Well James Scarlett organises two – 2000Trees and ArcTanGent – so he’s clearly a glutton for punishment, but even he must have had a bit of a wobble on Friday evening when Alkaline Trio announced they were having to withdraw from the rest of their UK tour less than a week before their Thursday night headline slot.
In a statement on Instagram, the band said:
We are immensely sorry but we must cancel our dates in England, including tonight’s show in Birmingham, due to medical issues Matt has been suffering from that have worsened. He’s gonna be okay but needs to be treated stateside as soon as possible.
We will be back healthier and stronger!
Skiba then followed up with his own video from a hotel at Heathrow Airport, apologising and updating fans on his condition, saying: “I got numbness in my feet, numbness in my hands, as you can tell I’m losing my voice so I can’t really talk, walk, play or sing. But I’m OK. I’m just a little tuned up but I’m gonna go home and get looked at and we’ll be back as soon as we can.”
Responding to the news in pretty much real-time, the 2000Trees team posted a statement of their own:
We’re gutted that Alkaline Trio will no longer be able to make it to 2000Trees next week, but health comes first and we wish the band the best – we know this won’t be an easy decision they’ve taken lightly.
We will have more news about a replacement as soon as possible. We’re actively working on getting something awesome for you all, and you’ll be the first to know – stay tuned for more info soon.
Speculation (or hopeful delusion?) filled social media as fans pondered who would step in at such short notice. Bands currently touring including Enter Shikari, Frank Turner, unpeople, Skindred, Knocked Loose and perhaps most delusional of all – My Chemical Romance.
Having already delved into the little black book to replace Lambrini Girls with The Wildhearts after Phoebe Lunny underwent surgery to deal with an acute brain injury which forced them to cancel Coachella, it was all hands on deck.
Shining the proverbial Bat Signal into the sky, James Scarlett’s call for help was answered within hours…but by who?
Fresh off the stage at Finsbury Park as part of their support slot for Biffy Clyro, the men from Don Broco checked their voicemails they said yes!
Having closed out 2024’s festival with an incendiary set (literally, they had fireworks and everything!) there is little doubt of the Bedford band’s ability to deliver the goods and the reactions on social media were full of celebrations. Updating the fans on the official trees app, organisers said:
Amazing news for you this gloriously sunny evening!
The one & only Don Broco have literally saved the day & will now be headlining the Thursday of 2000trees. This comes after today’s announcement from Alkaline Trio, who unfortunately now can’t make it.
We’re super happy that Don Broco are returning to 2000trees after a barn storming show back in 2024 and we’re massively grateful to their (& our) whole team for pulling this out of the bag at such short notice. What a result!!!
Lots of praise was rightly poured on Mr Scarlett and the Trees team for their swift actions and delivering, arguably, a bigger headliner with such short notice. The collective exhale from Upcote Farm could be heard from the N4 postcode! Hats off to the team.
Fresh from the first sold-out edition of Yard Festival, Yard returns to Portugal’s White Sand Mountains this July with a two-event series headlined by Disclosure, Rampa & Adam Port.
Set to make their debut at the striking Setúbal location, Disclosure will take over the dramatic desert-esque landscape Saturday, July 25th. The British duo will be joined by Grammy-nominated American artists, Sofi Tukker, who will bring their live fusion house tracks to the stage alongside Two Another with their kaleidoscopic blend of Electronic, RnB, Indie pop and soul in what is shaping up to be a standout event in Portugal’s dance music calendar.
The first event of the series, kicking off July 18th, will feature Keinemusik duo Rampa & Adam Port, who make their return to Yard after their highlight performances at the open-air venue first took place in 2024. Their signature, deep blend of emotional house promises a defining moment in the season so far.
A hallmark feature of the events taking place next month is the White Sand Mountains, a natural landscape of bright dunes and surrounding cliffs in Quinta do Anjo, Setúbal, which serves as the home of Yard Festival. The site is transformed for each event through large-scale projections, immersive art installations and production designed to integrate music and landscape into a single experience.
The July series continues the momentum of a landmark year for Yard. Following the first sold-out edition of Yard Festival, the brand has cemented its position as one of Portugal’s most distinctive music and cultural experiences. Over the years iy has welcomed internationally acclaimed artists including RY X, Bonobo, PAWSA, Ahmed Spins & more within its unique White Sand Mountains setting, all over portugal and as far a Rio De Janeiro. Guided by a vision to create gatherings that celebrate the senses, the 2026 season will conclude with a special two-day festival in collaboration with WhoMadeWho, marking another milestone in Yard’s continued evolution.
2000Trees is just a week away and we are officially into the “Ultimate Trees Excitement” phase of the build-up timeline.
Group chats are filled with screenshots of the clashfinder, the official Facebook groups are filled with sensible (and the not so sensible) questions, and all around the absolute fear of another heatwave striking is palpable. It’s Treesmas, baby – and we are STOKED!
We’ve all got those bands we are desperate to see (Truck 4 eva), the food stalls we we’re gagging to re-visit (I see you Bunnymans Bunnychow) and the beverages we want to consume (remember “Heroes Buy Beeros”, folks!). But how else are we going to fill the time?
Never fear, Summer Festival Guide has got you covered with a list of stuff you could stumble into, basically a choose your own adventure…It’s time to embrace the festival side quest!
1. Not so Silent Disco: The last band is finished, it’s back to the tent…OR IS IT? If you’ve got the stamina a whole new night begins with the move to the Silent Disco. DJs galore, killer sets, Immaculate vibes, genuinely excellent signal strength and all you need is a pair of headphones! Book ahead, pick up your headphones as soon as your tent is set up and get ready to make friends for the weekend as you scream lyrics at one another and bond with strangers over your ability to communicate requests to DJs via mime alone. Realistically, you’ll be able to hear everyone singing along from your tent anyway – so why not get involved?
