Jim Jones All Stars @ Brudenell Social Club

Jim Jones All Stars @ Brudenell Social Club (Emma Stone)

Playing solo, Jeanrenaud looks considerably more sober than he did during his late-night residency at the Marathon Kebab House in Chalk Farm. When we arrive, he is already performing his theme song, The Camden Cat, bringing a welcome dose of rock ’n’ roll swagger with his fringed Western shirt and cool guitar. Thankfully, It’s Gonna Rain holds off until we are inside. There are splashes of colour throughout his set, and he even wishes Chuck Berry a happy birthday while introducing Welcome Back Johnny Be Goode, a neat reworking of the original. A slower take on The Fabulous Thunderbirds’ I Believe I’m In Love With You allows room for some intense guitar flourishes, while Rock & Roll Queen brings a distinctly salacious edge. He finishes with Get Up, which has the feel of a revival-tent finale, leaving before thanking the audience and wandering offstage.

The real surprise of the evening comes next. Spitfire are a band I remember seeing four or five times during their original early-1990s heyday, when they shared bills with Five Thirty and other psychedelic acts. I even bought their first three 12-inch singles, but had no idea they had reformed. Getting to see their second comeback show is therefore a welcome shock.

The band make an immediate impression, with extra stage lights aimed at the audience, leaving the musicians free to slither through the darkness. Minimal Love launches proceedings with a super-heavy riff and swirling psychedelic guitars, while Jeff Pitchers’ vocals bark out from beneath his crash helmet. The all-leather intensity is unmistakable. Hey Go Easy follows with a Stooges-like wall of noise and grinding riffs, pushing the performance towards a feverish, almost fetish-night intensity. This is music that demands to get greasy.

Did Super Baby really sound this heavy back in the day? I remember it being lighter than this, but the version delivered here is a ferocious onslaught. RIP My Sweetheart feels like being hit by an oncoming train, with a monstrous riff crashing into a wall of guitars. Wild Sunshine, from the Free Machine 12-inch, is transformed into a palpable squall of sound. The original’s acid haze is swept away in favour of something far more intense and confrontational.

The band then bring out their legendary original guitarist Steve White, taking us back to the Translucent EP for Six Million Dollar Man. Its psychedelic edge complements the monster riffage, while Jeff Pitchers’ barked vocals keep everything raw and uncompromising. They close with a colossal Dive, leaving no doubt that Spitfire are back to assault our senses with their walls of noise.

After the break, the legendary Gloria Jones is introduced by Rita D’Albert to testify that we are about to witness one of the greatest bands touring in 2026. Enter The Jim Jones All Stars, ready to unleash their own brand of Chaos Cosmos: an eight-headed monster of a band primed for a proper Cat Fight, led by Jim Jones’ super-intense vocals and guitar.

Jim makes it clear that they are here to deliver soul, and the band waste no time answering the call. The horn section becomes a rallying cry as they blast through Cement Mixer at what feels like 140 mph, with Gavin Jay leaping about while locking into the perfect bass lines. There is little chance of this band taking things gently, but when it comes to making it rain, they can certainly deliver.

Behind them, visuals featuring Raquel Welch and friends accompany Satan’s Got a Hard On, while Stuart Dace and Tom Hodges unleash dirty, grunting saxophone attacks. The groove is relentless, and Carlton Mounsher’s soul-infused guitar is far too good to exile. Jim may lament having to Let You Go, but with his wife Ali standing beside him, there is clearly more to the story. Meanwhile, Give Me The Grease finds him slithering across the stage as the band’s kinetic energy refuses to let up.

I’m On Fire turns the Scala into an inferno, with Elliot Mortimer’s piano seemingly trying to douse the flames. Before launching into Born To Ride, Jim asks whether there are any bikers in the audience, clarifying that the song is about motorcycles rather than sex. Either way, the result is full-on, piston-pumping action.

I Love You offers a rare moment of sentimentality, before the mood shifts again with Through With You. Jim follows it with I Want You Anyway I Can, which sounds even bigger than when we last saw the band. He then takes on Parchman Farm, proving that a white man can deliver the blues with real conviction. What follows is a full-on psychotic blues meltdown, before the band head Going Higher, their energy pouring from the stage while the audience looks on, almost exhausted just watching them.

They return to the band’s bedrock for the Stone Age rumble of Troglodyte, then offer A Lover’s Prayer, hoping that love does not have to mean pain. Rock & Roll Psychosis is frayed at the edges and intense in equal measure, before Drop Me In The Middle brings the main set to a close. Jim makes sure to thank the audience, who respond with the huge ovation the band deserve.

The encore begins with I Need Your Love, and the joy in the room is impossible to contain. Jim then gets his Voodoo Working, transfixing the audience once more. For the closing Don’t Let It Go, he brings out Luciano Oltramari from Oh! Gunquit to add a third saxophone, turning the finale into one last soul rave-up.

It is a fitting end to an immense performance, leaving the Scala buzzing after another reminder of just how vital The Jim Jones All Stars remain. With their combustible blend of rock ’n’ roll, blues, psychedelia and soul, they continue to be one of the most essential live bands around.

Live review of The Jim Jones All Stars @ Scala, London by Simon Phillips on 18th October 2026. Photos at Brudenell Social Club, Leeds by Emma Stone on 8th October 2026.

Bishopskin At Brighton’s Green Door Store – A Chaotic Congregation Of Medieval Folk And Theatrical Rock

Yungblud (Tom Pallant)

Yungblud (Tom Pallant)

The winners will be revealed at the Music Photography Awards ceremony on 24th September, with five finalists selected across each of the competition’s open categories. Among the artists and events represented in this year’s shortlist are Yungblud, Lambrini Girls, Amyl And The Sniffers, Oasis, Kendrick Lamar, Fontaines D.C. and Download Festival.

Lambrini Girls (Jessie Morgan)

Lambrini Girls (Jessie Morgan)

The 2026 MPAs feature seven open categories: Portrait, Festivals, Emerging Photographer of the Year, Behind The Scenes, Underground Scenes, Live Music and Music Moment of the Year. The competition also introduces a guest category celebrating 50 years of punk, marking five decades since the movement transformed music, fashion and youth culture around the world.

The breadth of this year’s shortlist demonstrates the many different ways music photography can document an artist and their world. From carefully composed portraits and explosive live performances to candid backstage encounters and images from scenes away from the mainstream, the finalists reflect the diversity of contemporary music photography.

The Portrait category sees Frances Carter shortlisted for her image of Billie Marten, alongside Jamie-Lee Culver’s portrait of Aynjel, Wanda Martin’s image of Billy Idol, Daniel Rojas’ portrait of The OGM and Ho99o9, and Manuel Vazquez’s photograph of Warren Ellis.

Billy Idol (Wanda Martin)

Billy Idol (Wanda Martin)

Festival photography is represented by Viktória Erdős’ image of Palaye Royale, Danny North’s work from Download Festival, Giulia Spadafora’s audience image from Glastonbury, Ian Zandi’s photograph of The Killing Floors and Jake Zaoutis’ image of Hey, Nothing.

