festival – Hello Curns

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 2026, day two

A breezy second day at Seaclose Park brought Scottish singalongs, polished pop nostalgia, a country detour, and the sensible decision to watch Calvin Harris from Ryde with a sandwich.

KT Tunstall and her band perform on a large outdoor festival stage. KT, wearing a denim jacket and holding an acoustic guitar, stands at a microphone to the right of centre. A guitarist stands to her left, with a drummer in a blue top seated behind a white kit at the centre rear, and a second guitarist on the far right. A vast LED screen behind them displays "KT Tunstall" in bold lettering. The crowd in the foreground holds up phones to capture the moment.

Singer Anastasia performs on an outdoor festival stage, dressed in a black sequinned fringed jacket, black trousers and rose-tinted sunglasses, with layered necklaces and long blonde hair. She holds a microphone in one hand. A keyboard player wearing a black cap stands at a Korg Kronos synthesiser to her right. The backdrop features a graffiti-style brick wall design.

A black-and-white photograph of five men standing in a line on a large festival stage, acknowledging the crowd. Two members raise their arms, one wearing a black sports jersey with the number 90. The audience in the foreground has hands raised, some forming heart shapes. A large LED screen with an abstract scratched pattern forms the backdrop.

A four-piece band performs inside a marquee tent decorated as the Last Chance Saloon, with a rustic wooden sign bearing that name visible on the left. Three guitarists and a female vocalist in an orange-patterned dress and a wide-brimmed hat are spread across the stage, along with a drummer visible at the rear. A sound engineer is visible to the right. String lights and colourful stage lighting illuminate the canvas ceiling above.

We were rested, just about, by the time we were on board the open-top shuttle bus that whisked us to Seaclose Park for day two. The breeze was quite extreme, but I quite liked it. PY less so. My festival hat was tied under my chin to make sure I arrived at the field with it still in my possession. We were much earlier today, and the bus was not even half full. Our original intention had been to see a Frank Sinatra tribute. We ended up stopping off at The Last Chance Saloon, where there were picnic tables in the morning sun, with Andrew Jones performing a mix of his own music and country classics. When coupled with the excellent coffee we found and the hash browns with maple syrup and bacon bits for breakfast, it was the perfect way to start the day: relaxed, comfortable, and with a great soundtrack. I almost didn’t want the walk to the main stage.

But to the main stage we did go, and I am very glad we did. When there was a quick snippet of Wellerman, I immediately knew who we were watching: Nathan Evans and the Saint PHNX Band. The mix of traditional Scottish folk music and modern rock and pop was a fantastic way to start the day, with the crowd jumping along. It seems important that the early main-stage acts start to pull people forward, and this performance did so. And it wouldn’t be the only time throughout the day that No Scotland No Party was sung out by a Scottish performer to a small but loud group of Scots.

In fact, next up was KT Tunstall, who did her own shout with No Scotland No Party just before she introduced a surprise guest, Jack Savoretti, with whom she performed Tempting Fate. I think the crowd was surprised and excited to see a guest. It says a lot about modern news that, within a few minutes of them finishing the song, there was already a headline: “Surprise as special guest joins KT Tunstall on stage at Isle of Wight Festival.” I really enjoyed Look at Me Now, which she wrote, but it didn’t make the cut for The Devil Wears Prada 2. It was a rock-inspired act to keep the crowd bouncing.

Next, an artist who achieved multi-platinum international superstardom in the 2000s and is one of only a few performers who can go by a single name, and everybody knows who they are: Anastacia. On the way to the hits I remember (I was holding out for Left Outside Alone, and I was not disappointed), we got a cover of Guns N’ Roses’ Sweet Child o’ Mine, which was definitely a crowd-pleaser. If I’d heard it before, I’d forgotten 2001’s Paid My Dues, but I just added it to my playlist. It seems an appropriate song for a performer who has survived the music industry for as long as Anastacia has.