2. The night ain’t over ‘til it’s over!: Following on from the above, some of the best times at Trees are had out in the General Camping area where stages (or busk boxes as they’re known) are set up for musicians to perform between guy lines and the occasional percussive snorers. Acapella singalongs with performers from the day, along with busking sets from up and comers you might see on the main stage in years to come make for a fun ‘nightcap’ and it’s on the way back to your tent, what’s not to love? Set times have been published on the social media channels of Camp Turner, Camp Frabbit and Under the Bridge (UTB) – so you can plot your course ahead of time and squeeze every drop out of the night! (Pssssst – Secret sets frequently take place out there so keep your ears to the ground…)
3. Campsite Shenanigans: The campsites aren’t just for laying awake while a bloke with a snore like a chainsaw, fights for their life in a neighbouring tent. Nor are they just for waking up freezing at 4am, putting on all your layers and then at 8am screaming because it’s too hot and you’re now slicker than an otter’s pocket. Nope. At Trees, the campsite delivers more than you thought possible! The ever-present heroes at Camp Kev (their site is located at the What3Words of Absolute.Festival.Legends.) will return with their painted rock hunts, beer pong, games, quizzes and life-saving water fights. They bring the vibes to campsite life – even if you’re on the proverbial struggle bus. Grab a slice of watermelon and go say hi! Up in the overflow camping area, just beyond the hedge are the good folk of Camp Gooch. They bring the as yet unrecognised by the International Olympic Committee sport of Lemon Jousting to Upcote Farm as well as open mic sessions, trinket swaps and even pegs (as long as you beg).
4. Join a (Carrot) Cult: Last year a cacophonous Carrot Cult collective rose from the soil of Upcote Farm spreading terror amongst attendees not seen since the great Cockchafer invasion of 2024! Rumours of an Avengers End Game root vegetable battle royale have been rife (“Fuck the Parsnips!”) while organisers have refused to confirm or deny whether members of the set-up crew have been disappearing suspiciously in the lead up to Trees. What is clear is they are making a return, with a message of: “We are one. We are many” and the harvest reveal imminent. Hold on to your butts, and don’t mention crudites…
5. Count the Trees (gags): Some bands are better at the stage patter than others, it’s true. Some mumble “this is a new one”, some fire out a pre-rehearsed set of one liners, some use their platform to discuss socio-political matters, others to bemoan their journey – or how they got the shits from service station food en route. One of the go-to observational “humour” comments is invariably about the actual number of trees at 2000Trees. Something like “I was up all last night counting and only saw 963” or similar. You may chuckle gently the first time you hear it, but by Saturday you’ll be into slow clap or deep groan mode as the novelty factor evaporates before you like all those delicious White Russians from the night before…
6. Sacrifice yourself to the fancy dress overlords: Trees always has a fancy-dress theme and this year it’s 2000memes – a celebration of the zeitgeist and an opportunity to dredge up some really deep cuts from those early meme days before Pepe was co-opted by right wingers, and Drake hadn’t been dissed by Kendrick Lamar. Last year, despite the absolute furnace-like conditions, costumes were donned by many on the Saturday making for an eclectic game of Guess Who? with the winners of the competition receiving a free ticket to next year’s festival. The skill and creativity on show is always incredible so the judges have a tough gig! There’ll also undoubtedly be returns for the regular triumvirate of Trees Santa, Tigger and Jesus (Treesus?) so if you’re inclined to whip up an ensemble then now’s the time…Papier-mâché dries quicker when it’s warm!
NB: Summer Festival Guide takes no responsibility for any physical effects suffered by getting into a cheap polyester costume that boils your insides like Haggis…
7. Receive the Seal of Approval: This one has thus far eluded me (hint) but no matter how many stars a reviewer gives a band for their performance – the one true arbiter of judgement is the Seal of Approval. The Seal (a cuddly toy, relax) sits atop an extendable pole, with a light fitted to it either turning red or green depending on whether you’ve done good in the eyes of the Seal or need to get in the sea! Bands may regard the Main Stage as the pinnacle of a weekend at Trees, but secretly they all yearn for that flippers up from the furry wee Seal of Approval!
That should be more than enough stuff to get you going, but remember – the best adventures are the ones you never prepare for, so keep your eyes and ears open for anything that sounds like it might be worth retelling over the next few decades of your life…
Joseph Capriati returns home for the club’s 50th anniversary, with a renewed focus on pure clubbing
This summer, Metamorfosi returns to Amnesia Ibiza, the place where it all began. In the year of the club’s 50th anniversary, Joseph Capriati’s return to the club that believed in him and witnessed his rise is more than a comeback – it marks a defining moment for both Amnesia’s legacy and the evolution of contemporary club culture.
The residency will take place every Tuesday from June 30th to September 29th, standing out as one of the key fixtures of the 2026 season on the island. Across the summer, a carefully curated selection of artists will shape the sonic identity of Metamorfosi, bringing together pioneers, global icons and a new wave of artists pushing the culture forward.
A return with purpose
At a time when music is reclaiming its place at the centre of the experience, Metamorfosi returns to Amnesia with a clear vision: to refocus attention on clubbing in its purest form.
More than a residency, it stands as a statement of intent – one rooted in authenticity, musical depth and connection on the dancefloor.
Joseph Capriati says: “This year Metamorfosi returns to Amnesia, and it’s a very special moment. Coming back to such an iconic club means a lot to me. We are living in a time when music and true clubbing need more attention than ever, and the island is asking for it too — spaces where music truly comes first.
I feel a strong sense of responsibility, and together with the teams at Amnesia and Metamorfosi, we’re going to give everything this season. What we do comes from a deep love for music, and we want to share that with the crowd.
We’ve prepared a line-up for both the Terrace and the Club Room that, for true music lovers, will be something special. Both rooms fully reflect the Metamorfosi vision. We’re also putting a strong focus on production to ensure that every night becomes a complete experience. See you on the island.”
For the next chapter at Amnesia, Metamorfosi brings together globally respected names and some of the most exciting artists shaping the current moment, with a programme that reflects a broad and carefully curated vision, deeply connected to the dancefloor.
