Lynks Decends On Boomtown With Anarchy Unholy Pop

After years of building a reputation as one of the UK’s most gloriously unhinged live performers, Lynks is finally bringing their full-force, genre-scrambling spectacle to Boomtown. 

Armed with three EPs, sold-out UK tours, a freshly minted deal with Heavenly Recordings, and a rapidly growing congregation of devoted fans, this is not just a set - it’s a sermon.

Lynks arrives at Boomtown fresh from unveiling their debut album “Abomination”, a record that swings wildly between filthy euphoria and gut-punch vulnerability. It’s an album that drags modern queer life into the spotlight - from casual hook-ups and Catholic guilt to pop culture obsession and unrequited desire - all delivered with razor-sharp wit and total fearlessness.

Sonically, Lynks exists in a universe of its own. Imagine a club night thrown into a blender with Peaches, M.I.A, Courtney Barnett and Janelle Monáe, then served up with glitchy synths, lo-fi pop moments, punk energy and spoken-word chaos. 

While earlier releases thrived on relentless pace and maximalist chaos, Abomination gives Lynks space to breathe, explore and experiment. There are still outrageous concepts and laugh-out-loud moments, but there’s also tenderness, reflection and storytelling.

Lynks is pure Boomtown energy because they exist entirely outside the rules musically, visually and culturally. Their work thrives in the space the festival was built for: where genre collapses, queer identity is celebrated, and chaos becomes community. 

Like Boomtown itself, Lynks embraces the absurd, confronts the uncomfortable, and invites everyone watching to become part of something bigger, stranger and more liberated than everyday life.

Boomtown has always been a home for artists who don’t fit neatly anywhere else. This summer, Lynks steps onto that stage not asking for permission, but demanding attention.

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