We stayed with the main stage, although PY ran off to find me a beer between sets, for boy band Five, or should I write 5ive? Formed in the late 90s, they were down to four in 2001 when Sean left. When he came back after The Big Reunion TV show, J didn’t. In 2014, Abz left, leaving three of them for about ten years. But another TV show, Boybands Forever (reminder to self: watch this), reunited them, and they’re now on a world tour. What’s best about this history is that by now they have worked out that a setlist full of hits works, and it was a highly choreographed fifty minutes of nostalgic 90s pop hits: Slam Dunk (Da Funk), If Ya Gettin’ Down, Keep On Movin’, We Will Rock You, Let’s Dance. It might not be cool, but it was unexpectedly polished, and sometimes pop bangers are what you need.

The nostalgia fest continued when Rick Astley arrived on the main stage. Although he opened with one of his own 80s pop hits, “Together Forever,” he played a less pop-hit-heavy set, which really showed that he has a great voice. He told a story before performing a cover of Roy Orbison’s Oh, Pretty Woman, in which he claims he was asked to sing for the movie Pretty Woman, but he turned it down, thinking nobody would go and see it. Obviously, a lot of us were waiting for Never Gonna Give You Up, which came at the end of the set, but I don’t think anybody was expecting the cover of RAYE’s Where Is My Husband!, which came early on and was superb. I like it when it’s full of surprises. The set was very varied, full of good songs and a smattering of Rick’s personality.

We started walking back to look for some food. But after Rick, the changeover showed the worst of the Isle of Wight Festival, as getting away from the main stage is a crush of crowds shuffling for twenty minutes. By the time we reached the food stalls, the queues were enormous. We had the option to watch Rita Ora from the back of the field or get food. We took the first option for the opening few numbers, but quite quickly headed to a quieter area for a Greek gyro, a sit-down and some decisions to make about what would be next. From the back, Rita, not sure she can go by one name alone, sounded slick and polished.

Calvin Harris was the day’s headliner, but although I imagine it would be a crowd-pleasing set of huge hits, it would predominantly be a DJ set, and I am lacking the stamina to be in a dance music mosh pit. So we decided to head in the opposite direction and returned to The Last Chance Saloon, via Berlingo Flick’s folk set in The Intoxicated Tearooms. In the country venue, Chasing Twisters were performing a set of country hits, which was a perfect way to end the day, although I wasn’t tempted to join the line-dancing rows in front of the stage.

A little earlier than last night, back in Ryde, we allowed ourselves to stop off for a sandwich and catch some of Calvin Harris’ set on the television. All amazing hits and an impressive light show before an enormous crowd. Maybe we were the only ones who headed out. But he was just pressing ‘play’, wasn’t he?

Festival diaries 2026, day one

The first proper day of a festival is always a mixture of excitement and logistics. Will there be a queue?

Singer-songwriter Alessi Rose performs on a large outdoor festival stage, dressed in a short white lace dress with white ankle socks. She stands centre stage holding a microphone, with a vivid backdrop screen displaying psychedelic stained-glass-style artwork featuring abstract figures in purple, teal and red tones. A drum kit bearing the initials "AR" in ornate script is visible behind her, along with a guitarist partially visible on the left.

A long-haired male performer in a white ruffled shirt, black waistcoat and trousers holds a microphone and a red cloth on a purple-lit stage. Behind him, a drummer plays in the background, and a large screen displays the text "Real Dead Ringer – The Meat Loaf Show" alongside gothic artwork featuring a dramatic red sky and a snarling wolf.

While Thursday night might officially be the festival kick-off for those on the campsites, for us, Friday afternoon is the starting point. This year, it seemed a little later than previously, and we had a goal of catching 90s Northern Irish rockers, Ash, on the main stage just after 4 p.m.

We’ve always been very lucky with the shuttle bus to the festival site, rarely having to wait long in either direction. This afternoon, just after 3 p.m., the queue was snaking across the bus station, and we definitely wouldn’t make the first bus, so we got two of the handful of remaining seats on the next one. With the sunshine, I was glad I had a hat. There was a queue of traffic on the climb out of Wootton Bridge, which I feared would mean a crawl to the festival entrance, but we pretty much reached the speed you’d expect for a slightly old, borrowed-from-the-mainland bus full of festival-goers and a surprising amount of luggage.

