The event name may be indicative of a certain age demographic in attendance (back and knee problems included), but It’s Not A Phase Mum attracts those who were saying that 20 years ago and those still full of angst screaming it at their mums now. To celebrate two years of Coventry’s Alt Karaoke, It’s Not A Phase Mum hosted a two-day festival, opening with its signature karaoke on Friday before a five-band showcase on Saturday.

Starting things off were Coventry metalcore newcomers Crxssed Out, familiar faces at Alt Karaoke whose live debut was packed with youthful energy and plenty of moshing. They eased in with a more restrained opener before settling into their sound as the set progressed. Olly’s vocals displayed impressive power and technique, while the band delivered the signature metalcore punch you’d hope for from a debut.

When a new band calls for a mosh pit at their first show, I usually worry on their behalf and do everything I can to help make it happen. To everyone’s surprise, Crxssed Out’s call didn’t just spark a pit –  it sparked a wall of death. Wall of death, check. Row pit, check. Someone accidentally popping a giant balloon in the pit, check.

I’m excited to hear more from these guys. They’re full of passion, fronted by an energetic vocalist and already have a solid foundation to build from. Special mention goes to drummer Saturn, who has only been playing for a year. There’s still room to grow, as with any new band, but the sheer joy on stage was impossible to miss. With more live experience, their musicianship, stage presence and overall performance will only become tighter.

Just when you think they’re done, Olly takes the mic and explains that a friend has asked him for a favour. As he weaves his way to the front of the room, a circle opens around him. Dressed as a nun and down on one knee, we witness a successful proposal. These are the moments that make grassroots music what it is: a community comfortable enough to share something so vulnerable in such an intimate setting.

Next on the bill were Creaking Twitch, a three-piece reduced to one for the evening after two band members abandoned Nathan to fly solo. As I re-entered the room, I found him wandering through the crowd with his guitar, strumming away as the room slowly filled. Industrial beats soon took over as he stepped onto the stage, his emotive vocals giving the opening song a real sense of yearning. Performing alone after such a high-energy set could have killed the momentum, but Creaking Twitch kept the room engaged throughout.

As the set progressed, the pace picked up, the vocals became harsher and the stank faces appeared. LA has Rage Against the Machine, Cov has Creaking Twitch.

What made this set stand out was how collaborative it became. Saturn from Crxssed Out joined Nathan for a Deftones cover, Justin from Deathsex Bloodbath jumped in, and It’s Not A Phase Mum regular Olivia somehow joined in on a song she didn’t even know. It was a party both on stage and in the crowd, perfectly capturing the community spirit that grassroots music and It’s Not A Phase Mum are built on.

The angst reached its peak in Relentless, with Olivia’s guest appearance driving home the frustration behind the repeated chants of “Relentless”. The set closed with, in Nathan’s own words, his “angry Rage Against the Machine rip-off political song”, written over 20 years ago, bringing everything to a fitting close. I’m excited to see what Creaking Twitch can do once they’re back as a full three-piece.

A highly anticipated return after seven long years, Deathsex Bloodbath transported us 30 years into the future to 2056 with one of the most fun-loving, theatrical performances I’ve seen, both at grassroots level and beyond. Having seen My Chemical Romance’s Long Live The Black Parade show at Wembley twice the week before, my expectations for theatrical live performances were high. Deathsex Bloodbath met them almost instantly with carefully curated costumes, fully realised characters and a performance that never took itself too seriously. I’m glad to say I was spoilt.

Creating a world where everyone was old enough to be in a care home, and fully committing to the bit, had the whole room laughing. What surprised me most, though, was how cohesive they sounded despite not having played together for seven years. The crowd was immersed from the first song.

Justin Appropriate (guitar) appeared in full swimming gear, explaining he had been “fired… from a cruise ship by Jane McDonald” after playing a 30-minute guitar solo. The amount of thought put into the lore behind these characters was brilliant. One thing I rarely comment on is bass tone, but it stood out throughout the set, while Switchblade’s vocals were powerful and magnetic, commanding the room with ease.

Midway through, Sororicide (drums) and Sadogasm (vocals/guitar) swapped places for what I can only describe as the ultimate man-hater power anthem, fuelled by rumours surrounding the murder of a sixth husband. Lyrics like “talk a lot of shit” and “men errrrrr” made my night. Deathsex Bloodbath have a knack for tackling surprisingly heavy themes without losing their sense of humour.

The set closed with Sadogasm writhing across the floor, wrapping the microphone cable around his neck while screaming “Asphyxiate”. If I had to sum up Deathsex Bloodbath in one sentence, it’d be this: a bunch of old people having the time of their lives.

Next up were Gutter Puppy, a band I’d been wanting to see for some time, and they delivered exactly what I was hoping for: loud, angry punk. The opening song immediately established the tone for the rest of the set: fast, emotional and packed with energy.

Ryan’s drumming was enormous, both in sound and execution. Connie (vocals/bass) looked like she’d walked straight out of a music video, fan blowing her hair as she delivered commanding vocals and basslines to match. Amsterdam brought a welcome moment of nostalgia, with Adam taking over vocal duties, his voice and stage presence hinting at early-2000s influences.

The stage banter was unmatched, driven more by wit than alcohol. Adam’s brief memory lapse and tuning issues before 28 were met with cheers from the crowd, prompting the perfect response: “Yes, incompetence. Let’s celebrate it.”

A final mention goes to the giant balloon left behind by Stegosaurus Sex Party, which somehow found its way to Connie mid-song before being spectacularly popped in the most on-brand way possible. Punk, angst and an obvious love for what they do made this one of the standout sets of the day.

Closing the festival were The Caroline Bomb, a band I’ve seen more times than I can count. Somehow, this was the best I’ve ever seen them.

From the moment Phoebe threw her arms into the air, the energy was relentless. Her vocals were commanding, angry and effortlessly controlled, while her stage presence ensured nobody in the room stood still. Their art-punk blend is funky, loud and completely infectious. By the time Phoebe declared everyone was “ready for a boogie woogie”, shirts were already coming off in the crowd. Safe to say we all hit our cardio goals.

Phoebe somehow fires out lyrics at 100mph without sacrificing clarity, while Luke’s drumming provides the backbone that keeps every song driving forward. Every member looked completely locked in, clearly enjoying every second on stage.

My personal favourite, Wired, once again proved why it’s one of the band’s strongest songs. Catchy riffs, punchy drums, flowing lyricism and Phoebe’s fluid stage presence perfectly encapsulate everything The Caroline Bomb does so well. Their set was fast-paced, refined and full of personality without ever losing the excitement that makes grassroots music so special.

If you get the chance, catch The Caroline Bomb at Spoilers in Birmingham on 24 July.

Happy second birthday to It’s Not A Phase Mum. If this weekend proved anything, it’s that they’ve built one of Coventry’s most welcoming grassroots communities. Here’s to many more.