Duran Duran @ BST Hyde Park 2026

Duran Duran @ BST Hyde Park 2026 (Sienna Lorraine Gray)

Early festival-goers were rewarded by Californian and Kansas-raised electro-pop artist Sophie Grey., whose glittery purple two-piece perfectly matched the shimmering afternoon sunshine. Accompanied by a keytar throughout her set, Grey showcased tracks from her recent EP Just Another Sonic Monday, with Maybe, Baby and On Hold proving particular highlights as she impressed with her futuristic electro-pop sound.

There could be few better ways to kick-start an afternoon in Hyde Park than Groove Armada. Tom Findlay and Andy Cato took to the decks for a seamless DJ set that quickly transformed the Great Oak arena into an open-air dancefloor, filling the Royal Park within minutes. Celebrating his 53rd birthday, Findlay looked delighted to spend it soundtracking a sun-soaked London afternoon, while the pair’s trademark blend of house, funk and electronica proved the perfect warm-up for the day ahead.

A later appearance on the Rainbow Stage was made by Melanie C, who kept the party going with a hugely enjoyable DJ set. Celebrating 30 years since the release of SPICE, the former Spice Girl treated fans to Who Do You Think You Are? amongst an infectious selection of pop classics before closing with a crowd singalong to 2 Become 1. It wouldn’t be her only appearance of the day.

Melanie C with Scissor Sisters @ BST Hyde Park 2026

Melanie C with Scissor Sisters @ BST Hyde Park 2026 (Simon Reed)

Nile Rodgers & CHIC turn BST Hyde Park into the world’s biggest disco, sweeping across The Great Oak Stage with the effortless confidence of a band that knows it owns half the nation’s party soundtrack. From the opening groove of Le Freak to the irresistible pull of Everybody Dance and I Want Your Love, Rodgers conducts proceedings with a grin, a Stratocaster and what appears to be a direct hotline to everyone’s dancing feet. Even those claiming they’re “just watching” get caught bouncing around by the second chorus.

Nile Rodgers & CHIC @ BST Hyde Park 2026

Nile Rodgers & CHIC @ BST Hyde Park 2026 (Simon Reed)

The hits arrive so quickly they barely have time to take a bow. Rodgers’ extraordinary songwriting catalogue stretches well beyond CHIC, taking in Diana Ross’ I’m Coming Out, Sister Sledge’s We Are Family, Madonna’s Like A Virgin and Material Girl, before Daft Punk’s Get Lucky reminds everyone that his influence and massive body of work remains as relevant as ever.

We Are Family unites the crowd (I can see what appears to be two strangers booty bumping in time to the music), while Get Lucky and closing number Good Times provide a masterclass in feel-good funk, with Duran Duran’s John Taylor joining Rodgers for the finale. Rodgers remains a charming ringmaster throughout, proving that at 73, he still has the energy to power the show and his million-watt smile. The result is a punchy, joyous set that leaves the crowd smiling, sweating and quietly wondering whether disco might actually be the answer to everything.

With a giant inflatable pair of scissors towering over the stage, Scissor Sisters waste no time reminding everyone exactly why they’ve been so sorely missed.

The show opens with I Don’t Feel Like Dancin’, led by the charismatic and expressive “Eternal Twink” Jake Shears (who I, and many others, last saw being erm, “enjoyed” in last year’s BDSM rom-com Pillion). Shears is an exceptional presence, and his high-quality falsetto voice and infectious energy never needed the draggy, flamboyant trappings, but it sure makes life more fun. “Now we’re cooking. Now we’re cooking with grease,” Shears beams after Laura, and from there the band barely pause for breath.

Missing from the stage is Ana Matronic, who is sitting out the current schedule of performances to focus on historical research and her successful history podcast, Good Time Sallies. How do you replace a larger-than-life character like former co-founding frontwoman Ana Matronic? With two larger-than-life frontwomen. Amber Martin and Bridget Barkan look like they’ve been kidnapped from the final night at Studio 54. They have a special brand of glamour; raunchy, sleazy and exquisite. Amber Martin cries out to the crowd, “Everyone, get your tits out!” Given the average age of this Gen X audience, the same joke titters across the crowd about us needing to peel up the hem of our dresses.