Once again, I was impressed by the organisation on the way in: a quick bag search, a wristband connected, and the twenty-minute walk from the entrance to the main stage began. As always, the flags were fluttering, welcoming us. Almost immediately, we noticed a new venue, The Last Chance Saloon, opposite the Electro Love tent. Country and folk music are definitely growing in popularity.

First stop: a tap to top up empty water bottles; second stop: a photo with the festival sign; third stop: the bar for a pint, making sure we used the PayPal debit card to secure the 20% off food and drink. Over the weekend, I imagine the savings will add up. There was a big turnout 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. Also, a cover of Jump in the Line seems to be one of their live performance standards and was perfect for getting the crowd singing along. It’s a strange cover and seemed a little out of context initially, but by the end, I was singing along with everybody else.

We stayed around for Alessi Rose, a Derby-born English pop songstress who seems to be on the up-and-coming list. It was a great pop set, and I thought she balanced the idea that a lot of the crowd wouldn’t know who she was very well. She’s got a lot of youthful energy and managed to build a connection with the crowd. First Original Thought is already on my playlist.

The trek back to Electro Love is long, but sometimes necessary. A couple of years ago, we caught ‘Real Dead Ringer’, a Meat Loaf tribute act, and they were fantastic, so we were determined not to miss them this year. It was a very energetic performance, which must have been hard work in the tent. Another set of all the biggest hits, including Dead Ringer, Two Out of Three Ain’t Bad, Dead Ringer for Love, and I’d Do Anything for Love, was over too quickly, although it was nice to escape the heat of the tent and wander back to the main stage.

Before the walk, a pit stop for dinner from a Mexican food truck. The caramelised aubergine burrito I had was flavour-packed and delicious. I am just glad I picked up a fork, because it would have been impossible to eat otherwise. My festival seat, really a mushroom-shaped stool, has been a real bonus, allowing me to rest and keep my feet from hurting too much. And I don’t need to try to sit on the floor.

Wet Leg were already on stage by the time we’d walked back. They are considered a local band, as some band members have lived on the island and are products of the local Platform One College of Music. I knew none of the songs until Chaise Longue was performed. We managed to get a decent position about halfway back in the standing area, but they used a lot of stage smoke, so I ended up watching the screens just to see the band. Obviously, there was a lot of support from the crowd, which created a great atmosphere.

As that was finishing, we made an exit to the ‘This Feeling’ tent to see Finn Forster, another up-and-coming British performer. The set was really good. He’s a confident performer, and it was well worth the little detour to a stage we don’t often visit.

Then it was the Friday headliner and BRIT Award winner, Lewis Capaldi. There was quite a crowd, and we watched from quite a way back in a little bit of space we’d carved out near the bar. The crowd was definitely up for a show, and by his own admission, there were a lot of ballads, but nobody was bothered. After about half an hour, though, we decided that it would look even better on Sky Arts later and opted for the bus.

Festival Diaries 2025: Day Three

A lively festival day featuring Björn Again, Ella Eyre’s surprise exit, Midge Ure’s powerful set, and more memorable performances.

Bjorn Again performs on stage at the 2025 Isle of Wight Festival, with two female performers in white outfits singing into microphones. The stage backdrop features colourful retro-style graphics and the Isle of Wight Festival branding with Sky sponsorship visible. In the foreground, audience members can be seen with their hands raised and mobile phones recording the performance. A photographer is positioned in the pit area capturing the show, whilst stage rigging and lighting equipment frame the scene. The vibrant stage design creates an energetic atmosphere typical of the ABBA tribute act's performances. — Bjorn Again

Texas performs on the main stage at the 2025 Isle of Wight Festival, with a large crowd of festival-goers gathered in front of the stage. The stage features the band's name "TEXAS" displayed prominently in white letters on a red background, with the Isle of Wight Festival branding and Sky sponsorship visible on the curved stage canopy above. Large video screens on either side of the stage show close-up footage of the performance, whilst professional lighting rigs illuminate the scene. The diverse audience, wearing a mix of summer clothing and festival attire, fills the field in front of the main stage under an overcast sky — Bjorn Again

Didn’t sleep well. The flat downstairs had music going in the early hours. Still, we were up reasonably early and on the bus back to the festival, where we managed to get our hands on a bacon roll and a coffee before things got going. The queue was moving, but the bacon wasn’t cooking quickly enough for demand. It’s my view that there are remarkably few bacon roll vendors for a festival.

