2026 seems to be the year for forum-heat in the festival world – it seems like everyone is getting slammed for this that and the other online, and as expectations continue to grow in this now ‘boutique space’ we find ourselves in – I really have to ask, did we ask for the bar to be raised without expecting to pay for it?
This year the main TLR whinge has been about the fact that Ronnie Wood is the replacement for Bailey Zimmerman, calling him irrelevant and “not country”, despite Ronnie’s deep background in country, blues and roots – as well as him being joined by Imelda May, whose consistent work in country and rockabilly cannot be discounted. Having watched the forum chatter build over the last few weeks, it feels a lot like people who have absolutely no concept of what it takes to run events (let alone find a massive headliner replacement with less than a month to do it…) have a lot of very bold opinions.
There have also been lots of complaints about various businesses pulling out or not signing up to trade this year, including Yeti, Ariat and Vera Black, some of whom made public social media posts about not attending. Fan favourite from previous years Binks & Bo even made a social media video about turning up to site, finding it not suitable for some reason and immediately leaving, though people could still get their hands on some stock via Silverbelly’s stall. Rumours about pitch pricing and percentage takes are hushedly alluded to all weekend by sellers, but I have to hope that organisers are also taking note of the things that matter to their audience for next year’s event – shopping has always been a central tenet of this festival, and hey, I do in fact always want to buy things myself.
To add to the unrest in the country music world, hearing this week that arguably the biggest country legend of all time – Dolly Parton – had sadly passed, undoubtedly sent sad ripples through the community. Many of the artists on the bill will have met her, worked with her or been inspired by her, so there’s a strange question hanging over the weekend before it has even properly begun. Will it be a celebration or a wake? Before we go any further I would be remiss not to say – Rest in rhinestones Dolly, may we all live by the precept WWDD?
Unfortunately Thursday night has already delivered a monsoon, seemingly every bit of weather we’ve avoided all summer plus an insane lightning storm in Leicestershire. Campers had to be evacuated from the main arena back to their tents, leaving many in a predicament with food outlets all closed down, and all night-time entertainment cancelled for safety. Not exactly the gentle introduction to a summer country festival anyone had pictured.
FRIDAY
Threatening skies aside, Friday starts with the car parks filling up and people tentatively rocking their very best cowboy boots and daisy dukes. There are lots of pups in outfits too (one of my favourite parts about this festival obviously) and by lunchtime we even have sunshine. The festival itself has had its biggest site layout change in years, with a new shopping area between the Lucky Dice car field and the helter skelter, and the new Red Dog Saloon restaurant nestled in the middle (I really wish I had a reservation, the barbecue smell coming from that tent was incredible). The new floating bridge over the lake is a fantastic addition, taking pressure off the singular thoroughfare to the other half of the festival, particularly when rain and footfall have the potential to churn that area into a mud bath, and it makes it much easier to visit the cars and shops in between main stage sets without missing anything.
In the media area there is a huge Dolly Forever sheet which must have been hastily printed this week, signed by festival founder Baylen, and there are pens inviting artists and media to add to it over the weekend. There is a matching one in the main arena, with marker pens for people to write tributes – a lovely thing to have here, particularly given the circumstances, and I suspect by the end of the weekend it will be covered.
The High Falootin’ VIP area is notably lacking the covered tent areas they had last year, which seems extremely risky considering the weather forecast, and there also seems to be less seating available. Bet this comes back to bite them on the forum. On the other hand, I do love the addition of the photobooth – one in VIP and one in the main festival, which prints out a stack of 4 photos with the festival logo on it. A really cute souvenir for £6.
I also really like the addition of spray-painted walkway lines on the ground in a spiderweb from the main stage sound tent. They provide easy access for people to get in and out and probably keep a good space available for any emergency needs too. Most importantly, they’re actually adhered to all weekend, with people keeping chairs off the lines and out of the front stage area. Other notable cute things: the main stage is sporting a new neon centre sign and the wristbands are a lovely soft, silky material that stays comfortable all weekend.
Over in the Interstate, Harleymoon Kemp kicks things off with a really funny song about a Nashville guy who ghosted her when she got home, and her all-white outfit featuring some extremely cheeky chaps glows bright under those stage lights. She’s got the gift of the gab for sure, and immediately has the whole crowd in the palm of her hand – it feels like a party rather than a performance you’re politely watching from a distance.