Scissor Sisters @ BST Hyde Park 2026

Scissor Sisters @ BST Hyde Park 2026 (Simon Reed)

Crowd-pleaser Filthy/Gorgeous activates the audience, the people jumping in time with the chorus holding their wobbles in place just as a pair of comically giant inflatable cockeyed breasts arrive on stage, bouncing independently of each other. Yup, apropos Scissor Sisters, thanks for representing.

For an extra shot of pop sparkle, former Spice Girl Melanie C makes an appearance ahead of her Rainbow Stage DJ set. Performing with trademark athletic energy, she slips seamlessly into the band’s chaos for a rockin’ mash-up of Take Your Mama and George Michael’s Freedom with Jake Shears. As their time on stage comes to an end, Shears reminds Hyde Park that London has always been Scissor Sisters’ spiritual home, dedicating Only The Horses to the city before thanking fans for their years of support.

Just as I began to reminisce about their long-ago Brit Awards performance with a farmyard of Muppets, to wrap up their set is Music Is The Victim; the band are joined by a demented-looking version of a Mr Snuffleupagus-esque two-person puppet. As the heat cranks up a few notches, I feel terrible for the person in the rear of that costume. For all the campy frivolity, they comfortably navigate across genres. Their finale proves their solid rock credentials as they bust out powerhouse rock and rhythm & blues. Scissor Sisters are epic performers with bags of (albeit adult-orientated) added value.

With an expansive career that has never ceased, Duran Duran have an incredible repertoire to draw from. Opening with Is There Something I Should Know?—a song which is likely not the first Duran hit to jump to mind—it’s easy to forget that it entered the UK charts at number one upon release in 1983. Core members and guests fill out the eight-piece band and, seconds in, we can hear how tight they still are. They all look “refreshed”, whether by procedures or style updates; it is effective. Roger Taylor beams from behind the drum kit, Nick Rhodes is resplendent in an ‘eyeball suit’ designed by Joshua Workman, John Taylor sports bright newly-bleached hair and Simon Le Bon wears casual but chic summer whites.

“Hi London… do you reckon it’s time for Bond?” Le Bon grins before the unmistakable opening of A View To A Kill, swiftly followed by Hungry Like The Wolf. The crowd barely have time to catch their breath. Le Bon charms Hyde Park with effortless star power. During A View To A Kill he proves he still has the pipes, singing without any perceptible adjustment for the deepening of his voice and comfortably hitting the notes.

Duran Duran @ BST Hyde Park 2026

Duran Duran @ BST Hyde Park 2026 (Bethan Miller-Carey / @bethanmillerco)

With England due to face Mexico in the World Cup later that night, Le Bon abandons his usual dedication for Ordinary World to “those less fortunate”, instead offering it to the England football team. “I believe they can overcome the cauldron that is the Azteca,” he tells Hyde Park to huge cheers.

What I am interested in, though, is Le Bon’s vocal delivery, which is holding up beautifully. Ordinary World is a complex song requiring range, power and steady breath control. Where he starts to waver, he drops his voice down into the music and the guitar solo picks up an intricate, richly melodic fill. It’s always a joy when a band who stick together continue to develop and play in such a unified way.

The visuals take a leaf from the Roxy Music playbook, with highly stylised conceptual sequences of glossy magazine-quality female models doing sexy things in time to Come Undone, a version of New Moon On Monday with a stripped-back intro, and The Chauffeur. The Chauffeur is a song that rarely makes it into a Duran set; it is a treat at twilight, the perfect setting. Le Bon tops his head with a driver’s cap for kinky effect, as dancers undress each other in a choreographed sapphic roleplay magnified on the big screens. Le Bon then busts out the trademark ocarina, which rounds out the number. He plays a mean ocarina—who knew?

Taking a moment to introduce Nile Rodgers, who has returned to the stage after performing earlier in the day with CHIC, Le Bon harks back to a song they wrote together in the 1980s, remarking, “It makes us seem so old, but not really, because music keeps you young,” before treating the crowd to Notorious. Ahead of Free To Love, Simon Le Bon performs the role of Bruce Dern from the 1966 movie The Wild Angels (more familiarly known as the speech from Primal Scream’s Loaded). Well timed to continue the Pride weekend celebrations.