First up on the Main Stage was Björn Again, doing a 40-minute ABBA tribute set: a total crowd-pleaser – big energy, lots of singalongs, and the kind of opening that sets the tone nicely for a Sunday. Then came Ella Eyre. I didn’t know her music beforehand, but the set was packed with great pop tunes. She kept saying the crowd would need to help her out, which, at first, I thought was just the usual festival banter – but part-way through, she ran off stage, leaving 15 minutes of her slot unplayed. She later posted an emotional apology on social media. I thought her vocals sounded great while she was on, so it came as a bit of a surprise to hear that her voice had gone.

Alison Moyet followed, opening with Nobody’s Diary – written when she was still a teenager with Yazoo. The rest of the set was a mix of lesser-known tracks, at least to me, but her voice was powerful throughout. Sadly, I think she lost the crowd a little bit with the less well-known tunes.

Like lots of people, we rushed across to The Big Top for Midge Ure. Scheduling him so close to Alison Moyet – but on a different stage – didn’t make a lot of sense. By the time we arrived, it was full, so we stood outside and watched the screen. Worth it, though. A brilliant set. Vienna was in there, obviously, but also Fade to Grey (which he co-wrote for Visage), which was a real highlight.

When we made it back to the Main Stage, Olly Murs was already well into his set, dedicating Dear Darlin’ to Caroline Flack. From our position at the back, the screens were essentially dots, but the energy still carried.

We stayed in the same spot for Texas, but the wind had picked up and the sound wasn’t really carrying. We were in a patch of crowd mostly made up of large seated groups, treating it more like a garden party with background music. That, and the wind, meant we couldn’t hear much of Sharleen Spiteri’s chat between songs – a shame, as I usually enjoy on-stage banter from the artists.

We looked at the rest of the line-up and decided nothing else was enough to keep us from the return trip, so we hopped on the bus back, picked up fish and chips, and watched Jess Glynne’s set on the telly. Much better sound, full picture, and no one setting up a picnic in front of us. Just a shame Sky Arts aren’t showing Justin Timberlake’s headline set – but still, can’t really complain.

Another festival all wrapped up.

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 2025: Day One

First day at Isle of Wight Festival: sunshine, standout sets, sock wrestling, paella, and a late-night tea wind-down.

A large Ferris wheel silhouetted against a golden sunset sky at the 2025 Isle of Wight Festival. The wheel's passenger gondolas are clearly visible around its circumference, with the sun positioned dramatically behind and to the right of the structure. Festival-goers can be seen gathered at the base of the ride, whilst trees and other festival infrastructure create a dark silhouette against the warm, orange-tinted evening sky. The atmospheric lighting captures the classic festival atmosphere during the golden hour.

A large crowd of festival-goers watches Amy McDonald perform on the main stage at the 2025 Isle of Wight Festival. The stage features vibrant pink and blue lighting effects with "ISLE OF WIGHT FESTIVAL" prominently displayed across the top, along with Sky branding. The performer can be seen on stage with an acoustic guitar, backed by colourful visual displays. The audience, wearing a mix of caps, hats, and summer clothing, fills the foreground of the image, creating the typical atmosphere of a major music festival performance.

A performer in a red sequined outfit and sunglasses plays a keytar on stage at the 2025 Isle of Wight Festival. A red triangular banner reading "SOPHIE GREY - LIVE IN UNITED KINGDOM" is visible in the background, along with stage lighting, Marshall amplifiers, and drum kit. The artist is captured mid-performance in what appears to be an energetic live music moment at the festival.

Another year, another Isle of Wight Festival! Today—well, the early afternoon—kicked off with a familiar pilgrimage: a quick pit stop at Sainsbury’s for the obligatory meal deal (mainly for the chilled water, as it was already feeling quite warm outside). Then it was onto the shuttle heading towards Seaclose Park. All sorts of different people, costumes, and an inflatable jungle scene. That was the mood express to the Festival Bus Station.