Download Festival, Humans of Download (Danny North)

Download Festival, Humans of Download (Danny North)

The Music Moment of the Year category, supported by Outernet London, includes two images of Oasis, photographed by Harriet T K Bols and Joshua Halling, alongside Jenn Devereaux’s Kendrick Lamar image, Jessie Morgan’s photograph of Lambrini Girls and Jack Oliver’s image of Charli xcx. Unlike the other categories, the winner of Music Moment of the Year will be decided by a public vote. Voting is now open, giving music fans the opportunity to select their favourite image from the five finalists. The shortlisted images are also being exhibited at Outernet London, with the exhibition opening at 1.30pm on 8th September and running until 14th September. Visitors can cast their votes using on-screen voting at the exhibition.

Kendrick Lamar (Jenn Devereaux)

Kendrick Lamar (Jenn Devereaux)

The Emerging Photographer of the Year shortlist, supported by adidas, highlights Frances Carter’s photograph of Gin Wigmore, Bryce Glenn’s image of Sombr, Natalia Peralta’s work featuring Nicholas y los fumadores, Dara Petrova’s photograph from the Techno rave Laboratorium and Isaac Wheatley’s image of Mikael.

Gin Wigmore (Frances Carter)

Gin Wigmore (Frances Carter)

Behind-the-scenes photography takes a different perspective on the relationship between musicians and their audiences. The finalists are Olly Bromidge for Matt Molotov, Sophie Buckley for Black Honey, Lewis Evans for Geese, Caity Krone for Kevin Parker of Tame Impala and Gabrielle Ravet for an image of My Chemical Romance fans.

Kevin Parker - Tame Impala (Caity Krone)

Kevin Parker - Tame Impala (Caity Krone)

The Underground Scenes category brings together AF Cortes’ audience photograph at a Kartel show, Andrea Gonar’s Ruido en casa, Geoffrey Nicholson’s Spunk, Suzanne Phoenix’s image of Private Function at Gold Street and James Streiker’s photograph of Rosanna.

Live music is represented by Charlie Barclay Harris’ image of Fontaines D.C., Rhys Bennett’s photograph of Battlesnake, Lewis Evans’ Oasis image, Tom Pallant’s photograph of Yungblud and Rico Suhr’s image of Dr.VENUS.

Fontaines D.C. (Charlie Barclay Harris)

Fontaines D.C. (Charlie Barclay Harris)

For the guest category, 50 Years of Punk, the finalists turn their cameras towards the movement’s history and continuing influence. Joe Hughes’ image of Sonic Youth, Wayne Large’s photograph featuring members of various punk bands, Keith Marlowe’s image of The Black Halos, Gerard McNamara’s photographs of Bauhaus and Peter Murphy, and Jamie Wdziekonski’s image of Amyl And The Sniffers make up the shortlist.

Punks with Dolly & Harriet (Wayne Spike Large)

Punks with Dolly & Harriet (Wayne Spike Large)

Head Judge Rankin describes 2026 as the strongest edition of the MPAs to date, highlighting the quality, energy, emotion and individual perspectives represented among the entries. He also points to the difficulty of reducing the field to just five finalists in each category, reflecting the strength of this year’s submissions.

Abbey Road Studios Managing Director Sally Davies similarly highlights the growth of the music photography community around the awards and the importance of creating opportunities for photographers to have their work seen and celebrated. The MPAs have increasingly developed into an international celebration of music photography, with Abbey Road Studios also expanding its activity around the discipline through its first Music Photography Festival in New York.

Alongside the competition’s publicly entered categories, the 2026 awards also feature two previously announced invited honours. Roberta Bayley will receive the ICON award, while Masayoshi Sukita is this year’s recipient of the LIFETIME ACHIEVEMENT award.

Sex Pistols live @ Cain's Ballroom 1978 (Roberta Bayley)

Sex Pistols live @ Cain's Ballroom 1978 (Roberta Bayley)

With the finalists now revealed, attention turns to the 24th September ceremony, when the winners across the competing categories will be announced. Until then, the Music Moment of the Year shortlist gives audiences the opportunity to have their say, while the wider selection provides a snapshot of the artists, audiences, venues and scenes currently being captured through the lens.

Abbey Road Music Photography Awards 2026 – Finalists

Portrait
Frances Carter – Billie Marten
Jamie-Lee Culver – Aynjel
Wanda Martin – Billy Idol
Daniel Rojas – The OGM – Ho99o9
Manuel Vazquez – Warren Ellis

Festivals
Viktória Erdős – Palaye Royale
Danny North – Download Festival, Humans of Download
Giulia Spadafora – Glastonbury Festival – Audience
Ian Zandi – The Killing Floors
Jake Zaoutis – Hey, Nothing

Music Moment of the Year
Harriet T K Bols – Oasis
Jenn Devereaux – Kendrick Lamar
Joshua Halling – Oasis
Jessie Morgan – Lambrini Girls
Jack Oliver – Charli xcx

Emerging Photographer of the Year
Frances Carter – Gin Wigmore
Bryce Glenn – Sombr
Natalia Peralta – Nicholas y los fumadores
Dara Petrova – Techno rave Laboratorium
Isaac Wheatley – Mikael

Behind The Scenes (BTS)
Olly Bromidge – Matt Molotov
Sophie Buckley – Black Honey
Lewis Evans – Geese
Caity Krone – Kevin Parker / Tame Impala
Gabrielle Ravet – My Chemical Romance fans

Underground Scenes
AF Cortes – Audience at Kartel Show
Andrea Gonar – Ruido en casa
Geoffrey Nicholson – Spunk
Suzanne Phoenix – Private Function at Gold Street
James Streiker – Rosanna

Live Music
Charlie Barclay Harris – Fontaines D.C.
Rhys Bennett – Battlesnake
Lewis Evans – Oasis
Tom Pallant – Yungblud
Rico Suhr – Dr.VENUS

Oasis (Lewis Evans)

Oasis (Lewis Evans)

Guest Category: 50 Years of Punk
Joe Hughes – Sonic Youth
Wayne Large – Members of various punk bands
Keith Marlowe – The Black Halos
Gerard McNamara – Bauhaus, Peter Murphy
Jamie Wdziekonski – Amyl and the Sniffers

Invited Categories

ICON – Roberta Bayley

LIFETIME ACHIEVEMENT – Masayoshi Sukita

Judges Choice
Matt Auger – Substandards
Carlos Avendano – Lisa Alvarado
Scarlett Carlos Clarke – Self Esteem
Autumn de Wilde – Florence + The Machine
Angus Jenner – Oasis
Sacha Lecca – FKA Twigs
Tom Pallant – Yungblud

Garbage Celebrate Three Decades Of Defiance At London’s Roundhouse

Latitude Festival 2026

Latitude Festival 2026 (Kalpesh Patel)

This year carried extra significance. Latitude celebrated its twentieth edition since launching in 2006, and over the course of three gloriously warm days, it once again demonstrated why it occupies such a special place in the UK’s festival calendar. While many festivals focus solely on blockbuster headline acts, Latitude continues to excel because it offers so much more. Music remains at its heart, but comedy, literature, theatre, science, wellbeing, art installations and an unrivalled family programme create an event where every member of the family discovers something entirely their own.

