Katy Hurt @ Country on the Coast Festival 2026

Katy Hurt @ Country on the Coast Festival 2026 (Henry Finnegan / @finneganfoto)

Saturday captured that spirit perfectly, opening on the acoustic stage with Jukes. With a striking metal-inspired appearance, he brought an intensity to his raw, emotional songs that immediately set the tone. Speaking earlier in the day, he reflected on how music helped his mental health and how the country scene felt far more welcoming compared to other, more clique-driven genres, something the festival itself seemed to embody.

Following him, Waif & Stray leaned into humour and effortless crowd work, their almost comedy-duo dynamic warming up both the audience and the atmosphere as drinks, laughter, and applause began to flow more freely.

Over on the main stage, Bryony Sier opened proceedings in style. Her boots may have been eye-catching, but it was her stripped-down performance that stood out, somehow making the stage feel full not just of music, but of potential for everything still to come.

Back at the acoustic stage, Ollins Lande carried the Country vibes forward as the now-iconic hay bales began to fill (yes, actual hay bales), while Michael Pickering brought a deeper emotional weight to the main stage. His personal stories of adoption, delivered with an easy charm under a well-worn cowboy hat, had people moving both physically and emotionally.

That feeling rolled straight into Rebecca Richards, supported by Guy Surtees, as the early afternoon crowd swayed along in the growing warmth.

A brief pause in the music didn’t slow things down. Dance Fusion took over with a choreographed line dance that quickly turned into a full interactive lesson. Fans, artists, and curious onlookers all joined in—proving that at this festival, participation is part of the experience.

Kicking things back into gear, Jada Cato burst onto the stage with relentless energy, before Briggs and Stark followed. Despite Briggs performing with a fractured clavicle, the duo adapted seamlessly, with Claudia Stark’s flute and guitar adding texture to a set full of passion. Their chemistry made them feel less like performers and more like people you’d happily spend time around.

As the day settled into its rhythm, Chloe Clouds could be spotted not just performing but hosting, soaking up the weekend from a different perspective, highlighting just how collaborative and interconnected this scene really is.

Then came a natural midpoint in the day, and with it, a chance to properly take in the wider festival experience. Merch stands were drawing just as much attention as the stages. Dead Cowboy Clothing, run by Thomas Kavanagh, showcased modern Western attire from denim jackets to cowboy hats, with festivalgoers proudly wearing their t-shirts throughout the weekend. Alongside them, We Burns It, led by John Burns, was drawing crowds with laser-burned designs on everything from mugs to slate and leather belts, his infectious, upbeat approach making each interaction feel memorable. Even Katy Hurt was later seen with one of his customised cups.

Close by, Country Hats UK added to the authentic Western aesthetic, while the presence of the Country Music Association showed just how much wider industry attention this once small coastal gathering is now attracting.

Back to the music, Kassidy Keirnan reopened the main stage with emotionally honest songs drawn from everything from personal experience to friend group chats, giving her music a relatability that clearly resonated with her growing fanbase. KerryL followed on the acoustic stage, his Welsh roots giving way to a voice that could easily belong in Nashville, with songs inspired by Yellowstone characters and heartbreak.

Then the energy surged again as Dusty Moats brought his Texans collective to the main stage, featuring Payton Riley, Jesse Jennings, and Jackson Ray. It felt like a mini-festival within the festival, with each artist delivering their own standout moments. Payton Riley, in particular, had the crowd whooping along, while Dusty led a sea of phone lights swaying through a heartfelt love song.

After that high, Cassa Jackson offered a welcome breather, before one of the standout performances of the weekend arrived. Ryan Evans took to the main stage armed with just a guitar and his voice, and completely owned it. Tracks like Boots On and Kinda Crazy ’Bout You felt radio-ready, and the crowd response suggested this won’t be the last time he plays stages of this size for long.