Irish singer Jordan O’Keefe (yes that little lad from Britain’s Got Talent is all grown up) does an excellent job of belting out songs on the main stage, but I do find it really funny when he sings with that classic American twang but then speaks with an Irish accent. Nashville’s Harper O’Neill has the dubious accolade of being the act that heralded the lightning storm, but luckily makes it through her set before the awful weather sets in. It’s a soulful tour through her indie-country blend of songs, I really love the unique blend and she sings so beautifully.
Following Harper, a red warning is sent through to site staff, who begin evacuating the arena as the rain absolutely pours. Media are even evacuated from the metal bar tents into a solid structure, alongside any bands who are doing interviews. Notably, First Time Flyers are trying to do PR for their new single ‘Coming Home’ and end up filming social media videos with us in the stables of Stanford Hall while we all wait out the storm. There are worse places to be confined to, I suppose.
It seems the main arena organisation doesn’t fare quite so well, with people writing angrily on the forums that there aren’t enough security staff to be effective, and that contradictory information was given. People are sent back to their tents and motorhomes if they have them, while those that don’t are sent to trek back in the downpour to their cars. It feels like the many day-ticket holders who arrived by bus, taxi, shuttle etc. weren’t really considered – they’re told they have to leave tent structures and not to stand under trees from a lightning perspective, but they also have nowhere to go, and eventually end up standing under cover in the Interstate or in Buddy’s tent anyway. Then there are the sitewide phone signal issues, which continue over the whole weekend, people aren’t getting festival app notifications at all, meaning some aren’t told when they can re-access the arena after waiting in their cars and therefore end up missing acts who have already returned to stage.
“The way I see it, if you want the rainbow, you gotta put up with the rain.” Is the truest sentiment I can think of applying to today’s torrential nature. If I was in a spiritual mood I could swear it’s Dolly showing up from beyond – the absolutely ginormous rainbow crowning the entire sky above The Long Road as the sun finally makes a tentative return later on – is surely testament.
When we are finally all allowed back out, Bobby Dove plays the VIP stage, including a cover of Dolly’s ‘Jolene’ under soft, warm lighting. Bobby plays ‘Thunder Child’, laughing, “I thought it would be fun to do” – taking a beat to sit on the comfortable sofas and listen to her, is a nice a gentle way back into the festival after what has been a fairly biblical few hours.
Then there’s Steve Earle, an absolute legend of the genre, rocking up to stage looking as though he’s just nonchalantly strolled over from a wander and decided to jam. Despite the downpour and the re-entry issues, there’s a decent crowd, and Steve just does what he does best. There’s something so special about an artist who has the ability to make you feel as though they are playing directly to you personally, especially when they are playing no frills, just them and a guitar. Steve’s music pours out of him in the most natural way, like he’s some sort of conduit (not in a lightning way though, I am not foreshadowing anything I promise).
He quips “Same girl, different harmonica” while changing equipment between songs, and we are treated to his lovely rendition of ‘Goodbye’, wondering if his collaboration partner who is also playing this weekend; “I don’t know if Emmylou might do this too”. I would so have loved to see them perform it together, but I guess scheduling just wasn’t in the cards. However, Zandi Holup joins him for their new co-written song ‘I’m Not Missing Anything But You’ and it’s nothing short of stunning.
Then comes ‘Copperhead Road’, with Steve saying, “People always ask me, do you ever get sick of playing it? I always play the song of course… I mean, I hate when Radiohead don’t play Creep”. He follows it with ‘Galway Girl’, joking, “Everyone in Ireland hates me for this song”. It’s so iconic though, and it feels special to hear it live, now in the sunshine with a huge crowd back in the arena.
It is hard to describe the utter joyfulness The 502’s bring to the stage, but it feels a bit like that movie smile where you catch whatever it is and then you’re physically incapable of having a normal face. I am grinning like a loon the entire time they’re on. I need you to know that this is a deep, deep compliment when I say it, but they have big Sesame Street/Muppet energy. The light beams out of their faces the whole time they’re playing and I instantly want to join the band. In ‘Summer Fling’, they hit the line about the British being better at rock and roll loudly, eliciting a very rowdy crowd cheer.