The line-up features standout artists such as Richie Hawtin, Jamie Jones, Chris Stussy, Seth Troxler, Mau P, Josh Baker, Max Dean, Ben Klock, alongside Maceo Plex, WhoMadeWho, Damian Lazarus, BLOND:ISH, Freddy K, Cloonee, Dubfire, Anfisa Letyago, Traumer, Fatima Hajji and Wade.
At the same time, Metamorfosi places a strong focus on a new generation of artists who are rapidly defining the current wave of underground techno — including Yanamaste, Alarico, Serafina, Adiel and Quest — talents the brand has actively supported and championed as they reach a pivotal moment in their evolution.
Each night is conceived as a distinct journey across the Terrace and the Club Room — two spaces that allow for contrasting energies and complementary sonic narratives.
The Southampton Summer Sessions came to a fantastic finale on Saturday night after three great weeks of live music.
The event has offered so many highlights, from the nostalgia of Billy Ocean and Marti Pellow bringing love all around to Skunk Anansie and Garbage demonstrating that female fronted bands are the best in the business.
But Saturday finished just as the event began – with a truly great Scottish band closing proceedings.
Before Deacon Blue entertained the crowd on the Guildhall Square stage one last time, the Lightning Seeds certainly had the crowd singing along.
Ian Broudie and his Scouse bandmates were in good form. The singer repeatedly states ‘It’s great to be here on Friday night‘ before being corrected by multiple laughing audience members stating that it was in fact Saturday.
It was incredible how many catchy songs they have in their catalogue.
From the dreamy pop of ‘Change‘ to the saccharin ‘Sugar Coated Iceberg’, the band could have easily headlined the event themselves.
The timing of the event could not have been better either. On the evening England were playing in the World Cup, the band play their anthemic ‘Three Lions‘ to cheers of ‘It’s Coming Home‘
Due to the song being written originally for Euro 96, the lyrics have now been updated to reflect that it has no longer been merely ‘30 years of hurt‘ since the men’s team have won a tournament – it’s now ‘60 years of hurt’.
It’s lucky the Women’s football team continue to outperform their male counterparts by winning multiple tournaments themselves in the intervening years.
Most bands would finish with such an anthemic singalong, but they still had even more hits to come – playing their first single ‘Pure‘ before finishing with huge song ‘The Life of Riley‘, named after his son (who also now acts as their manager and fellow guitarist.)
It’s now time for the final band of this year’s Southampton Summer Sessions.
Fans of Deacon Blue had clearly come from far and wide to see their favourite Scottish band.
Sometimes such bands who were huge in the 80’s and 90’s can feel a little stale to watch and photograph long after their hey-day.
But Deacon Blue still have their signature sound and offered such charisma and personality – they really were a delight to watch.
Ricky Ross and his fellow band mate and wife Lorraine McIntosh are still clearly so much in love and their warmth comes across.
From their classic hit ‘Wages Day‘ to ‘Chocolate Girl‘, all of their biggest hits were given time to shine in the sun. Even new song ‘The Great Western Road’ from their 11th studio album was well-received by their passionate fans, particularly when it is dedicated to a former band-mate who is sadly no longer with us.
A lively cover of ‘Twist and Shout‘ got every body dancing, before the band launch into their biggest and best hit ‘Real Gone Kid‘ – it still sounds as fresh as when it was released over 35 years ago.
Saving the best for last, timeless classics ‘Dignity‘ and ‘Fergus SingsThe Blues‘ play just as the sun sets over the stage for one last time.
Before leaving the crowd around 10pm, the band finish with a beautiful rendition of ‘I’ll Never Fall In Love Again‘ by Burt Bacharach.
We cannot wait to find out what music the Southampton Summer Sessions book for 2027.
After the incredible success of this year’s line-up, we’re sure it’s going to be one NOT to miss.
On the hottest day of the year (so far), those who came to the Southampton Summer Sessions to witness two of the best live bands around were in for an incredible night.
This was the final night of their joint tour – and my god, we hope they team up again soon as this was such an epic partnership.
Both bands were on fire!
After Du Blonde warmed up the crowd even more, the mighty Garbage took to the stage with the appropriately epic theme from Twin Peaks playing over the sound system.
Shirley Manson, striking in red boots, strode onto the stage to a huge cheer and wearing a t-shirt of her idol, Madonna.
Garbage began with the bittersweet ‘There’s No Future In Optimism‘, with the repeated opening line ‘if you’re ready for love, if you’re ready for love‘.
The crowd certainly were. This was the most electrifying performance of the Southampton Summer Sessions, so far.
It’s incredible to think that Garbage have been together for over 30 years, with the line-up remaining constant since their inception in 1993. The energy and passion is still as fresh as ever.
The biggest cheers come from songs from their self-titled eponymous album from ’95, with all the hits played, including ‘I Think I’m Paranoid‘, ‘Stupid Girl’ and ‘Vow‘.
Shortly after, Shirley dedicates a song to Robert Smith, stating she grew up a young goth girl and without The Cure, they wouldn’t be here tonight – another big thing to thank Mr Smith for.
Their cover of ‘Lovesong‘ is strikingly beautiful – with it reimagined from a female perspective, the hauntingly simple lyrics took on deeper meaning:
Demonstrating the sheer love between the two bands co-headlining tonight, during an appropriate performance of ‘Only Happy When It Rains‘, Skin and her fellow Skunk Anansie band-mates Ace, Cass and Mark crash the stage and serenade with rainbow umbrellas to shield their friends from Garbage against the suns rays.
It was clearly a surprise to Shirley, who in hysterics, allowed Skin to join her on main vocals while she regained her composure.
Garbage were such a tough act to follow and there are very few musicians who would even come close to comparing to this stunning opening.
But Skunk Anansie may just have managed it somehow…
The mighty Cass and Ace take to the stage first for Skunk Anansie.
It’s no wonder Skin is covered in muscle repair K-tape under her long pink socks when she bounds on stage to huge applause. She is the ultimate front-woman and energetic throughout the whole set. Like a dynamo, it’s the most athletic performance.