The cooling temperature wakes the park up just in time for a high-energy and ear-shatteringly loud White Lines—a quick reminder to those attending British Summer Time gigs: bring or buy ear protection. The setlist is a fantastic mash-up of classics like Girls On Film, more recent tracks like Invisible from 2021’s Future Past, and unexpected covers and mash-ups including Psycho Killer, Evil Woman and Super Lonely Freak. I begin to wonder if these adventurous set choices are in preparation for their newly announced Halloween spectacular at London’s O2 Arena later this year.

Ahead of the inevitable encore choices, Save A Prayer is slotted in. The band request audience participation with the creation of a dreamy mobile phone galaxy just as darkness falls, while Le Bon picks up a guitar for the perfect softening of the sound.

There is still one final burst of energy left. London Calling and The Wild Boys send Hyde Park into one last frenzy before the unmistakable opening of Rio brings the evening to its inevitable, euphoric conclusion. As Roger Taylor’s final drum roll rings out across the park, thousands roar their approval after two hours of timeless hits. On a day where disco ruled the afternoon, camp reigned supreme and one of Britain’s greatest bands reminded everyone exactly why they’ve endured for nearly five decades, BST Hyde Park once again proved itself one of the capital’s defining summer events.

Live review of Duran Duran @ BST Hyde Park 2026 by Sarah Sievers on 5th July 2026. Photography by Simon Reed. Additional photography of Duran Duran by Sienna Lorraine Gray and Bethan Miller-Carey.

Mumford & Sons Celebrate A Homecoming To Remember At BST Hyde Park 2026

Wolf Alice @ Finsbury Park

Wolf Alice @ Finsbury Park (Kalpesh Patel)

Early performances from Florence Road and Keo help ease the growing audience into the afternoon before Rachel Chinouriri arrives to a deservedly warm reception. Fresh from a breakthrough few years, the London singer-songwriter’s effortless charm shines through as she mixes favourites including Garden Of Eden and Never Need Me with unreleased material, her soulful vocals floating across the park as the crowd steadily thickens.

Swedish icon Lykke Li follows with perhaps the day’s most striking visual identity. Emerging with her band clad entirely in black hooded rain jackets, her face obscured beneath a mesh veil, she cuts an enigmatic figure against the blazing sunshine. The contrast only heightens the drama as sex money feelings die washes across Finsbury Park before the unmistakable opening of I Follow Rivers prompts one of the afternoon’s biggest singalongs.

By the time The Last Dinner Party arrive, however, the day shifts into another gear entirely.

Opening with the dramatic Agnus Dei, Abigail Morris commands the stage with effortless theatricality, red ribbons flowing from microphone stands as though every detail has been choreographed. If anyone in the crowd has somehow yet to encounter the London quintet, Morris quickly remedies that, introducing each member before the band launch into The Feminine Urge, striding confidently along the runway while Emily Roberts’ guitar lines slice through the warm evening air.

The Last Dinner Party @ Finsbury Park

The Last Dinner Party @ Finsbury Park (Kalpesh Patel)

Their chemistry remains remarkable. Georgia Davies’ driving basslines, Aurora Nishevci’s elegant keyboards and Lizzie Mayland’s harmonies continually elevate the songs beyond straightforward indie rock, while drummer Stella powers everything forward with precision. Second Best quickly has thousands bouncing, Morris collapsing dramatically to her knees atop the central platform before Sinner sees her hand vocal duties entirely to the audience with a simple command: “Sing it!” Forty-five thousand happily oblige.

The clap-along swagger of My Lady Of Mercy gives way to the muscular, hard-rock punch of Big Dog, showcasing just how much broader the band’s sound has become since their debut. Morris pauses afterwards to thank Wolf Alice for the invitation before introducing the haunting The Scythe, one of the standout moments from last autumn’s sophomore record.

Always the consummate performer, Morris is equally adept between songs. Spotting the enormous crowd stretched across Finsbury Park, she smiles. “I have a favour to ask.” With England’s World Cup fixture only hours away, she teaches the audience a football-style chant for brand new single Knocking At The Sky, due for release later that week. The rehearsal proves inspired as thousands immediately join in, transforming an unreleased song into one of the afternoon’s highlights.