As with last year, entry was a breeze; they’ve really got it cracked (at least, if you come by bus). Wristband secured, signifying the ability to roam all weekend, we got searched for alcohol, and then the trek began. The long walk towards the main stages, with the flags fluttering in the breeze, feels familiar and, therefore, welcoming. We took the walk and pretty much decided to stick to the Main Stage end of the park today.

First order of the day was a beer. Though the ‘snake queue’ system at the bar felt a bit much for that time of day, there was but a handful of us. While I was waiting, the barman spotted some blood on my thumb. No idea where I’d cut myself, but he was brilliant and went off to grab an antiseptic wipe and a plaster; not sure if some health and safety protocol was broken, but he was great. It throbbed a bit for half an hour—nothing too serious, thankfully.

It turns out that the real gem of the day was the first act we saw: The Lottery Winners—funny and energetic. They knew how to connect with the crowd, managing to be both emotional and utterly engaging. After their brilliance, we decided to wander and got caught in a few unexpected minutes of light rain. We ducked under cover for a short time before we ended up watching a round of ‘sock wrestling’ on one of the alternative stages. Do they have that at Glastonbury?

Then, a more sedate beer by the river before we caught Sophie Grey on the River Stage. She had this fantastic 80s electro sound that felt current. I thought, “She’d be brilliant at a party!”—really good fun, but maybe not the response she’d have been looking for.

Next, it was Amy Macdonald on the main stage. I thought I’d know more of her songs, but still, she put on a solid performance. Her earpieces were a nice touch, featuring the Scottish flag. Apparently, it’s been 18 years since she last graced the IOW stage, which she declared a “once in a generation” event! We opted to stay a bit further back from the main stage, standing in the sun, until The Corrs came on. They certainly got the crowd moving, and while their set was upbeat, it didn’t quite grab me until their very last piece of Irish music. General consensus over the weekend, however, was that they were brilliant. So, what do I know?

Dinner was calling, so we braved the growing crowd, weaving our way through the packed seating area to The Octopus’s Garden. Paella time! Chicken and chorizo for me, seafood for PY. It was exactly as you’d imagine from a big pan on a festival site.

Finally, Sting took to the stage. We were quite a way back by this point, and my feet were past fighting for a better view. He played a lot of his old hits, which was nice, but it wasn’t exactly a set of ‘party bangers’ to get everyone dancing wildly. So, we made the executive decision to head for the bus. My preferred walking pace was definitely slower than the one we ended up adopting! A quick wait and then the ride back to Ryde. A necessary stop back at Sainsbury’s on Union Street for tomorrow’s lunch supplies.

Now, it’s the best part: back at the flat, sprawled on the sofa with a cup of tea, watching Faithless close out day one of the festival on the telly. Much more comfortable than still being out there.

Let’s see what tomorrow brings!

Festival Déjà Vu: Packing Optimism and Leaving the Wellies Behind

Reflecting on last year’s sunny festival whilst contemplating this weekend’s adventures.

A cheerful cartoon-style illustration of the Isle of Wight Music Festival on a sunny day. A lively band performs on a colourful stage labelled "Isle of Wight Music Festival" while a large, enthusiastic crowd cheers with hands raised. The audience includes people in summer clothes and hats, all enjoying the bright, sunny atmosphere with a clear blue sky and playful details like a smiling sun and striped tent in the background. The image captures the joyful, communal spirit of a summer music festival without depicting any specific bands or individuals. — Cheerful crowds at the Isle of Wight Festival. Image created by ChatGPT.

Can you believe it’s almost time again? Last year’s festival was special. We lucked out with the temperature; all that careful planning for wet weather gear was wasted, thankfully. Am I tempting fate if I look out the window and think this heatwave might hang around for the weekend?

Last year, The Bootleg Beatles set the tone nicely at the start with lots of sing-alongs, and hindsight makes those long walks between stages — and battling the crowd to get out — feel more like an adventure than a chore. Will I say the same on Monday?