Beginning with the bombastic ‘This Means War” – it’s clear she’s not here to take any prisoners tonight. Spitting out lyrics fighting against fascism is what we love best, especially in these difficult times. Sometimes we all need a wake-up call.
Skin gives the crowd no time to catch a breath, launching into ‘Charlie Big Potato‘ before ‘Because of You‘ gets the crowd clapping, despite the heartbreaking lyrics sung in her vibrato voice ‘Because of love, I feel nothing‘.
After ‘Yes It’s F’ing Political‘ the band keep their fight against far right extremism front and centre. Skin introduces the next song stating that as a four year old, she saw a little nazi symbol scrawled on a wall. She later wrote her song ‘Little Baby Swastikka‘ about the harrowing experience.
Never one to shy away from her fans, Skin jumped into the crowd and got very close with some of the audience. Displayed on the special ‘Skin-Cam’ she now wears, this is a highlight of all their shows – no matter how big the venue, Skin will always head in and loves a mosh.
The biggest cheer of the evening goes to their epic timeless classic ‘Hedonism‘ or ‘Just Because It Feels Good’, as it’s more commonly known.
Phones are held in the air as the crowd sing along to the lyrics:
Just because you feel good Doesn't make you right Just because you feel good Still want you here tonight I wonder what you're doing now I hope you're feeling happy now
Skunk Anansie refuse to stay quiet for long and burst into an incredible cover of ‘Highway to Hell’ by AC/DC – somehow Skin’s vocal range and Ace’s guitar hero skills make this sound even more insane live.
If you ever get the chance to see Skunk Anansie or Garbage, don’t think twice!
Both were absolutely incredible at the Southampton Summer Sessions.
Even in the blistering heat, this is a show which will live long in the memories of everyone who came.
Next at the Southampton Summer Sessions on Friday is Bowling For Soup – supported by local legend Mr Frank Turner.
Definitely another not to miss – click the link below to get your tickets:
The award-winning Mallorcan venue confirms a season of major standalone shows across summer 2026
AMØK Mallorca has announced its most ambitious summer programme with major festival takeovers alongside a wide-ranging roster of standalone shows that underline the venue’s position as the best and most authentic place to party on the island.
Since opening, the game-changing venue has combined high-spec production with a unique indoor-outdoor setting that appeals to both daytime and nighttime audiences. From sun-soaked gatherings and its celebrated sunset gatherings to immersive after-dark experiences, AMØK has become a destination for discerning music lovers and world-class artists alike.
Amongst the standouts, Paul van Dyk brings his MADE FOR MORE concept to the venue on 25th June, followed by Frequency Festival across 27th and 28th June with new school stars Max and Luke Dean and Prospa, while South African producer Shimza begins a three-date Thursday residency on 30th July that explores his fresh Afro and 3-step sound.
Standalone dates across the summer include the very best in house, tech and melodic with Denis Sulta, Priku and Saraga on 20th June, a first ever b2b between Oliver Koletzki and Super Flu on 3rd July, Arodes on 9th July, Jan Blomqvist on 16th July, WhoMadeWho on 2nd August, Bastian Bux’s “Petit Comité of House” on August 8th, Miss Monique on August 29th and Jonas Blue on 5th September.
The full season roster includes plenty more unmissable appearances from Jamie Jones (who will headline the Grand Summer Closing on Sept 26th), Mason Collective, Claptone, Kaz James, Zakes Bantwini, Major League DJz and many others. A major highlight is also scheduled for July 23rd, with a headline act still to be announced.
The programme will also make room for urban music, featuring reggaeton stars such as Cosculluela, Luar La L, Hades 66, Lyanno and Sinaka.
AMØK will soon unveil collaborations with two iconic nightclubs – one British and one German – to co-produce a series of special events throughout the summer, further strengthening the venue’s international outlook and commitment to delivering world-class experiences in Mallorca.
AMØK aspires to be a cultural meeting point where people from different countries and backgrounds come together through a shared love of music and celebration.The venue’s mission is to bridge cultures, raise the standard of entertainment on the island and create experiences that resonate far beyond a single night out. By bringing together international talent, local energy and diverse audiences under one roof, AMØK is setting a new benchmark for nightlife in Mallorca.
Yacht Week has announced a new collaboration with Ultra Europe, bringing together its Adriatic sailing format with VIP access to one of the world’s most prominent festivals.
The full Yacht Week experience runs 11–18 July, marking 20 years of the brand, and features a seven-day island-hopping itinerary along the Croatian coast. This includes a two-night VIP pass to Ultra Europe at Park Mladeži Stadium in Split, giving guests exclusive access to the festival alongside the sailing experience. Prices start from £887 per person, with tickets on sale now at: theyachtweek.com/croatia-ultra.
Beginning in Split, the programme opens with access to the first two days of Ultra Europe (July 10 & 11), featuring global stars including Calvin Harris, Martin Garrix and Dom Dolla. From there, the journey transitions into a curated sailing route across the Adriatic, taking in three islands and a mix of natural and cultural landmarks.
The itinerary includes stops in Hvar, Bol and Vis, with activities ranging from exploring caves and medieval towns to beach and open-air parties. Highlights include a regatta day, a tunnel raft party, and events at venues such as Carpe Diem Beach and Fort George in Vis.
Across the week, the experience blends structured programming with free time to explore local cuisine, coastal scenery and island activities. Evening programming continues throughout, extending the festival atmosphere beyond the main Ultra weekend.
Yacht Week will host over 500 participants across multiple boats, with both daytime and nighttime experiences built into the route. The journey concludes in Split following a final day at sea.
This combined festival and travel experience offers a unique way to explore Croatia’s Adriatic coastline while enjoying Ultra Europe.
Paul Weller takes to the stage with a cheery ‘Alright Southampton‘ – and yes, we’re more than OK after being suitably warmed up by Miles Kane and the glorious summer sun.
On the longest day of the year, Paul Weller plays an incredible set lasting over two and a quarter hours. As well as his solo material, he is no longer afraid of playing timeless classics from both of his former bands – The Jam and The Style Council.