The pacing continued to ebb and flow naturally. Sammie Soravia brought things down to a more narrative-driven, intimate level, while Chasing Twisters lifted the energy again with boot-stomping, guitar-led tracks that had the crowd dancing.

On the acoustic stage, Stella Lain, the self-proclaimed “Country Barbie” finally stepped into the spotlight after turning heads all weekend with her bold, bubblegum Western outfits. Inviting the crowd to “paint the town pink,” she delivered a set that matched her larger-than-life presence.

As the night built, Jack Browning delivered a powerful penultimate main stage performance, and once again proved why he’s one of the most exciting names in UK country right now. His songwriting has a rare ability to feel both deeply personal and universally relatable, and hearing tracks like Muhlenberg County Stars in a full-band setting only elevated them further. He moves effortlessly between quiet, heartfelt moments and big, anthemic swells, commanding the stage without ever losing that authenticity. There’s a polish to his performance now that suggests he’s not just on the rise—he’s already outgrowing stages like this, with a presence and catalogue that feel ready for something much bigger.

Then came the headline set, as Katy Hurt burst onto the stage without introduction, immediately taking control with a confident, high-energy performance packed with crowd interaction, line dancing, and singalongs.

Rather than ending on the headline alone, the night found a more intimate close. Hannah Trim took the second-to-last slot on the coast stage, delivering emotional storytelling that drew people in, before Shea Rafferty eased the festival to a close. As people gathered around, his performance felt less like a finale and more like a shared moment—artists and fans together, winding down the weekend in the same spirit it had built all along.

That energy, combined with the performances from Friday, including Liam Brice’s standout DJ set that saw what felt like half the weekend’s performers dancing into the night and the more stripped-back, reflective Sunday sets, gave the entire festival a real sense of shape and journey rather than just a series of performances.

What makes Country On The Coast stand out isn’t just its lineup, it’s the feeling. The closeness between artist and audience, the ability to discover someone new and then speak to them minutes later, and the mix of music, fashion, and shared experience all create something that feels personal rather than transactional.

If there’s a criticism, it’s only that those expecting huge, arena-style moments might find it understated. But that’s not really the point. This festival isn’t trying to compete with the biggest, it’s building something arguably more important: a foundation for the UK country scene to grow.

And at the heart of it all is Hannah Roper and her team, whose passion and vision have taken what started as a small coastal gathering and turned it into something far bigger. Country On The Coast 2026 didn’t just showcase where UK country music is, it showed exactly where it’s heading.

Liam Brice @ Country on the Coast Festival 2026

Liam Brice @ Country on the Coast Festival 2026 (Henry Finnegan / @finneganfoto)

Live review & photography of Country On The Coast Festival 2026 @ The Gaiety Southsea, Portsmouth, by Henry Finnegan on 17th-19th April 2026. Instagram: @finneganfoto | Facebook: @finneganfoto

Janet Devlin: Embracing The Chaos And Owning The Narrative

The Cab

The Cab (Juan Flores Mena)

Written over the span of ten years across multiple cities, Chasing Crowns is a deeply personal body of work. The album captures the band’s evolution both musically and emotionally, weaving together stories shaped by time, distance, and lived experience. At its core lies a reflective message: the pursuit of success and status ultimately pales in comparison to the impact we have on others.

Frontman Alex DeLeon and bandmates Alex Marshall, Dave Briggs, Joey Thunder and Chantry Johnson describe the album as a labour of love, forged through years of uncertainty and perseverance. The result is a collection that embraces imperfection, drawing inspiration from the Japanese philosophy of Kintsugi—repairing broken things with gold, highlighting flaws rather than hiding them.

Musically, Chasing Crowns sees The Cab effortlessly blending genres while maintaining their signature anthemic sound. From the punchy, guitar-driven energy of Locked And Loaded to the infectious hooks of Back From The Dead, the album balances high-impact pop-rock with more introspective moments. Tracks like Sweet Kerosene showcase their knack for crafting polished, radio-ready melodies, while Hellraiser offers a more intimate, heartfelt close—written as a tribute to DeLeon’s daughter.