‘Something’s Gonna Go Our Way’ really feels like one that has made a lot of new fans here, and I suspect they’ll be all over my playlist whenever I need a summer burst this autumn and winter. “Ok, we’re going to need you to push from an 8 to an 11 for dancing” is all the encouragement we need, and we don’t need to be told twice. Such a fun set. I really think they could be a future headliner easily.
The UK’s own The Shires headlining this country festival, is actually really cool. Sure I love having those big names from the USA come over, but it’s great to see a festival fully back and support UK talent and growth too. It’s bringing newness and freshness to the scene, and who knows – inspiring the up-and-coming too. Maybe there are kids in this audience who will follow in their footsteps after watching and seeing it’s a path they can take. I love that.
They play ‘Lightning Strikes’ twice, which is a rogue song choice after today’s weather antics, and really feels like they’re tempting fate, you gotta laugh – and there’s an interruption when sound issues take the band off stage for around 10 minutes, mirroring what happened to them at BST Hyde Park earlier this year. Crissie Rhodes introduces a song, saying, “It’s an emotional song this one… It’s a song I wrote about my dad… I see a lot of little girls out there with their dads… he passed away when I was little”. Bit of a bleak sentiment for those kids she’s addressing but… it’s a lovely, heartfelt lament under a huge moon and the twinkling festoon lights.
“Long road we are honestly so proud of how far country has come in the UK. We dreamt of this… This is our love letter to country and the UK” introduces ‘Nashville Grey Skies’, which again feels hilariously spot on for today’s weather. “We might do the thing where we go off and we come back… just checking you’ll stay, right?” they ask, before splitting the crowd down the middle for a bit of a fun singalong to ‘Tonight’. Then A Dolly tribute of ‘Islands In The Stream’ goes down a storm (teehee), with everyone asked to put their phone torches up in the sky. ‘Wild Hearts’ and ‘A Thousand Hallelujahs’ end on a party note. It’s a huge crowd, partly to be expected when all the other Long Road venues are on pause during the headliner, but they more than deserve this turn out.
SATURDAY
Bec O’Malley on the main stage drops in a little Bailey Zimmerman cover, ‘Backup Plan’. Amazing voice, and a little tidbit to those disappointed Bailey fans at least. Unfortunately the damn rain is starting back up again, leaving the arena a bit sparse. Over in the Interstate, Brennen Leigh is rocking a very cool Lone Star shirt and white cowboy hat with matching boots. She has one of those excellent severe bobs and bright red lipstick, making her absolutely the coolest looking person here – a fun juxtaposition with her tounge-in-cheek lyrics, I really enjoyed her set. ‘Dumpster Diving’ is cleverly wry, with that proper ‘country’ flatpicking sound and her deep South lilt.
On the main stage, First Time Flyers are up – another fantastic British country band. They have such a full sound and look like they’re truly having the best time on stage. Dual powerhouse female vocalists Poppy Fardell and Vicki Manser are dressed in red and belting out lyrics while dancing and twirling – and as a millennial of the Steps/B*Witched era of UK country cosplay, I also really appreciate the synchronised dance moves. I shall aim to learn them before next time I see them. Despite the rain, this is one of the biggest crowds of the weekend, and I can imagine them topping a bill at some point.
Guitarist Jake Morrell’s voice is also gorgeous, their songs are so catchy and easy to pick up, and I would very much like to see them back again. They also appear to have a lot of diehard fans out there, with signs along the front barrier, and were sporting some homemade gifted bead bracelets by the look of it. Very cute.
After this I leg it to the other side of the festival for a look in the merch store. Great designs this year, but I say bring back the Hot Dog/Hot Wings challenge tees! I love to rock an obscure tee out in the wild. Just throwing it out there that I would also wear the shit out of a knit cardigan with a cool design on, now that the weather has well and truly turned.
