Day: 21 June 2026

Weeknotes #178: Beer, bangers and Bellingham

Quiz success, Liverpool lights, England joy and festival-bound heat endurance.

Week commencing Monday, 15 June 2026

A large sun-drenched crowd faces the Sky-sponsored Isle of Wight Festival main stage during David Gray's afternoon performance. The central LED screen displays abstract warm-toned imagery, whilst the two flanking side screens show close-up footage of David Gray performing in a cream suit and holding an acoustic guitar. Festivalgoers in summer clothing, hats, and bare shoulders fill the foreground beneath a bright blue sky dotted with clouds.
David Gray basks in sunshine and festival adoration.

Quantified Self

  • This week: Stand 5/7; Exercise 5/7 and Move 7/7. (81%). Morning walks: 0/3. Office days: 1/4. Total steps: 82,034. 5.5 hours in meetings.

Life

  • At last: ninth in the pub quiz. Ben volunteered to step up to do the tie-breaker, where you need to name the song – but not the artist. There were two other teams. One of them was jumping with frustration, unable to bring the name to their lips, but Ben identified Don’t Stop Me Now without saying “Queen”, and now we have a voucher for a round of drinks when we are all together next.
  • Tuesday, to Liverpool for a work event. Albert Dock looked lovely lit up. Unfortunately, the hotel bar had closed by the time we returned. I’d already decided to call it a night when the others opted not to head out looking for a late-night drinking place. Given I’d had my first beer on the train just after 1 p.m., I’d been very watchful of my intake and was capable of sensible decisions.
  • Thursday’s World Cup Banter: it was a game of two halves; a chaotic, breathless first period in Dallas saw England twice lead through Kane, only to be pegged back by Baturina and then Musa right on the stroke of half-time, before Tuchel’s men came out after the break and were absolutely superb, with Bellingham restoring the lead and Rashford sealing a thoroughly deserved 4–2 victory to send England off to a flier in Group L. (ht: claude.ai)
  • Friday, the American Psychological Association says that “extreme heat can make people more depressed or irritable”. That was my experience on the Tube before getting the train down to Festival Island.

Isle of Wight Festival 2026

  • There was a big turnout on Friday for Ash. I didn’t think I was familiar with their work, but, surprisingly, I discovered Shining Light and Girl From Mars, which burst that theory.
  • Real Dead Ringer, a Meat Loaf tribute act, delivered another energetic set of all the biggest hits in a sweltering ElectroLove tent.
  • Saturday began with two renditions of No Scotland, No Party, one from Nathan Evans and the Saint PHNX Band and one from KT Tunstall, just before she introduced a surprise guest, Jack Savoretti.
  • 5ive delivered a highly choreographed fifty minutes of nostalgic ’90s pop hits. It might not be cool, but it was unexpectedly polished, and sometimes pop bangers are what you need.
  • Sunday, Suzanne Vega ended with Luka because she ran out of time for the song the crowd really wanted, Tom’s Diner. There was clear disappointment and confusion in the crowd as she left the stage.
  • Level 42 arrived on stage and commenced a forty-five-minute jazz, funk and pop set that was almost without a gap, and precisely to time. The Sun Goes Down (Living It Up) and Lessons in Love were highlights. They received local support, with the King brothers originally from the island. I’ll be looking to see when they’re next playing nearby because it was a joyous set.
  • And, of course, I wrote my Festival Diaries for days one, two and three. I think this was my favourite year at the festival.

Media

Festival diaries 2026, day three

A hot final day at the festival brought disappointment from Suzanne Vega, unexpected joy from Level 42, and new discoveries away from the main stage