Latitude Festival 2026

Latitude Festival 2026 (Kalpesh Patel)

If there was one thing everyone talked about this year, however, it wasn’t Lewis Capaldi’s emotional return, David Byrne’s extraordinary artistry or the spectacular Vodafone drone show. It was the dust.

After an exceptionally hot and dry summer, every footstep sent another cloud billowing into the air. By the end of each evening, clothes, shoes and legs had taken on the same dusty brown hue, while nostrils seemed permanently lined with Suffolk soil. The children, naturally, couldn’t have cared less. In fact, they positively embraced it, proudly comparing the remarkable quantities of dust they had somehow managed to collect up their noses throughout the day. It became just another part of the adventure.

Latitude Festival 2026

Latitude Festival 2026 (Kalpesh Patel)

Despite the relentless dust, the weather was otherwise almost perfect. Temperatures comfortably sat in the high twenties, only briefly interrupted by passing clouds and a light shower on Sunday morning that finally settled the powdery ground before sunshine quickly reclaimed the skies. There were no frantic searches for waterproofs, no rivers of mud to negotiate with pushchairs and no nightly battles convincing children to wear another layer. Latitude, for once, felt blissfully uncomplicated.

As always, our first destination was the Family Field. For our son, now nine years old, this remains every bit as exciting as the music itself. The Greenpeace ship-building workshop has become something of a tradition, where children armed with real saws, hammers and nails enthusiastically help construct an ever-growing wooden vessel under the watchful eye of patient volunteers. It’s messy, noisy and brilliantly hands-on — exactly the sort of activity that has become increasingly rare elsewhere.

Nearby, the ever-popular helter-skelter continued dispensing equal measures of excitement and friction burns, while the unmistakable squabbling of Punch and Judy drifted across the field. Children darted between craft stations, climbed hay bales, painted flags, built dens from nature’s own building blocks and disappeared into imaginative worlds that somehow make parents forget they’re at a major music festival.

One of our own traditions also returned.

Joining Dr David Jones for one of his famous bug walks had been among our favourite discoveries last year, so naturally we found ourselves back following the Natural History Museum entomologist once again. Jones specialises in rainforest insects and soil ecology, and while the exceptionally dry conditions meant there were precious few creepy crawlies to uncover this time around, his infectious enthusiasm never wavered. Somehow, a conversation about worms became one of the most fascinating talks of the weekend, captivating children and adults alike. It perfectly encapsulated Latitude’s greatest strength — making learning feel like play.

This year also brought a wonderful new discovery.

Despite attending Latitude for years, we’d somehow never ventured into the Enchanted Area, tucked away at the top of the Family Field. It quickly became one of the biggest surprises of the weekend.

Run in partnership with students from Norwich University, the space encouraged children to become engineers, inventors and problem-solvers. Teams designed cardboard robots, constructed rockets and then spent the weekend refining their creations before entering a Robot Wars-style competition on Sunday afternoon. The imagination on display was extraordinary, with creations ranging from futuristic machines to an inspired SpongeBob SquarePants-inspired robot that battled its way to a thoroughly deserved third place. Watching children collaborate, troubleshoot and cheer each other’s creations perhaps summed up Latitude’s family ethos better than anything else.

Between the family activities, music naturally became the soundtrack to the weekend.

Friday belonged to David Byrne, whose joyful headline performance proved every bit as inventive and life-affirming as expected, while earlier in the day Irish quartet Florence Road confirmed exactly why they’re rapidly becoming one of Britain’s most talked-about young bands.

Saturday offered another memorable headline performance from Teddy Swims, whose enormous voice echoed across Henham Park before festivalgoers were treated to a spectacular Vodafone-sponsored drone display. Hundreds of illuminated drones filled the night sky, depicting Latitude’s famous pink sheep alongside butterflies, giant hands and a celebration of twenty years of the festival, providing one of the weekend’s most magical spectacles.

Away from the main stages, one of our own standout discoveries came courtesy of GLU. Set amongst the trees inside the magical Sunrise Arena, Michael Shuman — better known as bassist with Queens Of The Stone Age — delivered a wonderfully intimate performance that proved just how perfectly Latitude rewards those willing to wander away from the biggest crowds. It was the sort of hidden gem the festival has built its reputation upon.

Sunday, meanwhile, belonged to Lewis Capaldi.

Our son had been eagerly awaiting this moment ever since watching Capaldi’s emotional Glastonbury appearance back in 2023, which ultimately led to the Scottish singer stepping away from touring to prioritise his health. Seeing him return stronger, smiling and clearly enjoying himself again felt significant before a note had even been played.

Capaldi, meanwhile, quickly noticed one particularly youthful feature of the audience. With countless bubbles drifting towards the stage from excited children gathered near the front, he couldn’t resist commenting on the surreal sight unfolding before him.

Inspired by the excitement, our son and his friend announced they were making a dash for the barrier. Like many parents before us, we watched them disappear into a sea of thousands with equal measures of pride and mild panic. Within minutes they were impossible to spot. At that point, all you can really do is trust Latitude. Thankfully, Latitude has always felt like one of those increasingly rare festivals where children are gently looked after not only by their parents but by those around them too.

Much later they reappeared, beaming from ear to ear, reporting tales from the front barrier before climbing onto our shoulders for the closing moments of Someone You Loved. Fireworks burst overhead as thousands sang together beneath the Suffolk sky. It was one of those festival moments that becomes a family memory long after the tents have been packed away.

Latitude also continues to foster an unexpected entrepreneurial streak among its youngest visitors. Each year, children descend upon discarded recyclable cups with astonishing determination. Every returned cup earns ten pence, and before long groups of youngsters can be seen roaming the site armed with enormous sacks, carefully negotiating with adults who look as though they might be nearing the bottom of their drinks.

Parents largely pretend not to notice as cups are rescued from the grass — and occasionally the recycling bins — while friendships are forged through surprisingly organised collection strategies. It’s become one of Latitude’s own unofficial traditions. Our son’s efforts eventually paid off with enough money to buy the bubble wand he’d been eyeing all weekend. Few business ventures have ever brought greater satisfaction.

Another wonderfully unexpected encounter arrived over lunch. Award-winning children’s author Gareth P. Jones happened to be passing with his delightfully portable musical invention and soon invited our son and one of his friends to help compose an entirely improvised song. The topic, chosen by another nearby family, was perhaps less conventional than expected. Scotch eggs.

Before long, “eggs in breadcrumbs” had become the catchiest chorus of the weekend, following us around Henham Park for the remainder of the day and providing yet another reminder that some of Latitude’s best moments happen entirely by accident.

When we eventually asked our son for his own highlights of Latitude 2026, his answer perfectly captured the wonderfully eclectic nature of the weekend: Lewis Capaldi, David Byrne, GLU, sleeping, and cheese toasties with chips. It’s difficult to argue with any of them.

Each evening inevitably ended in the wonderfully quirky Trailer Park with a restorative hot chocolate before the long walk back to the tent. Dusty shoes were emptied one final time, tired legs finally stopped moving and another day’s adventures were relived before sleep quickly took over.