After taking a quick tour of some of the incredible food options around the Ferris Wheel area, I beeline for a Puffin’s Crab Roll. Toasted brioche with a mound of crab too big to actually fit in my mouth, and a grilled lemon to squeeze on top – fucking decadent. Festivals are so fancy these days. I top it off with a Pickleback shot from the bar around the corner, swiping myself a couple of pickles from the giant jars obviously, before we have to retreat to the trees due to the ensuing deluge of rain. In a big-brain moment we open our umbrellas into the low-hanging tree branches to make a roof, so we can freehand the crab rolls in our little makeshift house. We are the envy of all around us, and feel extremely smug.
From here we have a fantastic, and dry, place to see Gina Larner playing on The Front Porch stage in the pouring rain, to a frankly massive crowd considering. Lots of people are dancing around in their ponchos like a swarm of ghostly apparitions. She’s in a leopard-print dress and is absolutely wailing her heart out. She’s really, really good, and it’s cool that there have been a couple of opportunities to catch her this weekend, but the Front Porch is just a really fun stage for its feel. She really does have that Alanis Morissette sort of vocal vibe, but with her own inflection that I really love. A Brighton gal, and someone I could also see with a full stage production in the future.
At this point, every single part of me is soggy and I can see that everyone seems to be in the same boat. I really feel for the people who chose today to wear jeans, major fail.
Uncle Lucius (I keep accidentally writing Lucious and I think that’s very Freudian of me, to be honest. What can I say, I like a beard and a trucker cap) are a Texas rock-edged band with those sweeping bluesy vocals that I love. It’s a superb set, and definitely speaks to those of us who sit more on the rock axis of sound preferences – something that hasn’t been overly present on the bill this weekend actually.
For a complete 180 in style and sound, Twinnie is on the Interstate stage in a frilly lacy corset dress, cute clipped-up wavy hair and tough white snakeskin boots that make her look like a runaway bride in a western. In fact, the whole ensemble is giving Samara Weaving in Ready Or Not, and I do feel she could both sing me a lullaby or crush some bad guys. Locking in with a ‘Yorkshire, Yorkshire’ chant immediately endears her to me (and the loud enthusiastic Yorkshire crew somewhere in the middle of the tent) and I love that she has brought along a mug of tea to the stage – ‘Twinnie’s Tea’ on the Yorkshire Tea logo, reet good.
“I’m not a psycho, I promise, but…” she laughs before launching into ‘Crazy Ex’. It’s such a catchy tune, and you can’t help but smile if you’ve seen the music video, which features her and a group of friends pranking the ex. She throws out inflatable microphones to the crowd so people can join her in singing along, this well and truly is Twinnie’s Interstate party.
Shaylen hits the main stage in striking red trousers and a corset, calling “We’re gonna sing a lot of songs about exes today,” which feels particularly funny as I’d say that’s about 90% of country songs, and the other 10% is alcohol and cars. She’s a powerhouse vocalist, and I really love her song about her dad, who is a retired FBI agent, called ‘Daddy Issues’. She giggles “…yeah he doesn’t meet these boys… because…” and the song lyrics go; “But the only daddy issue I got, Is my daddy wants to put you in the ground”.
“I don’t have a booty so shake one for me” she says, before telling us, “I did get in a bar fight once… I didn’t mean to… ripped her whole weave out…” to preface her song ‘Outlaw Women’. I know the traditionalists will disagree with me here, but I really like these genre defying blends. Shaylen’s additional soft/casual rap and stronger beats over the top of those traditional country guitars is just so catchy and makes me want to dance. ‘Outlaw Women’ deserves to be much more known than it is, in my opinion.
Later, Mia Kelly has a lot of people there for her on the intimate little VIP stage. She has a truly stunning quite deep and strong voice, and ‘Lone Dog’ has that delicious blues lilt to it, that really stands out. She shouts out a favourite book of hers, ‘Big Magic: Creative Living Beyond Fear’ by Elizabeth Gilbert, as the inspiration behind her song ‘Holy Grail/Big Magic’ from her recent album – and is delighted when someone in the audience shouts back that they’ve read and loved the book too. Little intimate moments like this make for such special memories, and I think it’s worth noting that TLR manages to be the home for this sort of thing every year.