Her flair for character acting returns during This Is The Killer Speaking, adopting a wonderfully exaggerated Southern drawl before stopping the performance entirely to teach everyone a choreographed dance. “If I don’t see every one of you doing it… we’re not playing Nothing Matters. I don’t make the rules.” Needless to say, everyone joins in.

Closing with the band’s breakthrough anthem, Morris leaves the stage grinning. “Just remember… nothing matters.” Judging by the reaction, plenty of today’s audience would happily watch them headline this park themselves in years to come.

As dusk begins settling over North London, anticipation reaches fever pitch.

Wolf Alice @ Finsbury Park

Wolf Alice @ Finsbury Park (Kalpesh Patel)

White ticker tape explodes skywards as confetti cannons erupt and Wolf Alice burst onto the stage with Bloom Baby Bloom, immediately demonstrating the confidence that has made them one of Britain’s defining modern rock bands. Ellie Rowsell may stand front and centre, but this remains a quartet where every member commands attention. Theo Ellis repeatedly throws his arms skywards to whip up the crowd, while Joff Oddie’s unmistakable guitar work drives the opening assault, repeatedly tossing his instrument high above his head before catching it at the last possible second—a wonderfully reckless piece of rock ‘n’ roll theatre that somehow never goes wrong.

Looking out across the vast crowd, Rowsell can scarcely believe what she sees. “Oh my God!… Hello Finsbury Park! I hope you’ve had the best day ever.”

There is little time for conversation before White Horses arrives, Joel Amey seamlessly balancing drumming duties with soaring vocals, fittingly singing “I can see England waving, white horses carry me” on the very night the national team prepares for another World Cup test.

Wolf Alice @ Finsbury Park

Wolf Alice @ Finsbury Park (Kalpesh Patel)

The heavier edge of Formidable Cool follows, Rowsell stalking the runway before dramatically dropping to her knees as Oddie stretches and reshapes his guitar parts, adding fresh urgency to familiar material. Moments later, Lisbon provides one of the evening’s sunniest singalongs, perfectly matching the golden light still hanging above Finsbury Park.

Material from latest album The Clearing slots effortlessly alongside older favourites, the record already finding its place firmly in the band’s catalogue. Before introducing Just Two Girls, Rowsell jokes, “I dedicate this song to whoever catches me at 1am tonight,” another nod to England’s late-night kick-off, before marvelling at the enormous mirrorball descending above the stage. “Give it up for the big ball!” she laughs. The audience happily does exactly that.

Wolf Alice @ Finsbury Park

Wolf Alice @ Finsbury Park (Kalpesh Patel)

The pace softens beautifully through the acoustic intimacy of Leaning Against The Wall before Ellis takes command. “The fucking time is now… tell each other you absolutely love each other.” It is all the encouragement the audience needs before Bros becomes one enormous communal celebration, its opening delivered almost entirely by the crowd.

Rowsell then disappears completely. Moments later she reappears seated inside a glowing suspended star high above the stage backdrop, accompanied only by Ryan Malcolm’s upright piano for the gorgeous Gospel Oak. It is one of several production flourishes that never overwhelm the music, instead enhancing the intimacy.

“This song is about love,” she tells the audience. “If you’ve got a crush… tell them. If you want to start a band… start one.” The tour debut of White Leather follows, its slow-burning atmosphere allowing the newer material room to breathe before How Can I Make It OK? and the swaggering groove of The Sofa reignite the crowd. As Rowsell sings about being “stuck in Seven Sisters, North London,” she pauses, allowing thousands to scream their current location back at her.

Standing among the audience are members of The Last Dinner Party themselves, still dressed in their stage outfits and singing every word—a lovely reminder of the mutual admiration running throughout today’s line-up.

A quick costume change sees Rowsell emerge dressed entirely in her white outfit’s black counterpart, emptying a bottle of water over herself before the evening’s final act begins in earnest. Sirens blare, megaphone in hand, as she launches into the ferocious Yuk Foo. The punk explosion instantly transforms the atmosphere, flowing directly into the relentless Play The Greatest Hits and the fuzzed-out swagger of Smile. Oddie remains captivating throughout, forever moving, posing and once again hurling his guitar skywards before snatching it safely back from disaster, while Ellis prowls the stage with relentless energy.

