundtrack to an ecstatic Edinburgh odyssey.
We took our cup of kindness into 2026 and Jock Tamson’s bairns made their way home.
Haste ye back in 2026.
Review and Photographs by John Brown Photography