Looking back, it was a real lesson in festival strategy. Preserving energy is my takeaway: knowing when to retreat before the very end paid off, ensuring a smoother bus ride back to Ryde. Striking a balance: wanting to be right up close for some acts but accepting that hanging back and relying on the video screens is sometimes a better move, except perhaps when The Pet Shop Boys were on stage.

So here we are, a year on, and my internal buzz is building despite feeling a little unwell. I’m already thinking about the bus tickets and the first coffee runs, hoping we find that sweet spot near the main stage where you can soak it all in and, hopefully, not be too squashed. I suspect there will be another morning hunt for the festival’s best bacon bun.

Fingers crossed, the weather holds out as beautifully as it did last year – all those wet-weather clothes can definitely stay in Ryde again! There’s something exciting about getting back into that festival routine, the journey, the crowd, the long walk to the main stage, and just seeing what surprises the lineup holds this time around. I wonder if I’ll write another festival diary?

Festival diaries, day three

Green Day performing at Isle of Wight 2024 — Green Day

Mcfly performing at Isle of Wight Festival 2024 — Green Day

We spent 10 hours at the flat before returning to the festival site. Today’s shuttle bus was an old Southern Vectis vehicle (it still featured branded informational posters), but it was – obviously – being used elsewhere in the country at the moment. I remarked that it had come home for a holiday. It had carpet on the upper deck ceiling. We didn’t sit at the front today as it was too warm; I am not sure the furry ceiling helped with the heat. We have been fortunate with the weather this weekend. All those wet-weather clothes remained in Ryde.

Once again, arrival was marked by the purchase of coffee. I craved a bacon bun, which proved – surprisingly – elusive until I found a burger stand near the main stage selling them. It was one of the nicest bacon sandwiches I’ve had. We repeated yesterday’s moves of getting to the Main Stage area early and holding a place towards the front. The backstage crew had been busy overnight installing confetti canons for Green Day and adding a platform that extended the stage area into the crowd. We’d have moved closer to that if my thinking had been more intelligent.

Beverley Knight was first and early, opening with “Greatest Day”. I’ve seen Beverley many times, and she’s an outstanding performer. I was surprised she was first on the list for the day. She started with a reasonable, for lunchtime, crowd around the Main Stage. She’d pulled many more people to the stage by the time she finished her set. Another wonderful performance featuring a great mix of her old and new songs and a cover of Radiohead’s “Just”. As she said, nobody can imagine a soul sister performing that song. It worked. There’s a version on BBC Sounds.

Next up, Kyliefied, a Kylie tribute act, was a lot of fun in the Electro Love tent. PY and I did not join in with the “Locomotion” chain that went around, but we laughed. It was another power walk across the festival site back to see McFly. I think McFly are underrated (I don’t know by whom, but it’s a sense, and I am sticking with it) because their set is such fun with a list of songs that you will know. I was disappointed we were so far back, but there was no way to get closer. I could just about see Tom was wearing a Green Day t-shirt in honour of tonight’s headliners, and Harry’s t-shirt labelled him as the drummer.

Zara Larsson was next. There was a noticeable switchover in the age of the crowd at the front. I only recognised “Symphony.” Her show was slick, but I wonder if it would have been better in a stadium rather than a field. The youngsters loved it, so what do I know?

We took some time out for food. This afternoon was chorizo-flavoured Mac’n’Cheese. Again, we sat on the grass near the Big Top and enjoyed the sunshine. We headed back to the Main Stage for “Simple Minds”. As far as PY was concerned, these were today’s headliners. I can’t explain why I was never a fan, so I only recognised the biggest hits, probably “Don’t You (Forget About Me)” and “Alive and Kicking” — it was another example of a video show that occasionally seemed to forget that we wanted to see the performers. The fans thought it superb.

Afterwards, we wandered to the Cirque de la Quirk stage. There was a bar opposite. For the first time across the weekend, I tried the fruit cider that PY had been drinking, and I wished I’d had it more often. Stone Cold Hustle, a large-ish (7 or 8-piece) funk band, was grooving providing the perfect laid-back soundtrack as evening approached.