A large crowd faces the Isle of Wight Festival main stage at dusk during The Cure's headline performance. The stage is filled with dramatic white haze and beams of light. The two flanking LED screens display close-ups of a red electric guitar being played, alongside text referencing the band. Trees are visible on the horizon against a pale evening sky. A pink inflatable flamingo can be seen rising above the crowd on the left.
A country band performs on the Last Chance Saloon stage inside a marquee tent at the Isle of Wight Festival. A large wooden sign reading "Last Chance Saloon" with a mounted skull hangs prominently above the stage. The band includes a male vocalist in a black cowboy hat and embroidered western shirt, a female vocalist in a white dress and cowboy hat, a guitarist in a checked shirt, and a further guitarist on the left. The audience in the foreground is densely packed, with many wearing cowboy and wide-brimmed hats. Warm amber stage lights illuminate the scene against an early evening sky visible through the open sides of the tent.
A festival stage bathed in deep purple lighting, with a large LED screen displaying "Rose Gray" in bold white block lettering over a backdrop of a blurred fast-moving road. Stage lights beam outward in vivid purple rays above the screen. A gathering crowd stands in the foreground facing the stage, with guitars on stands visible to the right awaiting the performance.
Level 42 perform on a large outdoor festival stage, with the band's name displayed on the LED backdrop in multicoloured neon-style lettering outlined in rainbow hues. Several band members dressed in black are spread across the stage — a bassist prominent at the front, with horn players, a drummer behind a large kit with gold cymbals, and other musicians visible. Camera operators are positioned at the front and side of the stage. A warm orange light glows from stage left.
A wide shot of the Sky-sponsored Isle of Wight Festival main stage during Suzanne Vega's performance on a sunny afternoon. A central LED screen displays her name in bold red lettering. A side screen shows a close-up of Suzanne performing, wearing a black top hat, black sleeveless top, and gold layered necklaces whilst playing an acoustic guitar. The large crowd in the foreground wear hats and summer clothing, many holding up phones to capture the moment. The festival's colourful branded canopy is visible above the stage.
Fugo Kid performs on a large outdoor festival stage. A guitarist in a pale blue oversized shirt and denim shorts plays a light blue electric guitar on the left, whilst the drummer in a white cap sits behind a black kit at the centre rear. Two spare electric guitars on stands are visible to the right of the stage. The band's name is displayed in loose, hand-drawn pink lettering on the large dark backdrop screen. The crowd below is visible in the foreground.

This morning was almost a carbon copy of yesterday, although our seat on the open-top bus was considerably less breezy, and the choice we had for breakfast, “French toast”, was not as good as yesterday’s fare: no match for hash browns in flavour or portion. Corinne Atkins delivered another country-music morning, including some well-known songs and a Carrie Underwood cover that got me singing along, before we started the main-stage walk.

As with Wet Leg, Fugo Kid is a Platform One alumnus, and he was opening the main stage today. Wonderful to see more local talent on the main stage. I hope his hip-hop-infused music takes him places. There was definitely a group of supportive locals at the front, and it was nice to see a festival like this supporting local talent.

Next up, I’d expected Suzanne Vega to be one of my highlights. I love her music, and she was brilliant at the Royal Albert Hall last year. But, as with Alison Moyet last year, I think she packed her set with the wrong songs, in spite of opening with Marlene on the Wall. And then, in the end, she ended with Luka because she ran out of time for the song the crowd really wanted, Tom’s Diner. There was very obvious disappointment and confusion in the crowd as she left the stage. Obviously, I don’t know how they ended up in that position, but I would have hoped an artist of her stature and experience would have understood how to programme and time a festival set. I assume something that wasn’t obvious had gone wrong. Shame, but we did not let it get us down.

If that was the biggest disappointment of my 2026 festival, next up was, perhaps, the biggest surprise. Level 42 arrived on stage and commenced a forty-five-minute jazz, funk and pop set that was almost without a gap, and precisely to time. The Sun Goes Down (Living It Up) and Lessons in Love were highlights, and once again, they received local support, with the King brothers being originally islanders. I’ll be looking to see when they’re next playing nearby because it was a joyous set. What better way to spend an afternoon dancing, or trying to, in the sunshine?

Next, David Gray opened his set with Babylon, which caught the crowd’s interest from the very start. He surprised us with a Depeche Mode cover, Just Can’t Get Enough, before Sail Away. A solid, chilled set that was well appreciated in the blazing Sunday sun at Seaclose Park, but didn’t allow us to continue our Level 42-inspired grooving. Perhaps we needed to relax a bit as it was turning into a blazing hot afternoon.

By now, we were cooking and sought shade down by the River Stage, where, after a refreshing half-hour sitting down with a cold 7-Up, we watched Fever Dream Kills. Up front, a singer named Stars Walker was all tough vibes during the tunes and a softie when telling us the stories. Apparently, it was only the band’s 10th-ever gig, and the genuine excitement emanating from the stage was a bit infectious. Their cover of Spice Up Your Life is definitely another highlight, but shouldn’t overshadow their own powerful original compositions. Another new band found to follow.