The album also incorporates material from their 2025 comeback EP Road To Reign: A Prelude, bridging the gap between their return and this fully realised project. Together, the songs form a cohesive narrative that reflects both where the band has been and where they are heading next.

The Cab’s resurgence follows a busy 2025, which saw them return to the stage with high-profile festival appearances, sold-out headline shows, and a renewed connection with fans worldwide. Known for their dynamic live performances and emotionally charged songwriting, the band are now firmly back in stride.

To celebrate the release of Chasing Crowns, The Cab will embark on their Back From The Dead Tour across the United States this spring, marking their first headlining run in over a decade.

Takedown Festival 2026 – Friday: Honouring Legacy, Fuelled By Riffs

Luvcat @ Koko

Luvcat @ Koko (Neil Lupin / neillupin.com)

Blending noir glamour with unsettling romance, the new track leans fully into Luvcat’s signature world of desire, danger and dark storytelling. Built on lush, slow-burning instrumentation, Vampire At The Beach captures a surreal emotional pull, inspired by a past relationship that felt as intoxicating as it was unnerving. As she describes it, the song draws from the experience of being under the spell of a “ghostly-looking lover,” a presence so intense it blurred the line between passion and peril.

The single arrives alongside a striking visual companion, rich in gothic imagery and theatrical flair. Bathtub electrocutions, knife-throwing sequences and stylised beach scenes collide in a dreamlike sequence that feels both vintage and surreal, with nods to cinematic influences such as Sweeney Todd: The Demon Barber of Fleet Street. The result is a world where vaudeville aesthetics meet modern pop culture, perfectly mirroring the track’s haunting tone.

Vampire At The Beach serves as a gateway into Lovebites, a collection of “murder ballads” that pushes deeper into the shadowy themes introduced on her debut album Vicious Delicious. With that record already amassing over 120 million streams, the new EP expands her storytelling into darker, more introspective territory—exploring the blurred boundaries between love, obsession and mortality.

Luvcat @ Koko

Luvcat @ Koko (Kalpesh Patel)

Among the highlights, Lovebites will feature a reworked version of He’s My Man alongside Dr John Cooper Clarke, as well as the previously unreleased Electric Chair, featuring Pete Doherty. The collaboration with Doherty emerged organically during a recent European tour, where he joined Luvcat onstage to contribute to the song’s evolving live performance.

Elsewhere on the EP, tracks like Silent Killer draw from deeply personal experiences, including a near-fatal carbon monoxide incident in a Camberwell flat that left a lasting imprint on her songwriting. It’s this blend of lived experience and gothic imagination that continues to define Luvcat’s artistic voice—equal parts theatrical and painfully real.

Since her breakout with Matador, (Sophie Howarth) Luvcat has cultivated a fiercely devoted following, bolstered by an intense touring schedule that saw her perform over 100 shows across more than 25 countries in 2025 alone. From major festival appearances to sold-out headline runs, her live presence has become as essential to her identity as the music itself—fans arriving in full aesthetic homage, already immersed in her world before the first note is played.

Luvcat @ Koko

Luvcat @ Koko (Neil Lupin / neillupin.com)

With Lovebites, Luvcat doesn’t just revisit that world—she deepens it, sharpening its edges and inviting listeners further into its seductive, shadow-filled corners.

Luvcat Dazzles At KOKO: Theatrical Noir, Liverpudlian Charm And A Dash Of Red Wine Magic

Manic Street Preachers @ Wembley Arena

James Dean Bradfield of Manic Street Preachers @ Wembley Arena (Kalpesh Patel)

Bringing together decades of era-defining music, the tour will see the two legendary acts share stages across some of the country’s biggest venues, kicking off in Glasgow before travelling through Leeds, Manchester, Cardiff, London, Birmingham, Nottingham and Bournemouth.