Twenty editions into its remarkable story, Latitude continues to evolve without losing sight of what has always made it special. It remains a festival where children can spend the morning building robots, the afternoon discovering insects, the evening watching world-class musicians and finish the day eating chips while fireworks illuminate the Suffolk sky. It is a place where future headliners share bills with established legends, where wandering often brings the greatest rewards and where families create traditions that draw them back year after year.

Yes, we’ll remember the dust. We’ll remember emptying shoes several times a day and discovering Suffolk soil in places we never thought possible. But far more than that, we’ll remember another weekend filled with music, imagination, discovery, laughter and shared family magic. After twenty years, Latitude remains one of Britain’s most magical family festivals.

Feature on Latitude Festival 2026 by Lauren Patel. Photography by Kalpesh Patel.

Latitude Festival 2026 Day Three: Lewis Capaldi’s Emotional Return Brings The Curtain Down As Latitude Celebrates Twenty Years

Latitude Festival 2026

Latitude Festival 2026 (Kalpesh Patel)

12:00: Everything Everything Ignite The Obelisk Arena In Matching Yellow Style

There’s little sense of easing into the final day as Everything Everything stride onto the Obelisk Arena stage wearing matching yellow suits emblazoned with striking red radiation symbols. It’s a visual statement befitting one of Britain’s most inventive bands, and from the opening notes of The End Of The Contender, they immediately inject energy into a crowd still filtering onto the field.

“Let’s get this Sunday started!” Jonathan Higgs declares after the opener before surveying the increasingly sunlit arena.

“How are you guys doing this morning? Beautiful day!” The response is immediate as Pizza Boy bounces into life, Higgs’ unmistakable falsetto soaring above the band’s relentlessly intricate musicianship. Jeremy Pritchard’s fluid basslines underpin Alex Robertshaw’s angular guitar work while Michael Spearman’s drumming drives every sudden tempo change with precision.

It’s easy to forget just how formidable Everything Everything’s catalogue has become across seven critically acclaimed albums. Mercury Prize nominees twice over and recipients of five Ivor Novello nominations, they effortlessly weave together favourites including Get To Heaven, Kemosabe, Regret, Distant Past and the ever-massive No Reptiles, before closing with recent single Cold Reactor.

As Sunday wake-up calls go, Latitude couldn’t have asked for a stronger one.

12:05: Matt-Felix Commands The Second Stage Despite A Criminally Small Crowd

Just five minutes later, another performance deserving of far greater attention unfolds inside the Second Stage tent.

Despite the sparse early-afternoon audience, London-based singer-songwriter Matt-Felix performs as though he’s already playing arenas, stalking confidently across the stage with effortless swagger, striking classic rock-star poses that occasionally recall Liam Gallagher (tambourine and all) while never feeling derivative.

Partway through his set he pauses to look ahead to the evening. “You all excited for Capaldi tonight?” he asks. “Love Capaldi… beautiful voice, funny guy. Should have been a comedian, hey?”

His songwriting proves equally engaging. The Wait introduces a more reflective mood before he smiles while setting up the gorgeous piano-led Lay Low.

“This next one’s for all of you that are feeling a little bit hungover.” The driving pulse of In Twilight quickly raises the energy once more before Matt-Felix delivers perhaps the afternoon’s defining message.

“I’m a big believer in life — you follow your dreams, you never give up. If there’s something you want to do, do it. Don’t let the fuckers bring you down. You want to be a football player, anything, go do it.”

He leaves behind the unmistakable impression that this won’t be the last time Latitude sees him.

13:05: Alex James’ Britpop Classical Turns The Obelisk Arena Into One Giant Singalong

One of Sunday’s most ambitious spectacles belongs to Blur bassist Alex James, whose Britpop Classical project transforms the Obelisk Arena into a celebration of an era that still defines British music.

Old television clips reflecting on the Britpop explosion roll across the giant screens before James appears alongside a full orchestra, backing singers and guest musicians.

“Hi, I’m Alex James. Are you ready for some juiced-up Britpop bangers?” he grins. “Maestro… crescendo!”

The orchestra surges into Ocean Colour Scene’s The Riverboat Song, immediately demonstrating just how naturally these orchestral arrangements elevate songs that already feel woven into Britain’s cultural fabric.

Guest appearances arrive thick and fast. Republica frontwoman Saffron storms through Ready To Go, while Alright by Supergrass becomes one of the afternoon’s first mass singalongs. A clever mash-up blends Elastica’s Connection with EMF’s Unbelievable, before Blur’s Song 2 is brilliantly fused with the lyrics of the song that inspired it – Nirvana’s Smells Like Teen Spirit – highlighting the shared DNA between Britpop and grunge.

“And just to say, what a joy it is to be in Suffolk… and what a joy it is to be in the country …” James teases as the troupe dive headlong into Blur classic Country House, before Reef frontman Gary Stringer appears to huge applause for Place Your Hands. Later, Phil Daniels receives one of the loudest ovations of the weekend as he strolls onstage to deliver the spoken-word brilliance of Parklife.

The closing sequence is pure festival magic. Disco 2000, Common People, Wonderwall, Don’t Look Back In Anger and finally The Universal unite thousands of voices beneath blue skies, perfectly encapsulating Latitude’s gift for creating shared moments between generations.

13:30: Panic Shack Bring Cardiff Chaos To The Second Stage

Across at the packed Second Stage, Cardiff’s Panic Shack continue proving why they’re rapidly becoming one of Britain’s most exciting live bands.

“Thanks Latitude, we’re Panic Shack and we’re from Cardiff,” Sarah Harvey smiles after the’ve delivered Baby.

Looking towards the nearby tent they played only a couple of years ago, she laughs: “Did anyone come and see us a couple of years ago in that tent over there?… Yeah… look at this big tent!” The crowd roars its approval. The humour continues throughout.

“This song’s about a creep from Cardiff. So no one be a creep this afternoon… or ever actually.” Cue the wonderfully chaotic SMELLARAT, before Thelma & Louise arrives with Harvey simply describing it as “this one’s about being best friends.”

Sharp riffs, infectious choruses and effortless chemistry make every song feel like a celebration, while the band’s confidence has clearly grown alongside their rapidly expanding audiences.

14:00: Blair Davie Finds Intimacy Inside The Alcove

While Oasis classics drift across from the Obelisk Arena, Scottish singer-songwriter Blair Davie creates one of Sunday’s most intimate moments over at The Alcove.

Dressed smartly in a brown suit over a black T-shirt and accompanied only by bass and keyboards, Davie immediately establishes an easy rapport: “How are you doing Latitude? It’s so nice to meet you. My name is Blair Davie and I come from Scotland. Our first song is about when you meet somebody for the first time and you know your whole life’s about to change.”

Coming Back Babe introduces a heartfelt set rich with storytelling. Sharing tales of relocating to London, Davie earns plenty of laughs. “The shower doesn’t get hot… the window doesn’t open… and we paid a couple of grand. It’s a fucking joke.”

Yet the story carries a deeper meaning as he explains before Wouldn’t Be Right that happiness ultimately comes from the people around us rather than our surroundings. His introduction to You Must Be A Miracle is particularly moving, describing how his forthcoming EP charts a journey from feeling broken to discovering unconditional love.