Beginning with a relatively new song, ‘Rip the Pages Up‘, he quickly moves onto The Jam b-side ‘Precious‘, before seamlessly mixing into a cover of ‘Move On Up‘, made famous by Curtis Mayfield.
Dressed in double-denim initially, he promptly tosses away his jacket – Paul Weller is aptly known as The Modfather, as looking sharp and well-dressed remains important to him.
Steve Cradock, of Ocean Colour Scene, ably supports Weller on guitar and Paul introduces song ‘The Weaver‘ as the first the two wrote together, establishing a long-term partnership which has reaped great rewards over 30 years.
A selection of Style Council hits follows, demonstrating the singer now enjoys playing his incredible back catalogue of music. Prior to ‘My Ever Changing Mood’ he gives a rallying speech calling for the end to senseless murder of innocent women and children around the world.
One of the biggest cheers of the evening comes when Weller sits at his piano and plays a beautiful rendition of ‘You Do Something To Me‘. Written about unattainable love, it remains popular at many wedding receptions despite its bitter-sweet tale of unfulfilled passion.
After an impressive 24 songs in the main set, the band depart the stage briefly, only to return for another 7 song encore – and wow, what an encore it is! Arguably the best songs of the night follow in quick succession.
He begins with this reviewers favourite of the evening, the simply beautiful ‘English Rose‘ – stripped down to acoustic guitar, the words and melody seem even more poignant than The Jam original.
Following confident versions of ‘All The Pictures On My Wall’ and foot-stomper ‘Changing Man‘, he spits out how former Prime Minister David Cameron was noted as saying ‘Eton Rifles‘ was his favourite song. Weller exclaims ‘Which part of it didn’t he get – it wasn’t intended as a f’ing drinking song for the cadet corps’.
Clearly not. Anyone listening to the lyrics would appreciate it addresses political and class struggles in the late 70s of Thatcher-era Britain.
Following this, he breaks into his solo classic ‘Wild Wood‘. Although only 33 at the time of release, he’d already recorded so much great music with his former bands that he seemed like a British icon – or Modfather if you like.
Often as is the case, Weller finishes the set with the incredible ‘Town Called Malice‘. What a finale and over the 31 songs in this set, he demonstrates how and why he is defined as one of the finest song writers of all time.
This is going to be an impossible act to follow.
Billy Ocean will be bringing the party vibes on Sunday at Southampton Summer Sessions and we cannot wait to see how he follows this incredible show.
Review by The Punk Buddhist Journalist – Stewart Campbell
Since 2019, Raehills Meadows, near Moffat in Dumfries and Galloway, has been the site of Eden Festival, an independent, not-for-profit celebration of music, arts, and culture.
‘Showcasing both internationally acclaimed artists as well as local up-and-coming acts, from Folk, Soul and Electronica to Jazz, Rockabilly, World and everything in between. With more than 250 acts over 10 stages.’
Jude Norton-Smith at Rabbie’s Tavern is my first port of call. As I walk towards the entrance, a delicate, tender, nurturing music hastens me in.
Jude’s recent EP, “I’ve Seen a Many Strange Things”, played in full, works as an enchanting, enriching overture for the many strange and wonderful things one can and may hope to encounter at this now 18-year-old festival.
Jude Norton-Smith
“I’d describe my music as alt-folk. It’s tender music, full of love and light and mischief while also occasionally swelling into a beautiful chaotic racket.
“We’ve now got this beautiful strange elastic band, and I think we’re all pretty logged onto this shared folkish musical world.
“We’re all using the language and sounds of folk music to give it this really live and embodied feeling – it feels very human and joyous. I’m inspired by nature and the natural world, but recently I’ve found the music I’ve written has had this extra layer of memory on top. like remembering the memory of remembering nature.”
It’s 4:15pm, I sit upon the Good ship Cheesecake that overlooks the cycle-powered Reaction Stage. Newly pressed boot prints lay upon the expectantly muddy footpath and stage front. Sherlock finishes their set; relaxing lo-fi rap beats soothe the transition from reality into the sacred festival site.
You slink along to the Bodega, a hypnotic bar within a permanent wooden structure.
Old-time swing music plays subtly in the background. I feel a swell of nostalgia for a time period outwith my own.
My inner Holden Caulfield is awakened as I sit at the back and survey the scene. The prices are reasonable… if you’re rich, which I’m not. I’m not complaining, there will be someone who can afford the drinks at festivals, but it’s not me. A wall-mounted arrow points towards a DJ booth with a neon “Desiato” above it. The arrow proclaims, “Make a jazz noise here”.
The Bodega hosts talks, workshops, and in the evening, it becomes an alluring neo-nightclub, like dancing between dreams inside an ultraviolet mood lamp. I remember completely missing this space the first time I came to Eden and stumbling upon it at 1am on my first night of my second time with my friend. We felt like we’d stumbled upon a hidden room in a labyrinth we thought we’d mastered.
Hypnotised by the room, we catch each other’s eyes.
“…I don’t remember this space?”
“Me neither.”
“How could we have missed this?”
“I don’t know.”
“…Is this actually here?”
“I don’t know.”
We looked at the room in silent bewilderment, caught each other’s eyes once more, nodded and left.
Never to speak upon what had changed.
I can now confirm, one year on, that the room is indeed both there and real.
Reality is not all it’s cracked up to be, kids!
I make my way to the main stretch of the land, and I stumble upon the Barrett’s Bananas. Upon graciously receiving a banana, I speak to Captain Banana, Gordon. He tells me the founder of the Barrett’s Bananas, Richard Barrett, passed away in 2020 of Motor Neurone Disease and Eden Festival is always an emotional time as it’s the first festival Richard ever handed out bananas.
What more wholesome and delicious gift could a person receive than human generosity and a banana during a weekend of partying?
So now the Barrett’s Bananas raise money and awareness of Motor Neurone Disease whilst delivering banana-y goodness.