Following on, Josh Ross – a fellow Canadian with really big, catchy songs, takes to the Rhinestone stage. ‘Bar and Back’ is a highlight, and he’s pulled a massive crowd as a gorgeous yellow-orange sunset breaks out above the Lucky Dice cars. There’s also a huge singalong when he plays his cover of the 4 Non Blondes anthem ‘What’s Up’. If there’s something the Brits are always gonna do, it’s full-force join in with the 10 lyrics we know from any famous song, especially those with a whey-hey-hey type of element that definitely sounds better when you’re drunk. Keeping up with the karaoke portion of the proceedings, “let’s see how this goes…” he says and launches into a cover of Oasis national hymn ‘Wonderwall’. I’m sure you can imagine how absolutely drowned out his voice is amongst the cacophony of bad Gallagher clones in the thousands.
There’s another lovely Long Road moment when he spots a little girl with a bracelet for him and offers to meet her at the front of the stage after the show. Dramatic red-beam lighting, a rockier edge to the music and a really, really good guitarist alongside him carry the set through to ‘Single Again’ to finish up.
Finally, we get to the controversial booking: Ronnie Wood, with his band and Imelda May. The late cancellation of much-anticipated Bailey Zimmerman on 30th July – left organisers less than a month to fill a huge main stage slot, and unfortunately they’ve taken the brunt of the heat for it. I want to preface what I’m going to say here with a few points because, having reviewed the forums over the last month, I really think it bears saying that the general public just have zero clue how difficult a feat it is to put on a festival, full stop.
Many commenters list various other artists who “could have” filled the slot better, in their opinion, and even point out some who are also in the UK at the time of the festival. However, with how expensive it is to tour these days – particularly for anyone from another country who requires working visas which may only have been granted for a certain amount of working hours or money – not to mention their entire road crew, supporting performers, equipment, drivers, PAs, PRs (the list is endless) who would also need to be available, there are an enormous number of moving parts. The artists themselves need to have no other commitments too, shows aren’t the only thing they have booked in; often their schedules are packed tight with interviews, radio slots, promo and photoshoots, as well as just general travel plans. Lots are also tied into exclusivity contracts so that it’s “the only UK date” or “only UK festival” they’re playing in 2026, making it legitimately impossible for them to just slot into a space like this – ESPECIALLY with a few weeks’ notice.
So when I say that getting the LEGEND of rock and roll that is Ronnie Wood – OF THE ROLLING BLOODY STONES, MAY I ADD – to play this slot with that notice, and all of the crazy feats of engineering it will have taken to make that happen, is a straight-up MIRACLE, I want you to truly fathom what I mean. Then, to just serve up delight on a platter, the schedules also allow us to hear the vocal talent of Chanel Haynes AND the incredible Imelda May? We are so, so lucky, and I feel like a lot of people don’t know it.
Ronnie rocks up in pink velour sweatpants and some really jazzy trainers (the troos don’t say Juicy on the butt in rhinestones, I would have enjoyed that) and a purple silk western shirt, smiling his face off. From the off it’s just banger after banger, and honestly, his voice is really good – something even I found unexpected, especially from someone who battled lung cancer twice. Coming in hot with a Stones opener was the obvious choice, ‘It’s Only Rock n Roll (But I Like It)’, followed with the amusing whiplash of Willie Nelson’s ‘On The Road Again’. It did make me giggle, but both were great.
Aretha Franklin’s ‘Chain of Fools’ is a goddamn delight whichever way you slice it, but I really thought Ronnie and Chanel brought such vibrancy to this performance. Looking into the arena, it is clear they have well and truly grabbed the crowd, everyone dancing and grooving along is a sight to behold.
It’s such a good setlist, with huge variety and the feel of the best jukebox party. Bob Dylan, Hank Williams, The Shangri-Las and Chuck Berry mixed with Stones tracks makes for a melting pot of songs I might never have the opportunity to see a live version of ever again in my life, let alone hear them played by an iconic guitarist. How cool is that? Aside from the calibre of the songs themselves, Ronnie is undeniably amazing at what he does. The honed years of star quality radiate off him as his fingers work the strings, and he still pulls the same faces when he hits those top notes as he did in those early Stones days. I feel like I’m watching a movie.
By the time Imelda joins the party, the skies have opened again and it is absolutely pissing it down, which isn’t helping matters. Sadly, the front of the arena is getting more and more sparse, with people opting for shelter and heading out. I want to scream that this incredible, unique performance is a billion times worth getting a bit soggy, but I might be screaming into the void there.