That, to me, is perhaps one of the most important points of the festival. While all the headliners we’ve seen over the years have been good, the magic is in the other acts — some I’ve heard of, some I haven’t. We keep telling ourselves that one year, we will intentionally skip most of the main stage and spend time with all the other talent across the site. Maybe next year?

Next, to the Big Top. At the point we arrived, empty and technically in the shade, the heat was building. We were there for Rose Gray, another new British artist, part house music, part indie vibes. When it started, I was expecting more performance art than pure pop songstress. A story with a clothes rack full of outfits looked like it was about to unfold; there was a costume and shoe change, but then the idea fizzled out. That bit was bizarre. She is developing a following, many of whom were at the front singing along. I think it was a shame there weren’t more people to see it. Club To Your Arms is another track I discovered at my festival, but by the time it finished, I was glad to be out of the heat under the Big Top, where there was no breeze, and into the glare of the late-afternoon sun, where there was some air movement.

We were back at the country music venue for the Charnwood Country Collective, who did a set of country tunes that got a lot of us singing along, and again, a big turnout for the line dancers. We found a table and had dinner from Oink BBQ and allowed ourselves to relax for a while before the pilgrimage back to the main stage for The Cure, who were the last-night headliners.

We found a decent spot where we could see the band, hear the music and have a little bit of space away from the front. There seemed to be fewer people than had been around for Friday’s closing. It seems a number of people had headed out after The Kooks had finished their set. We hung around for about an hour, with Pictures of You being the only song vaguely recognised. The Cure were more my brother’s type of band when we were younger, and he is off to see them in Dublin shortly. It didn’t quite have the energy I wanted at that point in the evening, but I am glad I got to see a bit.

As we headed out, we stopped off at Hipshaker Lounge, where a Guilty Pleasures-style disco was just getting underway, and that was much more of an upbeat way to end our festival. As with every time we’ve been here, the bus back to Ryde is easy to get and runs frequently, even late at night.

I think this was my favourite year at the festival. Early-bird tickets for 2027 go on sale next week, and we’re already considering purchasing them. There’s something about music, familiar or not, even music I wouldn’t normally listen to, that’s captivating live. I wish I could do more of it.

Festival Diaries 2025: Day Two

Packed stages, and standout sets from Busted, Paul Heaton, and The Queenbees defined Day Two.

Mae Muller performs on stage at the 2025 Isle of Wight Festival, singing into a microphone while wearing a dark crop top and light-coloured shorts. Behind her, a guitarist in a grey shirt plays a mint green electric guitar. The stage backdrop features large silver lettering spelling "MAEMU" (part of the artist's name), and stage rigging and equipment are visible on the left side of the frame. The performance captures a dynamic moment during the live set at the festival.
The Queenbees perform on stage at the 2025 Isle of Wight Festival, featuring four female performers in matching black and yellow outfits. The stage backdrop displays a vibrant, psychedelic carnival-style design with swirling patterns, stars, and colourful artwork. The performers are positioned across the stage with microphones, backed by a full drum kit and Marshall amplifiers.
Paul Heaton performs on stage at the 2025 Isle of Wight Festival with his band. The stage backdrop features a bold red design with "WELCOME TO HEATONGRAD" displayed in large yellow letters, alongside a portrait of a man wearing glasses in a halftone print style. The full band setup includes drums, guitars, and brass instruments, with multiple musicians positioned across the stage.

Day Two started off with a bit of a curveball, finding ourselves at the Sky Lounge just as an unexpected light rain shower decided to make an appearance. We had a seat but no shelter. I had a beer, and PY did not have the cocktail he wanted from the bar menu.

Once it cleared, we made our way to the Main Stage for Mae Muller. This was her first festival in two years – she seemed very excited by that. She dedicated her new single to all the “overthinkers” in the audience, and of course, she wrapped up with her Eurovision hit.

Next up, we headed towards the River Stage, ready to catch The Deckchairs. There had been so many social media whispers about a special guest, and it turned out to be the man who organises the whole festival – a nice surprise, though maybe not as explosive as some of the rumours suggested!

From there, it was off to The Big Top to see Matilda Mann: genuinely good. After that, we tried our luck at the This Feeling tent for Masi Masi, but it was just a bit too indie-rock loud for PY. We attempted to navigate the crowds towards Razorlight, but it was absolutely packed, so we ended up finding a tree to shelter under for a bit, this time avoiding the sun.