I’ve now used the word banana 9 times in this paragraph, here’s another to make it a round 10: banana.
After my banana (that’s 11 times now), I meet old friends and sit by the Garden Bandstand for our annual catch-up.
Since first going to Eden in 2022, it has been a site of meeting friends old and new. Festivals are the perfect place to meet sandcastle friends (whole, complete friendships formed in brief moments, sharing our hearts one to another, before the tide comes in, the weekend ends, and what once seemed corporeal melts as breath into the wind).
These are my favourite moments. I love the music and the atmosphere, but it’s the quiet conversations, the people, and the openness found in these moments that reinvigorate my soul.
I even once met Jesus here…nice guy.
It’s 7:15pm and Glasgow rockers Telekinephews take the pagoda-shaped Garden Bandstand. With two tracks featured on BBC Introducing, the most recent of which springs forward from the stage with such infectious energy, we cannot help but ponder upon the immortal question posed by singer Joe Miskimmins: “Can you drink 45 pints of fortified wine?”
No sir, I do not believe so, but damn it, I feel an almost patriotic duty to try!
Telekinephews
Joe tells me he’s playing again at the Woodland’s Bandstand Stage tomorrow and he’s also helping run the stage with his friend Cal, using and donating their own sound system for the weekend:
“These small stages are important for grassroots artists without funding.
“I was brought in as an artist with Telekinephews but, through the spirit of DIY culture, we brought the P.A. and had a bigger role in sound engineering and booking the bands.
“Festivals are a place of discovery. We want to think of these stages as being a mine for hidden gems and creating ‘if you were there, you were there’ moments (the musical equivalent of my sandcastle friends).
“It’s important to nourish artists. I guess very quickly Telekinephews understood the need for DIY culture, to promote honesty, integrity and give a platform; so, we developed Big Nephew events to promote those sorts of events.”
Joe talks with such passion about music and making music happen it’s infectious. As are Telekinephews on both performances, as the sense of care and enthusiasm Joe has for music is transfused through him and the rest of the band.
I’m Holden Caulfield again as I go to get a programme for stage times to properly plan the weekend. What really knocks me out is £6 for a programme! I don’t know what festival etiquette is, but to not offer the information of who is playing what stage and at what time is the equivalent of going to the cinema, buying a ticket and not telling you what time the film starts or what screen it’s on.
To be fair, you could walk round each stage and take a picture of each chalkboard by the stages, but there was not, as far as I could see, one at the main stage.
So, here’s a few pictures of what some poor sucker had to pay £6 for.
Tucked away from the main walkway is the Woodland Bandstand (the very same one mentioned by Joe), and Makongo takes to the stage.
Singer Ngana takes a step toward the audience, wearing shades and a Scott McTominay overhead kick T-shirt, and asks us: “Are you ready for the Revolution!?”
Makongo
! Listen, pal!
We the people are stronger united.
We the people are better together.
I want you to have a better life.
I am just here to make my life better.
I am not the problem.
The problem is not me.
Not me, not me.
I am just the scapegoat!
Described as blending traditions from across the globe, music rooted in hip-hop yet reaching far beyond it, fusing cultures, stories, and experiences that celebrate collaboration and resilience.
Ngana tells us before his next song that the best dancer gets a passport! He’s not joking. It’s one of the best pieces of promotion/merch I’ve seen. Each band member is inside, along with the story of the band and the lyrics.
Makongo finishes up and a Scottish festival tradition begins.
It starts to rain.
I retreat to the sacred, hallowed ground of my one-man tent. It’s the sophomore slump of the day as the afternoon coffee en route has long since left the system…
It’s Saturday.
I awake from my beauty sleep feeling less rested than before I slept, the wonders of camping! My neck and back want to speak to the manager. But if you want to make a festival-y omelette, you’ve got to break a few spinal column-y eggs.
I stumble forth and sit with my fellow weary travellers; a communal Kraft macaroni is cooked and handed out. Mankind has peaked with macaroni for breakfast.
At 2am Scotland will play their first World Cup game in 28 years, and Rabbie’s Tavern stage will be showing it live. I’m as excited as can be and can’t think of a better way to take it in than in the middle of a field in Dumfries and Galloway. Armed in my new Scotland shirt (fakey, of course, I’m not made of money, you know. £75 for a top at retail! The biggest rip-off since Programme Gate!), I make my way in.
Midday, Rabbie’s Tavern, and Vibrant Rebels open the Saturday stage. Two days running I’ve stumbled into this venue to start the day. I count nine members, the sound as full and whole as you’d imagine. It’s a decent crowd for what followed an undoubtedly heavy night for a good portion of the attendees; hangovers hover softly in the morning air.
The crowd is sprinkled with children and families, some of which are possibly attending their first festivals together. You can see early memories being formed. Having families and kids at festivals helps keep you grounded, bringing forth an automatic level of care and responsibility we’d hope others would show if we had young kids of our own there.
That is another thing I like about field festivals. It comes with a sense of communal care and a genuine sense of wanting to make sure everyone around you is safe which, sadly, can feel somewhat lacking living within the hustle and bustle of city life. For me at least, I come with the intention and notion of supporting the communal atmosphere and respecting the land.
A thumping rendition of “Feel Good Inc” by Gorillaz bursts forth and the early crowd erupts. The saxophone player jumps from the stage to dance and play with the audience, the slick guitar riff piercing through the early-day grog and blaring like an alarm clock for the recently awoken.
It’s across to the Vishnu Lounge, where Fettle, a two-handed folk duo, offer a softer, soothing alternative to the start of the day… the start of the day for me at least. Because from 10am on
Friday till 4am Monday morning, the Vishnu Lounge is constantly open and hosting performers or playing music. That’s crazy!
Two wooden structures with hanging hammocks both in front of and behind the performers, where a row of bathtubs (unfilled) work as seated additions. Surprisingly comfortable, tricky to get out of, or maybe that’s just me after a night of camping. Like a fading action star, every year after the first night of camping I slowly rise, I look upon the site, body aching, slowly inhaling and exhaling a cigarette, and say, “I’m getting too old for this shit.”