It’s a quietly beautiful performance that perfectly suits The Alcove’s intimate atmosphere.

14:45: The Undertones Deliver Timeless Punk Classics On The Obelisk Arena

Few bands make fifty-year-old songs feel as fresh as The Undertones.

“We are The Undertones… as it says,” Paul McLoone deadpans, gesturing towards the enormous backdrop behind the band. “Good afternoon… and a beautiful afternoon it is too. Thank you all for standing there watching. We’d better do something.” With that, Jimmy Jimmy explodes into life.

Original members John O’Neill, Damian O’Neill, Michael Bradley and Billy Doherty remain a remarkably tight unit, while McLoone, now fronting the band for over a quarter of a century, has long since made the role his own.

You’ve Got My Number (Why Don’t You Use It?), Male Model, Here Comes The Summer, My Perfect Cousin and Wednesday Week all receive warm receptions, but naturally it’s Teenage Kicks that transforms the Obelisk Arena into one enormous choir. Some songs simply never age.

15:05: Beth Orton Brings Calm Beauty To The Second Stage

After the exhilaration of The Undertones, Beth Orton offers a welcome change of pace inside the Second Stage tent.

“How’s it going? Good to be here,” she smiles, taking her place behind a Rhodes piano.

Joined by an accomplished band, Orton’s unmistakable voice effortlessly fills the tent through Otherside, The Ground Above and Celestial Light, while Central Reservation, She Cries Your Name and Friday Night remind everyone why she remains one of Britain’s finest songwriters.

There’s little need for theatrics. The songs speak for themselves, and the attentive crowd reward every note.

16:15: Arkayla Pack Out The Sunrise Arena

One of Sunday’s busiest non-main-stage crowds gathers deep within the woods for Manchester quartet Arkayla, whose rapidly growing reputation is clearly no accident.

Following Long Way Back, frontman Cal Blakebrough surveys the packed Sunrise Arena, with fans spilling well beyond the tent itself: “Thank you Latitude… how are we doing today? We are Arkayla and we are from Manchester… your new capital city,” he laughs, referencing recent political headlines. “Wonderwall’s the new national anthem now, sorry to let you know.”

The humour continues as he introduces the jangly brilliance of Fortune Teller, the brand-new Vivian, and later Doba, jokingly describing it as being inspired by “our brave favourite Polish explorer.”

Arkayla’s infectious indie-rock hooks and boundless confidence make them one of the day’s biggest discoveries, with a crowd stretching into the surrounding woodland proving plenty of festivalgoers have already caught onto something special.

17:45: David Gray Closes His Tour In Heartfelt Fashion On The Obelisk Arena

Returning to the Obelisk Arena, David Gray provides one of Sunday’s warmest and most uplifting performances. Opening with The One I Love, followed immediately by You’re The World To Me and My Oh My, Gray and his excellent band settle effortlessly into their groove.

Following Leave Taking, Gray pauses to reflect. “Thank you Latitude for being here.” He then reveals this performance marks the end of a remarkable touring run spanning both 2025 and 2026 — the 93rd and final show of the tour.

Later, Gray unexpectedly strings together beautifully understated covers of Soft Cell’s Say Hello, Wave Goodbye, Tainted Love, and The Eurythmics’ Here Comes The Rain Again, before reconnecting with festivalgoers through beloved originals including Babylon and This Year’s Love.

Closing with Sail Away, cheekily dedicated to Latitude’s “rich maritime history,” he leaves the Obelisk Arena smiling, bringing an elegant close to a lengthy tour.

18:20: Saint Etienne Overcome Technical Hiccups To Charm The Second Stage

Making one of their final festival appearances ahead of their recently announced farewell tour, Saint Etienne bring three decades of quintessentially British indie-pop to the Second Stage, with Sarah Cracknell, Bob Stanley and Pete Wiggs greeted by an enthusiastic early evening crowd.

“Good evening everyone, hello, hello,” Cracknell smiles as the trio take to the stage. “We’re Saint Etienne. I hope you’re having a brilliant time at Latitude and it’s just gonna get better, right now!”

The opening bars of Nothing Can Stop Us promise exactly that, although the performance is briefly interrupted by piercing feedback and ongoing microphone issues. The band pause while engineers work to resolve the problem, with shouts of “Turn up the mic!” and “Turn the bass down!” ringing out from the audience.

Taking it all in her stride, Cracknell responds with characteristic warmth and humour: “We’ve got a bit of a technical hitch but it’s being worked out as we speak, so sorry.”

As more good-natured suggestions continue to arrive from the crowd, she can’t resist another quip: “Any other requests? Would you like Bob and Pete to dance a little bit?”

The joke earns one of the biggest laughs of the evening before the trio launch into their joyous take on Who Do You Think You Are?, the sound problems now largely behind them.

From there, Saint Etienne settle into a beautifully nostalgic set. Pale Movie, Like A Motorway, Spring, Glad and Heart Failed (In The Back Of A Taxi) remind everyone why the London trio became such beloved figures across the indie-dance landscape of the 1990s, blending shimmering electronics, wistful melodies and Cracknell’s effortlessly elegant vocals. Saint Etienne prove that even a few technical gremlins can’t diminish the timeless charm of one of British pop’s most treasured bands.

19:30: Self Esteem Owns The Obelisk Arena With A Fearless Statement Of Empowerment

As the sun begins to dip over Henham Park, Rebecca Lucy Taylor – better known as Self Esteem – delivers one of the weekend’s most commanding performances as she brings her A Complicated Woman tour towards it’s close. Backed by her now trademark troupe of musicians and vocalists, she transforms the Obelisk Arena into both a pop spectacle and a rallying cry, with choreography, powerful visuals and moments of vulnerability all woven seamlessly together.

Opening with I Do And I Don’t Care, Taylor immediately has the packed field in the palm of her hand before launching into Mother and Lies, her commanding stage presence matched by the sheer force of the live arrangements.

Across the set, songs from Prioritise Pleasure and this year’s A Complicated Woman are greeted like old friends. 69, You Forever, Logic, Bitch! and the title track Prioritise Pleasure arrive one after another, each drawing huge singalongs from an audience fully invested in every lyric.

Taylor effortlessly balances biting humour with emotional honesty, a combination that has become central to her appeal. The Curse, In Plain Sight and Cheers To Me showcase her ability to turn deeply personal reflections into communal moments, while If Not Now, It’s Soon and The Deep Blue Okay slow the pace before the empowering spoken-word anthem I Do This All The Time once again reminds everyone why she has become one of Britain’s most important live performers.

Closing with Focus Is Power, Self Esteem leaves the Obelisk Arena having delivered a performance that is every bit as uplifting as it is uncompromising.

20:00: English Teacher Bring Mercury Prize Brilliance To The Second Stage

Fresh from an extraordinary rise over the past two years, Leeds quartet English Teacher draw one of the weekend’s biggest Second Stage crowds.

Walking onstage to the unmistakable saxophone of Gerry Rafferty’s Baker Street, the band immediately ooze understated cool. Hidden behind dark sunglasses and a baseball cap, frontwoman Lily Fontaine barely pauses before leading the band into The World’s Biggest Paving Slab, its angular guitars and shifting rhythms instantly captivating the packed tent.