For Manic Street Preachers, the tour continues a legacy that stretches back to their landmark debut Generation Terrorists. Known for combining politically charged lyricism with anthemic rock, the Welsh trio have remained a vital force in British music, with their recent album Critical Thinking exploring the anxieties of the modern digital age while reaffirming their sharp creative edge. Their live shows continue to unite generations of fans, blending early classics with chart-topping singles and newer material in performances that feel as urgent as ever.

Manic Street Preachers @ Wembley Arena

Nicky Wire of Manic Street Preachers @ Wembley Arena (Kalpesh Patel)

Meanwhile, Suede arrive on the back of a remarkable resurgence that has seen them reach new heights decades into their career. Following the success of Autofiction and their tenth studio album Antidepressants, the band have delivered some of the most electrifying shows of their career, reaffirming their reputation as one of the UK’s most compelling live acts. Frontman Brett Anderson continues to lead the band with a visceral intensity that has defined their sound since the Britpop era.

Suede @ Roundhouse

Brett Anderson of Suede @ Roundhouse (Kalpesh Patel)

The co-headline tour represents a rare and highly anticipated pairing—two bands whose influence helped shape the sound of modern British guitar music, now coming together for a run of arena dates that promises to be one of the standout live events of 2026.

Suede @ Roundhouse

Richard Oakes of Suede @ Roundhouse (Kalpesh Patel)

Tickets go on general sale at 9:30am on Friday 1st May.

Upcoming UK Live Dates:

OCTOBER
28th – Glasgow, OVO Hydro
30th – Leeds, First Direct Arena
31st – Manchester, Co-op Live

NOVEMBER
3rd – Cardiff, Utilita Arena
4th – Cardiff, Utilita Arena
6th – London, The O2
7th – Birmingham, Utilita Arena
11th – Nottingham, Motorpoint Arena
12th – Bournemouth, International Centre

Manic Street Preachers And Suede Have A Design For Life At Margate Summer Series 2024

Basht.

Basht. (Polocho)

Arriving as a brooding and slow-burning introduction to the record, Perfume captures the band’s ability to fuse stark emotional honesty with expansive, dynamic soundscapes. Produced by Ali Chant, the track builds patiently from an intimate, foreboding atmosphere into a sweeping, cathartic release—highlighting Basht.’s instinct for tension and timing.

Lyrically, the song delves into deeply personal territory. Frontman Jack Leavey explores the fractured relationship between father and son, reflecting on the breakdown of his parents’ marriage. The narrative also widens to examine Ireland’s social history, where the influence of religious and cultural expectations often shaped personal relationships, adding further weight to the track’s already heavy emotional core.

The release marks the band’s first new material of 2026 and follows the momentum built by their 2025 EP Bitter And Twisted. Over the past few years, Basht. have cultivated a loyal following through relentless touring and a reputation for intense, captivating live performances, sharing stages with a host of rising and established acts while appearing at key festivals across the UK and Ireland.

With Poor Advice, the band look set to channel that live energy into a fully realised debut, one that promises to explore themes of identity, pressure, and personal history with both nuance and force. If Perfume is anything to go by, Basht. are stepping into this next phase with a clear sense of purpose and a sound that feels both immediate and enduring.

Upcoming UK & Ireland Live Dates:

APRIL
24th – Galway, Roisin Dubh
25th – Belfast, Ulster Sports Club

MAY
2nd – Liverpool, Liverpool Sound City
23rd – Warrington, NBHD Weekender
24th – Derbyshire, Bearded Theory

JUNE
20th – Glasgow, TRNSMT Festival

AUGUST
9th – Newquay, Boardmasters Festival
29th – Sheffield, Rock N Roll Circus
30th – Leeds, Leeds Festival

Takedown Festival 2026 – Saturday: Atmosphere, Ambition And A Glimpse Into Heavy Music’s Future