After almost three days on my feet, walking was starting to get painful. We found some benches made of pallets and managed to sit for half an hour. We don’t bring foldable chairs because we want to avoid being stuck with them, mainly because I like being as close to the stages as possible, and chairs are banned in key areas. But I was very grateful to be able to sit down.

Sunday’s headliners, who closed the show, were Green Day, another band I am not familiar with. However, when many people I know found out they were the main act of the day, they said without hesitation we should stay. And we did for most of the show.

It was brilliant. From the inflatable aeroplane dropping merch onto the crowd to those confetti canons, we saw earlier via bringing a fan, Mollie, from the audience to perform on stage with them, it was great. Somewhere around “Wake Me Up When September Ends,” we decided to do another beat-the-crowd shuffle to the bus, hoping to catch a rerun of the set on Sky Arts. We missed the rerun (but caught the bus). Apparently, it’s on later in the week. Dinner was from the kebab shop on Union Street.

from my Blipfoto diary

Festival diaries, day two

The Pet Shop Boys stage at the Isle of Wight festival 2024. — Pet Shop Boys

Jake Shears at the Isle of Wight Festival 2024 — Pet Shop Boys

We were back at Seaclose Park at noon. Despite my already tired feet, I was glad of the night in a real bed and ready for, more or less, twelve hours of standing. The first call of the day was at a coffee wagon to get a drink and the fortification of a pastry. Then, walk towards the main stage. As the crowds were still not out and, I suspect, many of the on-site campers were recovering, we took the opportunity to explore some areas of the site that had gone unvisited yesterday.

The Platform One Stage, which a music college runs, showcases student talent. According to the schedule, we watched Stereo Screams, but there seem to be more people in the band (based on their Instagram) than we saw. Whoever they were, they were good.

We walked the long snake-fenced-off queue line for a beer and fruit cider. Nobody else was buying, and the staff watched, amused, as we walked up and down the lines. It’s hard not to feel stupid doing that, but I wouldn’t vault any fences to save a few seconds. We carried our drinks to the Main Stage area, where we could secure a space near the front and watch Apollo Junction. It’s another new band to me and another fantastic way to start the day. Over several years, they had progressed from one of the small stages to opening the big one. Added to my playlist.

Yesterday, I mentioned the challenges of shifting between the Main Stage and other areas. Today, there were several acts in a row that we wanted to see on the biggest stage, so we settled in for about four and a half hours, standing three or four rows from the barrier.

Natalie Imbruglia was first up. Of course, everybody wanted to sing along to Torn, which came towards the end of the set, but there were plenty of other solid songs. It was a great set that pulled people towards the stage.

The act PY wanted to see most today was Jake Shears, who was up just before 3pm. Arriving on stage wearing a glittering red and silver tracksuit, he opened with “Too Much Music”. Pretty much straight afterwards, the tracksuit was removed to reveal a glittering silver-and-red vest-shorts combo. While most of the acts on the main stage stuck to the accepted dress code of ‘something black’, Jake Shears was the opposite.

Apollo Junction’s Jamie Williamson got down from the stage to sing to the front row, and Jake Shears repeated the move during “Do The Television”. This is great for those of us up close but not so wonderful for those further back with a view of the stage who lose sight of the artists. I am not complaining. Jake’s set was another fantastic one. I hope he’s back in a future year with a longer show as his solo collection of hits is growing, and he still needs to fit in the crowd-pleasing Scissor Sisters tunes.

Half an hour later, possibly the 90s pop highlight took to the stage. Unlike everybody else we’ve seen so far at the festival, S Club did not pretend to be singing to a live band. There were no instruments on stage, and it was a pop-perfect 45 minutes: opening, of course, with “S Club Party” and closing with the crowd’s favourite, “Reach”. If the Isle of Wight festival has a reputation for being a rock fest, then perhaps S Club will convince people that there’s something for everyone.

After reaching for the stars, we decided it was time to eat. We found a pizza and sat on the grass near the Big Top, watching several people wearing Pet Shop Boys-inspired red-and-white pointy hats. The crowd had fewer ‘costumes’ than I remember from last year.