Flanked by leather sofas and a hanging teepee-like structure, this is the kind of place you could sit and become absorbed by the sounds and welcoming atmosphere. Hours could go by without noticing. Often these are my favourite moments, when the rules and concept of time no longer apply.
I sit in the bathtub and talk to the kilted man beside me. He tells me he’s worn his kilt for four straight days. He puts my Scottishness to shame but bestows upon me a pink flowery wreath I promise to wear for the rest of the day and return to him at the Scotland game (I’m so sorry, Nadean, I couldn’t find you and still have it at home! Hit me up, bro!).
I meet another friend from Glasgow. We sit and roll a cigarette, her voice rough and coarse. She played the Cabaret Bar last night but, upon going up, her technician had vanished, so just belted her songs out acoustic. This is somehow more rock and roll than if her set had gone to plan, art from adversity.
She says, “Right, shall we mosey on up to purgatory?” and so we do.
Polar Bears in Purgatory
Polar Bears in Purgatory, described as: “An energetic, melodic punk trio whose down-to-earth humour and catchy hooks are unparalleled.” What’s not to like?
I’ve seen them before, but there’s an extra member this time on keys and trumpet.
I ask him, “Are you a new polar bear?”
“Ehh… I’d say half polar bear.”
No matter the percentage ratio of polar bear to man, he’s a welcome addition to Purgatory.
The songs are fast and frenetic. This sort of music reminds me of the early 2000s, sitting and scrolling between the two music channels we had at home, sitting in hope more than expectation to catch a video or song I liked.
They play a song, “How Hard Is It Not To Be A Dick?” — another pertinent question. I think about how profound some of the questions have been this weekend. Can I drink 45 pints of fortified wine? Am I ready for the revolution?
Before the next song starts, the singer states: “This next one’s not a song; it’s a recipe for chips.“
Wow! Soul-searching and cooking instructions!
It’s the Main Stage for Colonel Mustard and the Dijon 5. It’s as busy as I’ve seen so far. The front of the stage is a muddy marshland, but the dancers seem undeterred, dancing with the same bombastic energy that comes with this huge-sounding 11-piece band!
Colonel Mustard and the Dijon 5
“Ok, the front is really marshy, is there a space in the middle we can make a little dancing amphitheatre?”
Despite being Glasgow and festival stalwarts, this is somehow, and rather criminally, the first time I’ve seen them! I’ve been missing out. How could you possibly not be in a good mood while listening to Colonel Mustard?
It’s the sort of feel-good music festivals were born for.
“We’re gonna try a new one and it’s called ‘In the Moment’, which is the only place to be.”
It feels like the feel-good hit of the summer…well if that wasn’t already a song by Queens of the Stone Age.
“So just live in the moment… and behave yourself.”
I catch stray lines as I write, something about “a taxi driver with flatulence” and something about drinking Buckfast. I ponder if the good Colonel has ever considered if he himself could drink 45 pints of said beverage?
A selection of beach balls lay in the marshy stage front. There are kids in wellies and families kicking them about and enjoying it with equal pleasure, as if they were at the beach. One of them comes my way and I pass it back. A wee boy passes it to me again, which I return in kind. I find myself in a passing drill, which moves on to him taking shots at me as a goalkeeper.
I wish I could say I was letting the shots in, but honestly this kid, at five, is better at shooting than I am with an actual ball.
His mum comes over and we chat about how a “beat the goalkeeper” with a set of goals would have gone down really well. An opportunity missed, perhaps.
I refrain from my Gianluigi Buffon duties to acquire strong coffee number two of the day before returning for She Drew the Gun.
She Drew the Gun, fronted by Louisa Roach, are described as entering a “musical world informed by influences ranging from 80s electronica, hip-hop, political poetry, and cosmic Scouse psychedelia”.
I’ve often found it hard to describe music, ironic, I know, as I sit trying to do just that. I have a very strong musical sense and intuition, but trying to define or pigeonhole a genre of music almost feels like it does the music itself a disservice.
She Drew The Gun
Seeing as that’s why I’m here though… The set reminds me of something between Billy Nomates and Kae Tempest.
In particular, “Became” is a standout. I personally like music with that slight darker edge and this one drips in it.
“And it’s for Land money power
And that’s the truest why
And every second minute hour
Will never satisfy
The black hearts of the war men
As they launder genocide
And the weak hearts of the law men
With power on their side”
It’s a great set and I promise myself I won’t write anything silly or cliched like “She Drew the Gun and blew me away”… I suppose I just did, dammit.
One final return to the Woodland Bandstand for another hidden gem and potentially my highlight of the festival: Sloblins.
Sloblins
Described as: “Scottish Budget Slob Rock. The simplicity of a nursery rhyme, the smell of a nappy crime.”
This is like if The Grinch Who Stole Christmas formed a punk band.
Fully kitted in all goblin attire, songs abruptly stop so Mr Sloblin can attempt a handstand and cartwheel and, of course, songs about finding it hard to pee and poo.
Now, depending on your taste, this may sound absolutely awful or absolutely amazing. Honestly, there will exist bands where the goblin aspect is a gimmick to disguise the music not being very good. But honestly, these guys are excellent.
Don’t be fooled by the foolishness.
Or maybe do be fooled by the foolishness!
If Dick and Dom had pursued punk music instead of kids’ TV, it would be this.
Sloblins
Just before approaching the Main Stage, to the right is The Melodrome, tucked in beside the beautiful old-fashioned ferris wheel. Some form of child-like wonder pulls you towards it like a moth to a flame, and I find myself throughout the day just sitting by it and watching it go round.
Another activity that can make time dissolve.
The Melodrome resembles an old Punch and Judy-style stage, with curtains that both cover and reveal the bands.
Maz and the Phantoms
It’s here I’m seeing Maz and the Phantoms (with the added bonus of Jude Norton-Smith also being the bass player, does their talent know no end!?)