Rather than relying on traditional frontperson theatrics, Fontaine’s magnetic presence comes through her delivery. I’m Not Crying, You’re Crying sees her effortlessly move between spoken passages and soaring vocals, while Broken Biscuits, Albatross and Billboards continue to demonstrate why the band have become one of Britain’s most acclaimed new acts.

Backed by Lewis Whiting’s inventive guitar work, Nicholas Eden’s fluid bass playing and Douglas Frost’s relentlessly creative drumming, English Teacher make the complex feel completely natural.

By the time This Could Be Texas, R&B and the gorgeous closing pairing of Nearly Daffodils and Albert Road arrive, the overflowing Second Stage crowd know they’ve witnessed one of Sunday’s finest performances.

21:30: Lewis Capaldi’s Emotional Homecoming Closes The Obelisk Arena

There are headline sets, and then there are moments that transcend the music itself. Following his well-documented break from touring to prioritise his mental health, Lewis Capaldi’s return has been one of the defining stories of the year, and as darkness falls over Henham Park, an enormous crowd gathers at the Obelisk Arena to welcome him back. Emerging to Hollywood, Capaldi is met by a roar that almost drowns out the opening bars before breaking into a broad smile. “My name’s Lewis Capaldi, it’s good to be back!” he beams, the reception clearly not lost on him.

Any nerves quickly disappear as Grace arrives, the audience matching him word for word before he steps back from the microphone with a grin. “Let me hear you sing it!” Thousands oblige, their voices carrying across the field with remarkable force.

If there’s one thing Capaldi has always mastered, it’s balancing devastating heartbreak with self-deprecating humour, and throughout the evening his trademark banter is never far away. “Is everyone here in a good mood?” he asks mischievously. “Don’t worry, we’ll soon fucking fix that…”

The joke lands perfectly because everyone knows what’s coming. Songs such as Wish You The Best, Love The Hell Out Of You, Forever, Bruises and Pointless are delivered with all the vocal power that has made Capaldi one of Britain’s most celebrated songwriters, while a playful rendition of Katy Perry’s Teenage Dream offers a welcome moment of levity before the emotional intensity steadily builds.

The evening takes an especially poignant turn as Capaldi reflects on his previous appearance at Latitude in 2022, candidly recalling the panic attack he suffered on this very stage before the more public break he had on Glastonbury’s Pyramid Stage the following year, leading to a break from performing. That honesty gives The Day That I Die even greater emotional weight, the deeply personal song taking on new meaning in the context of the journey that has brought him back to this moment. Across the packed arena, friends and families instinctively wrap their arms around one another as tears begin to replace smiles.

Returning for the encore, Capaldi briefly teases Foo Fighters’ All My Life machine-gun intro before laughing and correcting himself, instead launching into Creedence Clearwater Revival’s Have You Ever Seen The Rain?.

Then comes the night’s defining visual moment. As the opening of Survive begins, the production shifts dramatically. Water cascades from the roof of the stage, creating a curtain of rain behind which Capaldi and his band perform, illuminated by sweeping lights that make the downpour shimmer against the darkness. It’s a striking metaphor for a song born from his most difficult period, transforming an already powerful performance into something genuinely unforgettable.

By the time the familiar piano of Someone You Loved echoes across Henham Park, the entire Obelisk Arena has become one giant choir. Thousands of raised arms sway beneath fireworks exploding overhead as the audience’s voices completely overwhelm Capaldi’s own. Rather than fighting to be heard, he simply stands back, taking in the extraordinary scene with a mixture of gratitude and disbelief.

It is a finale that feels bigger than a headline set. Equal parts celebration, catharsis and homecoming, Lewis Capaldi’s return provides the perfect closing chapter to Latitude Festival’s twentieth anniversary, ending the weekend with a powerful reminder of the unique bond between artist and audience.

21:45: The Flaming Lips Turn The Second Stage Into A Psychedelic Spectacle

While Capaldi provides the emotion across the park, those gathered at the Second Stage are treated to something altogether more surreal.

Few bands understand the art of festival spectacle quite like The Flaming Lips, and Wayne Coyne and company waste no time transforming the closing moments of Latitude into a kaleidoscopic celebration.

Opening with the sprawling It Overtakes Me, before moving through Yoshimi Battles The Pink Robots Parts 1 & 2 (alongside an army of massive inflatable pink robots!), the Oklahoma legends immediately immerse the audience in their wonderfully eccentric world.

The set effortlessly drifts between psychedelic experimentation and beloved classics. The Spark That Bled, Daniel Johnston’s True Love Will Find You In The End, The Chemical Brothers collaboration The Golden Path, She Don’t Use Jelly and the irresistible The Yeah Yeah Yeah Song all arrive amid dazzling visuals and the band’s trademark sense of childlike wonder. There is a sense, however, that for all the dazzling visuals and breaks for Coyne to change outfits, it is the music that takes a hit.

As ever, Do You Realize?? provides one of the festival’s most beautiful closing moments, thousands singing along while confetti cannons, giant balloons and dazzling lights fill the full-to-the-brim tent.

A thunderous rendition of War Pigs unexpectedly follows before the band sign off with Race For The Prize, leaving smiling faces throughout the packed Second Stage field.

Twenty years after it first welcomed music lovers to Henham Park, Latitude Festival once again proves why it occupies such a unique place in the UK’s festival calendar. Across three days, established legends shared stages with tomorrow’s headliners, intimate woodland discoveries sat comfortably alongside arena-filling spectacles, and every corner of the site offered another memorable moment waiting to be found.

Sunday encapsulates that spirit perfectly. Everything Everything provide the perfect wake-up call, Alex James celebrates the enduring legacy of Britpop, Arkayla and Matt-Felix announce themselves to ever-growing audiences, Self Esteem delivers another career-defining statement, English Teacher reinforce their status as one of the country’s finest young bands, while David Gray and The Flaming Lips remind everyone of the enduring power of experience and imagination.

But ultimately, the final word belongs to Lewis Capaldi. His emotional return is more than simply a headline set; it’s a reminder of the remarkable bond that can exist between artist and audience. As thousands leave the Obelisk Arena still singing Someone You Loved into the Suffolk night, Latitude’s twentieth edition draws to a close not with fireworks or spectacle, but with a shared moment of genuine human connection — the perfect ending to another unforgettable weekend at Henham Park.

Live review & photography of Sunday at Latitude Festival 2026, Henham Park by Kalpesh Patel on 26th July 2026.

Latitude Festival 2026 Day Two: Teddy Swims Triumphs And GLU Shines As Latitude Celebrates Twenty Years In Style

Latitude Festival 2026

Latitude Festival 2026 (Kalpesh Patel)

Families once again gather beneath the festival’s iconic pink sheep, and while lake swimming is still closed due to algae, boats drift across the lake and every corner of the site comes alive as music spills from woodland clearings, lakeside pontoon and the festival’s main stages. If Friday belonged to David Byrne’s headline masterclass and Florence Road’s breakout performance, Saturday proves equally rewarding, blending legendary artists, emerging talent and unforgettable surprises before ending with a spectacular celebration of Latitude’s twentieth birthday.