Wolf Alice @ Finsbury Park

Wolf Alice @ Finsbury Park (Kalpesh Patel)

The emotional closing stretch is masterfully judged. Lipstick On The Glass grows from delicate beauty into towering intensity before the sprawling Visions Of A Life demonstrates the band’s willingness to embrace ambition over easy crowd-pleasing. The Last Man On Earth provides a moment of collective reflection before Don’t Delete The Kisses becomes the night’s defining singalong.

Rowsell cannot resist one final salute to the now-famous mirrorball. “Another round of applause for the big ball… that’s just fucking mental.” Laughter ripples across the field as she reveals its creator is genuinely called “Mirrorball Paul.”

The encore wastes little time. Moaning Lisa Smile reminds everyone just how ferocious Wolf Alice remain before Rowsell straps on a white Flying V and unexpectedly tears into the opening verse and chorus of Nirvana’s Smells Like Teen Spirit. It’s an abbreviated rendition, but injects one final surge of adrenaline before the colossal Giant Peach brings the evening crashing to its thrilling conclusion.

As Neil Diamond’s Sweet Caroline echoes across the PA—a fitting soundtrack ahead of England’s midnight football date—45,000 fans drift into the warm North London night having witnessed a band operating at the absolute peak of their powers.

Wolf Alice have never been easy to define. They move effortlessly between folk, rock, grunge, indie, shoegaze and outright punk and like tonight, within the same set. Yet every stylistic turn feels entirely natural. Tonight’s Finsbury Park headline show doesn’t simply celebrate the addition of The Clearing; it confirms that Wolf Alice continue to evolve without ever losing the fearless creativity that made them one of Britain’s most vital bands in the first place.

Live review and photography of Wolf Alice @ Finsbury Park, London by Kalpesh Patel on 4th July 2026.

Biffy Clyro Turn Up The Heat With A Triumphant Finsbury Park Spectacular

Mumford & Sons @ BST Hyde Park 2026

Mumford & Sons @ BST Hyde Park 2026 (Kalpesh Patel)

Opening the Great Oak Stage, Nottingham group Divorce immediately justify their place on the bill. Their blend of alternative country, indie rock and rich vocal harmonies eases the crowd into the afternoon without ever feeling understated. Felix Mackenzie-Barrow takes the lead on the opening Hangman before Tiger Cohen-Towell steps forward, joking, “Keep hydrated,” as she surveys the steadily growing audience beneath the blazing sunshine. Alternating vocals between the pair become the band’s greatest strength, particularly during Bone Museum and the brooding Karen, hinting at a group rapidly outgrowing the smaller stages they’ve become accustomed to.

The Rainbow Stage begins more intimately as Cassandra Coleman, taking a brief detour from touring with Angus & Julia Stone, showcases her beautifully understated songwriting. Her soaring vocal and delicate guitar work stop more than a few passing festivalgoers in their tracks, quietly setting the tone for a day rooted in musicianship rather than spectacle.

American indie-folk outfit Caamp continue that theme on the Great Oak Stage. Taylor Meier and Evan Westfall’s effortless interplay, built around acoustic guitars and banjo, feels perfectly suited to Hyde Park’s leafy surroundings. “I don’t think I’ve ever seen the sun here,” Meier laughs. “I’m happy to get these pale arms burned for you.”

Songs such as Come With Me Now and Peach Fuzz drift effortlessly across the field, while a closing nod to The Lumineers reinforces the Americana thread running throughout the afternoon.

Back on the Rainbow Stage, Stella Lefty quickly wins over an audience many are discovering her for the first time. After forgetting the words to one of her own songs, she simply laughs it off. “This is my first ever show… in London.”

The honesty is disarming rather than awkward, and by the time recent single Good At Leaving rolls around, the crowd are already swaying along. It proves an ideal introduction to an artist whose appearance later in the evening feels entirely deserved rather than simply a guest spot.

Returning to the Great Oak, Holly Humberstone provides another emotional shift. Material from recent album Cruel World demonstrates her continued growth as both songwriter and performer, balancing intimate storytelling with increasingly confident pop arrangements. “It’s such an honour to be here,” she tells Hyde Park before introducing both the album’s title track and the dreamy new Blue Dream. By the time she closes with Scarlett, the audience has grown substantially, many singing every word back.