While we were sitting on the grass, the Big Top crowd was growing larger and larger to the sound of Irish music. Intrigued, we wandered in and caught the last, thoroughly enjoyable half-hour of The Mary Wallopers before making our way to The River Stage.

I am trying to remember who had just finished on The River Stage when we arrived, but most people who’d seen the previous act were hanging about. I nipped to the bar tent, and when I turned around again to return to PY with a couple of drinks, I needed to push through quite a mass of people. In another 80s flashback, Johnny Hates Jazz took to the stage with a collection of hits. I am not sure some of the crowd knew what was coming, as, after the first couple of songs, there was a changeover with a bit of an exodus making way for more people who’d been trying to get into the area.

By the time we’d heard “Turn Back The Clock”, “I Don’t Want To Be A Hero”, and “Shattered Dreams” from the River Stage, the mass audiences had arrived in front of the Main Stage for not-quite-headliners, Keane. I am not familiar with Keane, so I was content to stand back and see most of the set on the video screen. I was surprised I knew as many of their songs as I did.

Generally, I am not a fan of going to concerts where you can’t see the act on the stage and watch the show on a video screen. However, at a festival like this, you must accept that it’s the only way to see some acts without camping out in front of a single stage all day.

After Keane, as it got darker, the air got colder. We both added layers, and I decided that something warm would help. It’s incredible how a portion of super-unhealthy but equally delicious loaded fries could revive us both. On a side note, the site’s food selection was pretty impressive. PY went to look for a stall still selling coffee. That’s how rock-n-roll our evening was.

One of the peculiarities of festivals is that there are often no intros to the bands. After many people move equipment, and somebody inevitably hits the drum for a soundcheck, the band starts. And so it was with the Pet Shop Boys. PY returned, coffee-less, once he realised the Pet Shop Boys had started (the coffee queue was moving slowly due to high demand for the waffles also available).

By this time, we were standing even further back than we’d been for Keane, and this is the point in my notes where I should inject something about the people who manage the stage-side video screens.

It’s ubiquitous for bands to have impressive video projection shows at the back of the stage. You can tell how much money artists are being paid by what they do with those screens. Earlier in the day, it’s usually just the band’s name or logo. As the day progresses, video is increasingly used. It looks nice when you can see the band on stage.

However, when you have 50,000 people back in a field with a partial obstruction of the mid-field sound/video/lighting gear, you only get part of the experience and rely on the side-stage video screen to see what’s happening. Several bands, including PSB, often showed the video effects on these screens instead of the live view, and there was no sight of the band on stage. IMHO, I am there to see a band. Generally, I want to be able to see the performers on stage (even microscopic versions of them), but, as with PSB, when that’s impossible, I implore the art directors of these things to keep the band on screen. If I want video effects, I’ll watch Vevo.

OK, back to the show (well, almost). The Isle of Wight is very family-friendly as a festival. There are lots of kids of all ages. I imagine many little kids are exhausted by 10:20pm (the headline start time). A mass of people stay to see the first couple of songs by the final act, then start heading homeward (or at least campsite-wards). As a pleasing result, within the first twenty minutes, we’d moved from being a long way back, with the screen as the primary view, to a view of the stage where I could see Neil & Chris (and appreciate the aforementioned video effects).

It’s a stunning show. And every song is known. It’s amazing how extensive and familiar PSB’s back catalogue is. When a band can put songs as big as “Opportunities (Let’s Make Lots of Money)” and “Rent” in the early part of the set and still have hits left for later, you’re reminded of how prolific the band has been since their mid-80s arrival on planet pop*.

We took a gamble that “It’s A Sin” was the closing song of the main set and made our way backwards as it was playing. And we were right. Thus, we started the power walk back to the bus stop to beat the crowds for the shuttle to Ryde. “West End Girls” (an encore song) played in our ears.

The bus was significantly busier than yesterday, and my legs were much creakier than last night. But it’s nice to get to the flat for tea and more Sky Arts festival catch-up.

*I put that phrase in as it sounded like a homage to Smash Hits magazine.

From my Blipfoto diary

Festival diaries, day one

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