12:00: Jacob Alon Finds Peace On The Waterfront Stage

There can be few more idyllic places to begin a festival day than Latitude’s floating Waterfront Stage, and Jacob Alon provides the perfect soundtrack.

Alternating between piano and acoustic guitar, the Fife songwriter’s delicate vocals drift effortlessly across the lake as festivalgoers gather on the banks, nearby bridge and surrounding hillside. “Hello my loves, pleasure to see you. My name’s Jacob,” they smile after the opening ballad.

A brief technical issue interrupts Of Amber, but Alon quickly laughs it off. “Hope you aren’t too rough after Friday night. Thanks for choosing to spend your morning with us.”

The intricate Don’t Fall Asleep, dedicated to a friend named Archie, and the breathtaking falsetto of Liquid Gold 25 showcase why Alon has become one of Britain’s most exciting new voices.

“This is for all the gays, all the trans people. And if you’re sittin’ there with your face trippin’ ya, you got a problem with that, you can shove it up your hole” they say to cheers from the crowd, introducing Confession.

A beautiful duet with pianist Douglas Dare on Dare’s song The Nightclub and a haunting solo performance of Fairy In A Bottle close one of the festival’s most intimate and memorable early sets.

13:40: Temples Bring Psychedelic Warmth To The Second Stage

Temples arrive on the Second Stage with effortless confidence, their shimmering psychedelic rock proving the perfect accompaniment to another blazing afternoon.

“Latitude! Make some noise!” James Bagshaw shouts as Certainty opens the set before seamlessly flowing into Cicada. Backed by Adam Smith, Tom Walmsley and Rens Ottink, the quartet glide through Sun Structures, Gamma Rays and Shelter Song, their kaleidoscopic sound filling the packed tent.

Closing with an extended Mesmerise, Temples deliver another polished reminder of why they remain one of Britain’s finest psychedelic rock bands.

13:45: BIIRD Celebrate Irish Tradition On The Obelisk Arena

Latitude has always championed musical discovery, and BIIRD provide one of Saturday’s most distinctive performances.

Led by seven-time All-Ireland champion Lisa Canny, the twelve-piece Irish collective reinvents traditional folk music with infectious energy, combining fiddles, whistles, harp, banjo and percussion into a vibrant, contemporary celebration of Irish culture.

The afternoon crowd quickly embraces the performance, dancing across the field as BIIRD demonstrate exactly why they have become one of Ireland’s most exciting new live acts.

15:00: Cian Ducrot Wins Over The Obelisk Arena

Cian Ducrot approaches the Obelisk Arena like someone born to command festival crowds. Bounding between guitar and a gleaming silver grand piano, the Cork singer barely stands still as Heaven, Little Dreaming and Shalalala immediately ignite the packed arena.

“Latitude, how are we feeling?” he beams. “It is an honour and a pleasure to be here. We’re gonna have as much fun as we possibly can.”

That promise is fulfilled throughout No Way To Live, All For You, Coming Home and the inevitable mass singalong of I’ll Be Waiting. Equal parts showman and songwriter, Ducrot continues his rapid ascent towards the very top tier of festival performers.

15:30: GLU Quietly Delivers One Of Saturday’s Finest Performances In The Sunrise Arena

One of Saturday’s genuine hidden gems unfolds away from the biggest crowds. Michael Shuman—better known to many as Queens Of The Stone Age bassist Mikey Shoes—steps into the Sunrise Arena as GLU and delivers one of the festival’s most accomplished performances.

Performing almost entirely alone with electronic production, razor-sharp guitar playing and effortless charisma, Shuman blends alternative rock, hip hop, funk and pop into something completely his own. Dressed in a retro powder-blue jumpsuit and sunglasses, he opens with LOVE YOU TO PIECES before coolly greeting the audience: “What’s up Latitude Fest? I’m GLU from Los Angeles.”

Despite playing to a surprisingly modest crowd just weeks after performing stadium shows with Queens Of The Stone Age, Shuman never lets the energy dip. PONY BOY grooves effortlessly, while Gone Fishin’, introduced with “I wrote this song in London,” becomes an undeniable highlight, pairing huge choruses with dazzling guitar work.

A beautifully understated Cold Sweat, an inspired cover of Jennifer Paige’s Crush and the Lily James-assisted L.A. showcase the project’s remarkable range before My Demons closes a captivating thirty-five minutes. It feels almost criminal that so few people witness it. Stylish, adventurous and packed with exceptional songs, GLU delivers one of the day’s biggest musical highlights—and one that many festivalgoers will surely regret missing.

16:30: Vanessa Carlton’s Timeless Songs Shine On The Obelisk Arena

Vanessa Carlton lets the strength of her songwriting do the talking during a warm, understated afternoon performance.

Willows, White Houses and Agony Of The Flower demonstrate the depth of her catalogue before the unmistakable piano introduction to A Thousand Miles prompts one of Saturday’s biggest communal singalongs.

Rather than leaning solely on nostalgia, Carlton closes confidently with Nolita Fairytale and The Great House, reminding the audience that her career extends well beyond her signature hit.

16:45: Keo Continue Their Rapid Rise In The Sunrise Arena

One of the UK’s most exciting emerging alternative bands, London’s Keo bring a welcome burst of guitar-driven energy to the Sunrise Arena.

Led by brothers Finn Keogh (vocals, guitar) and Conor Keogh (bass), alongside guitarist Jimmy Lanwern and drummer Oli Spackman, the quartet draw on influences spanning Jeff Buckley, Radiohead, The Smashing Pumpkins, Wunderhorse and Fontaines D.C., blending grunge, shoegaze and alternative rock into an increasingly distinctive sound. Their own story stretches from Plymouth to Portugal, Ireland and the United States, where the Keogh brothers spent much of their childhood touring with their father’s traditional Irish folk project.

Opening with Hands, Keo steadily build momentum through Be Happy, Pistol and I Lied, Amber, Finn’s expressive vocals cutting through the dense walls of guitar. Only We Know, Spent On You and the emotional closing pairing of That’s Me and Black Dress underline why the band’s reputation continues to grow, with another impressive festival showing suggesting bigger stages are surely only a matter of time.

18:00: Billy Ocean Keeps The Hits Coming On The Obelisk Arena

As Saturday drifts into evening, Billy Ocean proves that timeless songs never lose their power. Looking every inch the icon in a sharp suit and trademark white dreadlocks, the 76-year-old legend receives a hero’s welcome as he opens with One World before warmly greeting the packed Obelisk Arena.

“Thank you! And greetings to you all, at Latitude. Good to be with you this evening… are you all having a good time?” he asks to a roar of approval. “You’ve got a lot more music coming. Are you ready to party? Let’s party.”

The irresistible groove of Love Really Hurts Without You instantly transforms the field into a dancefloor before Ocean teases, “Listen, you want to get into my car?” as the unmistakable opening of Get Outta My Dreams, Get Into My Car sparks one of the weekend’s biggest singalongs. Chants of “Billy! Billy!” echo between songs as classics including Loverboy, Red Light Spells Danger and a heartfelt Suddenly remind everyone why his catalogue has endured for decades.