The Shangri-Las’ ‘Remember (Walking in the Sand)’ given the Imelda treatment is absolutely wild. She could have sung without a microphone entirely and still pierced the soul of someone standing in the campervan field. To all those that left at this point? Oh no. Oh no. Oh NO NO NO NO NOOOO.
Faces’ ‘Oh La La’ has us all up and dancing, and the first of the inevitable Dolly covers, ‘I Will Always Love You’, is a really gorgeous tribute, even if our count of Dolly covers has already run into the double digits for the weekend. ‘Stay With Me’ gives Ronnie another opportunity to show off his picking skills before finishing up with Dolly’s ‘9 to 5’. It’s just the cherry on top of this strange and special cake.
The uniqueness of this set will go down in my personal history as one of the best accidental cosmic alignments, and we are dancing in the rain with wild abandon, singing along at the top of our lungs. The arena might be relatively bare, but the fair-weather festival-goers are more than made up for by those who remain and have given themselves over to pure musical joy. It truly was a magical headline set, and if you bowed out because you were salty TLR didn’t put a Bailey dupe in – you missed out.
SUNDAY
Crossing our fingers for less biblical weather patterns today, we don our boots and scoot our way back into the festival for one more run at summer.
Back at the Rhinestone for Ryan & Rory – are they pretty? Yes. But they are also very, very fun, and musically talented. This is beer-drinking country music. Hell, later on they hit their second set actually drinking beers out of cowboy boots, which I actually think is pretty gross, to be honest. Have you smelt men’s feet?! “Birmingham let’s raise a glass” almost gets them in trouble, since we are very much in Leicestershire, but ‘Pour Decisions’ and ‘Beer Wants Me’ go some way to explaining the faux pas. Teehee. If you keep up with them on Instagram you’ll be pleased to see that they are indeed embracing UK pub culture wholeheartedly, so we’ll let them off. ‘Them Boots’ is a stone-cold anthem though. I danced my way through it – couldn’t stop myself if I tried.
Heading over to explore other areas of the festival site now that the rain has mostly blown through, we stumble into the most dangerous event of the whole weekend… the Lil Possum County tug-of-war. The grudge match has three rounds and about six kids a side, except one side has the additional muscle of the tiniest cowgirl who is about two years old, which I’m sure that made the difference to their decisive 3-0 win.
Moving the Showground and the kids’ stuff to this area of the festival is an inspired choice. It’s more enclosed and sheltered and houses all the activity stuff in one area. They also seem to have bumped up the activity schedule, which is really nice – and there’s a big craft staging area, which does have to get cleared every time it spits with rain… maybe under cover next time? The hosts are really funny and doing an excellent job of corralling all the kids into activities. Country dancing is also fantastic, adults and children all joining in at The Showground stage for some chaotic running in circles and such, so many wide smiles there.
We also take a little time to visit Southern Brothers and look at their stunning designs, and pop into Bad Cowgirl Co. to buy ourselves some cute customised twilly scarves. They also have a pair of rollerskate cowboy boots – Skoots, if you will – and I briefly consider stealing them for a turn in the Hitchin Post, but then decide that probably isn’t how I want to die.
Hopping back to the main stage for Kezia Gill, who is resplendent in a custom (homemade!!) Long Road turquoise fringed and sparkly lapel/collar and Union Jack rhinestone-pocketed fringe jeans. She later throws off the cape to reveal a matching sequinned Union Jack halter – a handmade Dolly tribute outfit, excellent work. Kezia is a Long Road veteran and never fails to bring the party; she is pure fun.
This time comes with a hefty side of heart-wrenching though, as she talks about her Dad who passed in 2020. “I’m sad he can’t be here, and see me on this big stage. The sun that’s shining on you today – that’s the pride my Dad would have had today” she says, her voice faltering as the collective lump catches in everyone’s throats in response. To add to the collective heartache – Kezia’s ‘Coat of Many Colours’ Dolly cover is perhaps the best of the weekend’s long list of tribute songs.