Back to The Big Top for Arthur Hill, who I’d never heard of, but he sounded good. He already has a massive following. I think he’s big on TikTok, because he managed to fill that tent. We ducked out just before the end to grab a front-row spot for The Queenbees back at the River Stage. They were brilliant, doing new interpretations of classic covers with some really tight harmonies.

Then it was the familiar weaving through the masses to catch Busted on the Main Stage – a fun blast from the past with all their hits. As that crowd started to thin out, we pushed forward for Paul Heaton ft. Rianne Downey, who put on an excellent set, all classics. Paul even joked about “Welcome to Heatongrad”, probably not making the Sky Arts coverage, which got a laugh.

The crush walking away from the Main Stage after that was just horrendous. I still don’t understand why security doesn’t do more to stop people from just sitting down in the middle of the pathways – it makes it impossible to move.

We eventually decided we needed a break and grabbed some Greek food from one of the vans. By the time we’d finished eating, fatigue had set in, and the allure of our bus home was stronger than the walk back to the Main Stage. Same routine as yesterday: Sainsbury’s for tomorrow’s lunch supplies, and then straight back to the flat.

I’ve never been happier to take my shoes off.

Festival diaries, day one

Isle of Wight Festival sign 2024

We did a bit of shopping this morning and managed to get lunch before heading out. We got some keys cut. It turns out one of them doesn’t work, and we headed back to get it redone, but the shop was closed. We walked down the hill towards the bus station. There was a festival bus on the stand as we approached the stop. Should we run or not? We didn’t, but we also made the bus and bagged a top deck, front row window seat to observe the approach to Seaclose Park from above.

The festival did get going last night, but we opted to sit in the sun in Ryde. PY’s been planning the schedule for much of the last week, and we decided the first act we wanted to see today was The Bootleg Beatles, who were not on stage until 4pm. It’s nice to have a shorter day to work my way up to the hours of standing that will be required tomorrow.

It was a beautiful sunny afternoon. All the planning for wet weather was not required for today and, according to the forecast, probably not for the rest of the weekend. We took the (very) long walk from the entrance to the main stage – posing for a picture by the IOW Festival sign –  to the bar, where the credit card discount was not available as Barclaycard had pulled out of sponsoring. Nonetheless, we took a place with a view of the stage just before 3pm and basked in the sun and drank a lager (me) and a fruit cider (PY). His was the better choice by far.

The Bootleg Beatles were a fantastic way to kick off our weekend. Everybody knew all the words to all the songs, and the costume changes between the Beatles’ eras were great. “Here Comes the Sun” was a very fitting song for the afternoon. 

After watching a tribute to a legendary band on the Main Stage, it seemed fitting to go and see another legend in the Electro Love tent. We were not the only people with the same idea; there was quite a crowd.  

Fighting your way away from the Main Stage is one of the festival site’s downsides: crossing with the people who want a good position for the next act means you are pushed to pinch-points because you must exit via the ‘chairs permitted’ section. Nonetheless, we did get in the Electro Love tent and watched an excellent Young Elton (albeit from quite far back).

We stayed for Dolly & The Gambler, a fabulous Scottish duo performing many 80s hits but, sadly, no Dolly Parton.  

The walk back towards the main stage is more straightforward, but we decided to skip The Darkness and watch up-and-comers Junodream for our next act. At some point, I wrote down “Dream-rock music about alienation in the 21st century”, which I think I took from their website. I don’t know what it means either. A lot of our festival experience is retro, but this was all new. And this old fella is probably not their target market, but I loved the whole set.

Then, it was only a quick step back to the Main Stage for Crowded House. I have a very limited knowledge of their back catalogue, “Four Seasons in One Day” and “Weather with You” from the early 1990s being the era I recall. Neil Finn and, amongst others, his sons, Liam and Elroy, performed much more variety than I expected. It was thoroughly lovely and more to singalong to than I imagined.

One of the things we’ve learnt about festivals is that energy is everything. The Prodigy were the big closing act, but we opted to leave before they got going to conserve some energy for tomorrow. As it was after 8pm, we decided we’d be better off eating on-site before the bus to Ryde. The Greek pittas we got were delicious. As a result of leaving early the bus wasn’t busy and we’d time our arrival at the stop perfectly. As soon as we were home Sky Arts went on to catch-up with what we hadn’t seen.

from my Blipfoto diary