By the time When The Going Gets Tough, The Tough Get Going gives way to a euphoric Caribbean Queen, every generation in attendance is singing together, celebrating one of British pop’s true great entertainers.

18:40: James Marriott Packs The Second Stage

The queues stretching far beyond the Second Stage leave little doubt that James Marriott’s audience has outgrown the tent long before he walks on stage.

Opening with Ventriloquist, Marriott immediately demands, “How are we doing Latitude? Make some fuckin’ noise!” before crashing headlong into Something’s Wrong. Introducing himself after the second song, he barely pauses for breath. “My name is James Marriott, thank you for joining me tonight.”

The energetic Plasticine quickly gives way to Him, introduced with characteristic humour. “I received a piece of advice once: ‘When you’re playing a festival, don’t bore people with slow shit, just play the bangers.’ So I’m going to be playing some bangers.”

The audience wholeheartedly agrees. Car Lights, Sleeping On Trains, Burn Down The Disco and California Rain are greeted with deafening singalongs before closing favourite Grapes brings an exhilarating set to an equally enthusiastic conclusion. Marriott’s transition from internet personality to genuine festival draw now feels complete.

19:30: Tom Odell Captivates The Obelisk Arena

As the evening sun begins to soften, Tom Odell delivers one of Saturday’s most emotionally affecting performances.

Opening with Grow Old With Me, Odell effortlessly commands the vast Obelisk Arena through little more than his piano and unmistakable voice. Can’t Pretend, Somebody Else, Heal and gorgeous ballad Black Friday all resonate deeply with the audience, each song carried by his heartfelt delivery rather than grand production.

When the opening notes of Another Love arrive, thousands of voices join together beneath the fading Suffolk sky, creating one of the day’s defining moments. It is understated, elegant and utterly captivating.

20:30: MAN/WOMAN/CHAINSAW Celebrate A Milestone In The Sunrise Arena

MAN/WOMAN/CHAINSAW continue their remarkable rise with one of Saturday’s most exhilarating performances, transforming the Sunrise Arena into a whirlwind of noise, melody and controlled chaos.

Vera Leppänen takes centre stage for the explosive opener Only Girl, while Clio Starwood’s distinctive violin line immediately becomes the focal point, the violinist barely standing still throughout the performance. Billy Ward then assumes lead vocal duties for the punk-infused The Thing, showcasing the band’s willingness to constantly shift dynamics and personalities.

The six-piece—completed by pianist Emmie-Mae Avery, guitarist Billy Doyle and drummer Lola Cherry—move effortlessly between delicate passages and explosive walls of sound. A gentle violin introduction underpinned by Avery’s keys gradually gives way to crunching guitars and thunderous rhythms, perfectly capturing the band’s unpredictable appeal.

“This is our 200th ever gig,” Ward proudly announces to loud cheers.

“So thanks for being here,” Leppänen adds, smiling towards the packed tent.

With Get Up And Dance, Goddamn, Lizard Man!, Lighter, Something Else To Give and the blistering Nosedive, the London outfit underline exactly why they remain one of Britain’s most exciting young alternative bands.

21:15: Teddy Swims Delivers A Headline Performance Full Of Heart

Three years ago Teddy Swims appeared on this very stage well down the bill beneath artists including The Lightning Seeds, The Kooks, Paolo Nutini and The Big Moon. Returning in 2026 as Saturday night’s headliner completes a remarkable rise for the Atlanta singer-songwriter, whose genre-blurring blend of soul, R&B, pop and rock has propelled him from YouTube cover artist to global star.

Introduced by archive American television footage discussing the punk movement, Swims emerges before a spectacular tiered stage production alongside his exceptional backing band Freak Freely—featuring guitarists Addy Maxwell and Jesse Hampton, keyboard player Jairus Hardge, bassist Christian Griswold and drummer DeAndre Hemby—while Devin Velez leads a powerful group of backing vocalists.

The opening notes of The Door are almost drowned out by the audience, Swims happily handing over parts of the chorus as thousands sing every word back towards the stage before charging into Hammer To The Heart.

“Hey Latitude, it’s so great to be back with you. I love you so much,” he beams, acknowledging just how dramatically his career has changed since his previous appearance here.

Whether delivering the funk-infused Are You Even Real, the deeply personal Funeral or the rock swagger of You’ve Got Another Thing Comin’, Swims effortlessly moves between genres without ever sacrificing authenticity. A joyful duet with Vanessa Carlton for her hit A Thousand Miles becomes one of the evening’s standout moments, while Addy Maxwell draws huge applause with a flawless recreation of Eddie Van Halen’s iconic guitar solo during the band’s cover of Van Halen hit Jump.

“We don’t have too much of your time left,” Swims tells the crowd before the soaring All That Really Matters. “I’m having the time of my life. I hope you are too.”

The unmistakable piano introduction to Lose Control immediately ignites one final mass singalong, bringing Henham Park together for one of the defining moments of Latitude 2026. As the song ends, Swims simply smiles: “Thank you so much for making our dreams come true.”

It is an emotional, assured headline performance that confirms his place among today’s biggest live performers.

22:00: Wet Leg Bring Saturday To A Joyous Close On The Second Stage

The unmistakable Countdown theme echoes across the Second Stage as thick banks of mist engulf the platform, leaving Wet Leg almost completely hidden from view. Emerging only as a silhouette against blinding white lights, Rhian Teasdale slowly strides forward through the haze, flexing her muscles before the band explode into catch these fists. For good stretches, Teasdale, guitarist Hester Chambers and bandmates Josh Mobaraki, Ellis Durand and Henry Holmes remain almost entirely invisible, adding an air of theatre to the opening assault.

As the smoke finally clears following Oh No, Teasdale greets the crowd with a grin: “Latitude, how are we doing? It’s so nice to be back after all these years.”

The bouncy Wet Dream immediately sparks another huge singalong before newer material including liquidize, jennifer’s body, Being In Love and pond song demonstrates just how confidently the Isle of Wight outfit have evolved since their breakthrough.

The home straight is irresistible. Ur Mum, Angelica and the ever-present Chaise Longue transform the packed Second Stage into one giant late-night party before CPR and mangetout provide a fittingly euphoric conclusion.

Saturday reinforces everything that has made Latitude one of Britain’s most distinctive festivals across its first twenty editions. Established legends, future stars and unexpected discoveries coexist effortlessly across Henham Park, rewarding audiences willing to wander between stages.

Jacob Alon provides the day’s quiet beauty, Billy Ocean proves great songs never age, and Tom Odell delivers one of the festival’s most moving performances. Yet alongside Teddy Swims’ uplifting headline triumph, it is GLU who leaves the deepest impression. Michael Shuman’s remarkable Sunrise Arena performance is one of those rare festival sets that feels destined to become part of Latitude folklore for those fortunate enough to witness it. As drones illuminate the Suffolk sky in celebration of twenty years of Latitude, Saturday serves as another reminder that this festival’s greatest strength has always been its ability to surprise.

Live review & photography of Saturday at Latitude Festival 2026, Henham Park by Kalpesh Patel on 25th July 2026.

Latitude Festival 2026 Day One: David Byrne Delivers Joy As Florence Road Steal The Day