Back over at The Showground, the long annual Hot Wings competition is underway and has been considerably cranked after too many people were able to handle the heat last year. 2025 winner David has already had to bow out, and at one point is being very closely attended by two worried-looking paramedics – leaving two final competitors chowing down some practically radioactive-looking wings. Eventually the tap-out comes and the winner is crowned, apparently it’s the man who runs the duck wrap food truck! This year the prize pot includes a voucher for a pair of Durango boots, which is maybe worth the present and future pain being a competitor requires you to endure… maybe.
Whilst I’m over in this area I manage to grab my favourite eat of the cornucopia of offerings this festival has every year – Cajun Shrimp from the Bayou truck. It never fails to hit. Followed by a giant stick of marshmallows you can toast over a fire pit – 10/10 delightful eats.
Back at the Rhinestone, Emmylou Harris is another huge legendary booking for TLR – a 14-time Grammy winner and a lifetime of incredible music to draw from, what a win. Emmylou’s shock of stunning white hair illuminates under the stage lighting like a halo around her face, her eyes closed as she is lost in the music, not a single crack in her voice. We are so lucky to have her make Long Road a stop on her European Farewell Tour, and for her to still be doing this at 79 years old – incredible.
As a close friend and long-time collaborator of Dolly, she performs ‘When We’re Gone, Long Gone’, a track originally recorded by the legendary Trio of Dolly Parton, Emmylou Harris and Linda Ronstadt. During the performance, the Stanford Hall house is lit up in pink for Dolly. It is one of those moments where the setting, the song and the reason for being here all seem to click into place.
From this to Buddy’s for Queer Cxntry is er… quite the swap! It’s a muddy walk through the woods over there, which I think sadly has put a few people off. It’s a lovely walk when it isn’t raining, but I do wish they’d thought of a way of opening up a gate at the back for when rain happens, because it was quite treacherous by the evening. Queer Cxntry is still really well attended though, and the new layout of the tent works so much better for more people being able to get in and see. Drag queens, assless chaps, bouncy beats and a commitment to being as rude as possible – I love them, please bring them back again!
Before the main stage headline set, a video plays on the big screens showing clips of the weekend’s artists paying their respects to Dolly, and it is quite something looking around the crowd at how many people have tears in their eyes watching it. The signing sheets are full to the edges of beautiful words written by so many. It really is truly magical how much she impacted so many people’s lives the world over.
Closing out the weekend, final headline act is Maren Morris – a very tiny, beautiful woman with an incredible voice. She might be a bit more pop than country purists would like, but her stage presence and vocal talent cannot be understated. There is a huge cheer when she starts hit ‘The Middle’ – the song that spanned genres to become a mainstream international hit, but her roots are well and truly country and the rest of her set really reflects this. There are so many beautiful moments of her soulfully playing the guitar, bathed in spotlights. ‘80’s Mercedes’ is another fun burst of pop in the lineup, but hearing her sing ‘The Bones’ live is such a highlight.
Maren’s Gen X ‘Dancing With Myself’ cover is bound to go down well with a UK crowd, but wow, there are so many people up and moving for this. Her breathily soft rendition gives it such a different sound, and seeing her joyful spinning around the stage mirrored in the crowd doing the same is just – the essence of performance isn’t it?
Shakily she says, “I don’t wanna choke or cry… I know a lot of people have paid tribute today… but it blew a hole in my heart… I feel so fortunate to live in the time of Dolly”, capturing the strange emotional undercurrent that has followed the festival all weekend. I think it must have been really hard for a number of people, performing this weekend. Later she laughs, “This decade I haven’t stopped touring… I have to go home and live some life so I can write some songs” before adding, “but I love coming to the UK, thanks for having us!”.
Then comes the closing moment: “I played this song over here before and y’all made me feel so loved… so I want to play it to close this chapter. Imma need u to sing your asses off on this one, luckily it’s Sunday – so let me take you to Church on this one”. ‘My Church’ goes down an absolute storm, as it should.
In a world where only around 13% of festival headliners are women, it feels extra awesome that Maren Morris is closing TLR 2026, with every ounce of passion and power I hoped for. There might have been a lot of bumps in the long road to get here this year, and maybe more than their fair share of hurdles over the weekend itself, but once again I am reminded why I love this little festival. They overcome.
The atmosphere, the details, the feeling of coming home – to old friends. If you’re looking for your slice of high-summer golden glow, The Long Road is where you want to go.