Described as: “A kaleidoscopic fusion of genres that incorporates surf guitars, catchy sing-along hooks, dance-inducing breaks, and an unparalleled electric intensity.”
It’s a powerhouse performance, full of energy, enthusiasm and connection with fans new and old.
Having played the Main Stage the day before, they now play a packed Melodrome as the sun sets and the colours become richer. A beaming yellow light from the ferris wheel and the rich stage lights combine to create some of my favourite photos from the weekend.
The audience dance along to their latest single, “Pigeon Song”, with Jude dutifully demonstrating the moves to be followed along with.
As a pigeon lover, I can’t express the joy of seeing a crowd full of people mimicking the world’s best bird! Pigeon lovers of the world, unite!
Rabbie’s Tavern, 1:30am.
I’m there early, of course I am, both me and Scotland have waited long enough for this moment!
Have Mercy Las Vegas finish their set with renditions of “Yes Sir, I Can Boogie” and “We’ll Be Coming Down the Road”.
The place is absolutely bouncing. I subsequently find out the band are responsible for arranging the stream and the game being shown at the festival, so hats off to you. I hope Las Vegas does indeed show you mercy.
As they finish, I make my way to the front and see if any help is needed in the set-up.
The anticipation is building.
The plan is to stream it from a laptop through the projector onto a screen. Perfect, though it’s 1:55am and the kick-off is at 2am.
I strike up a conversation with the person next to me. I say, “I’m really excited but I’d also be more calm if the projection was on within 5 minutes of kick-off.”
“…his laptop has just started updating.”
With the bizarre kick-off time of 2am, I’d imagine that’s when the computer may automatically set itself to update.
Another slightly worried-looking guy comes over asking if it’s working yet.
I say to the guy: “Why don’t you go to the sound desk and get the radio commentary ready and we can play it over the speakers?”
A genius idea, I thought. He hurries away.
2 mins to kick-off. Squeaky bum time.
The crowd, being incredibly patient and trusting, breaks out into ‘Flower of Scotland’. I’m suddenly transported from being anxious for the stream; this alone is just fantastic.
And just as the room finishes its rendition, the live feed works, the projector is on and Scotland at the World Cup is up on the screen!
The cheer that erupts is equal to that of having scored.
It’s jubilant, it’s wild.
“No Scotland, no party, baby!”
…and then the football starts.
Boy, oh boy, Scotland are a tough watch.
I pity the football neutral tuning in for patriotic curiosity only to watch this dire, dire style of football play out.
But at the end of the day, it’s all about the result and, despite playing fairly uninspiring football, this Scotland national team is the most successful in my lifetime.
Scotland go on to beat Haiti 1–0.
Apparently, the national anthem in the stadium was the loudest noise recorded at a World Cup game, but Rabbie’s Tavern upon the final whistle can’t be far off.
Terrible, terrible football!
Brilliant, brilliant result!
By the time we stumble out it’s 4:30am and its essentially daylight, so we go in with dark skies, Scotland wins, and beautiful blue skies shine upon the land of the free… (the land of the free, who voted against our own independence…)
I decide to go for a walk around the empty stages.
I love empty spaces after big events have occurred. It’s got a haunting quality, like the memory and energy of the event still linger in the air for a while after. The ghost of events past, present and yet to come.
There is an almost mist-like fog that hangs in the air, and through the fog appears… a bottle of fortified wine?
“Is this a Buckie bottle which I see before me?
The handle towards my hand.
Come, let me clutch thee.
I have thee not, and yet I see thee still.
Art thou not, fatal Buckie, as sensible to feeling as to sight?
Or art thou but a Buckie of the mind, a false creation.
Proceeding from a Buckie-oppressed brain?”
As the time of night/morning finally catches up with me, I follow the air-drawn Buckfast towards my tent and into slumber.
It’s Sunday.
I find myself at the Main Stage for the first performance of the day.
Niamh Corkey plays, lullaby-esque, to the early-day risers. It’s perfect Sunday music.
Niamh Corkey
Mid-song, the stage generator suddenly goes out. Without missing a beat, Niamh and her band come to the front of the stage, climbing down onto the speakers so they are right at the front and continue playing acoustic, a cappella style.
This is met in kind by the audience, who all move forward and congregate around the stage front. This offers a wonderful intimate, interactive performance for the rest of the set, just like one of Joe Miskimmins’ “if you were there, you were there” moments.
Honestly, it couldn’t have gone better had things gone to plan. Once again, art from adversity.
To top it off, the warm sun has begun pushing through the clouds and arching just over the top of the stage.
Niamh Corkey
I’m back in the bathtub, where to the rather shall his day’s hard journey soundly invite him?
A lilting, ethereal music drifts from the stage.
Half-conscious couples sway from hammocks, lulled by the soothing sounds, sleep-deprived and spent but finding simple comfort and solace in one another’s arms.
Warm bodies, warm souls.
My friend Claire tells me she’s just spent the last 10 minutes gently rocking Bob from Telekinephews in one of the hammocks like a baby while he lay dreaming.
Ah yes, sleep. Sleep that knits up the ravelled sleeve of care.
And it makes me reflect upon the weekend.
Am I ready for the revolution? How hard is it not to be a dick? Can I drink 45 pints of fortified wine?
I realise every single one of the musicians who have played here this weekend will no doubt have dreamed of doing so at one point. Every single great band and moment of time started with a dream, a notion, and over the course of the weekend, as lack of sleep leads to waking dream, dreams and reality intertwine and become one beautiful dancer.
So literally anything you can hope to achieve is possible. Anything that can be conceived sitting in a bathtub in the middle of Dumfries and Galloway can be accomplished.
So, I make the decision to visit the wishing tree. A table with material strips and marker pens lies vacant. The universe, like a genie, at this moment offers me the chance to make one wish. One wish to make my dreams come true.
I pick up the pen. Ponder briefly. And then write what my heart desires.
I place the pen back down and tie it to the tree. I take in my masterpiece. Thank the tree. And then walk away.
Knowing with this request in the hands of the universe, everything’s going to be alright…