One of the day’s biggest discoveries comes courtesy of Cork quintet Cliffords. Frontwoman Iona Lynch commands the Rainbow Stage from the moment she walks on, greeting the crowd with a cheerful, “Hyde Park, what’s the craic?… Are you all getting lovely little sunburns?”

Her warm personality is matched by a huge sound, shimmering guitars underpinning Expressions and the gorgeous Hope/Feel. Between songs she recounts accidentally chatting backstage to members of The War On Drugs without realising who they were before introducing Shattered Glass as “for the gays today,” drawing one of the afternoon’s biggest cheers. Their widescreen indie rock feels tailor-made for much bigger stages.

As evening approaches, The War On Drugs provide the perfect bridge between the day’s folk influences and the night’s arena-sized headliners. Adam Granduciel greets Hyde Park warmly before easing into Who’s That and the shimmering Red Eyes. “Pleasure to be here with our friends Mumford & Sons,” he smiles, later reflecting on the band’s journey from early London club shows in venues like Camden’s Dublin Castle to one of the capital’s most prestigious stages, now for the second time.

Expansive tracks including Pain and Under The Pressure slowly gather momentum rather than demanding immediate attention, allowing Granduciel’s unmistakable guitar work to fill Hyde Park as daylight begins to fade. Their widescreen sound feels cinematic in the open air, leaving the audience perfectly primed for what follows.

As darkness finally begins to settle, the booming introduction of The Wild rings across Hyde Park like a prizefighter’s entrance announcement. It signals the start of a new era for Mumford & Sons, but one rooted firmly in the band’s past.

Marcus Mumford walks on, acoustic guitar slung across his shoulder, kick drum beneath his foot, as Ben Lovett and Ted Dwane join him alongside an expanded touring ensemble featuring brass players, guitarist Ryan Richter and multi-instrumentalist Matt Menefee. Together they immediately fill the Great Oak Stage with a confidence only experience can bring. “Good evening my friends,” Marcus smiles. “After all this time, in our hometown… we didn’t come to fuck around.” He hardly needs to say it.

Opening with Begin Again before crashing into I Will Wait, Mumford & Sons instantly turn Hyde Park into one enormous choir. Marcus barely sings the chorus of the latter, happily allowing 70,000 people to take over instead. “It feels good to be back,” he admits afterwards, reflecting on the band’s previous BST Hyde Park headline appearance a decade earlier.

The years away have only strengthened the trio. The expanded line-up adds richness without ever diluting the chemistry between Marcus, Lovett and Dwane, while the additional brass gives recent material surprising weight. Dwane’s commanding upright bass remains one of the band’s defining visual and musical features, anchoring everything around him.

Lovett reveals just how significant tonight really is. “When they asked us to come back… we built our whole year’s tour around the 4th July in Hyde Park.” It is difficult to imagine a more heartfelt endorsement of the event. That generosity extends beyond the band themselves. Having assembled much of today’s line-up, Mumford & Sons begin inviting guests onstage.

First comes Stella Lefty, returning only hours after making her London debut. Her vocal blends beautifully with Marcus during Badlands, transforming what could have been a simple cameo into a genuine passing of the torch between generations of songwriters. I ask the members of Cliffords, who are watching the show next to me why they aren’t up on the Great Oak!

The biggest roar of the evening so far arrives moments later. “Luckily,” Marcus grins, “we have another mate in town.” Hozier strolls onstage. Their performance of Rubber Band Man recreates the warmth of the studio recording before Marcus pauses to explain why the Irish musician means so much to the band. “He’s shown phenomenal kindness… he’s the kindest man I know in music.”

Hozier looks genuinely touched. “It’s an honour to be here.” The pair remain together for a breathtaking Awake My Soul, Hyde Park carrying much of the vocal before the song blooms into one of the night’s biggest emotional moments. From there the set flows effortlessly between old and new. Fresh material from Rushmere sits comfortably alongside career-defining favourites, while Marcus heads into the audience during Ditmas, stunning fans as her gets up close and personal. The opening chords of Little Lion Man trigger another huge singalong before thousands of phone lights illuminate Hyde Park during Believe.

Hozier with Mumford & Sons @ BST Hyde Park 2026

Hozier with Mumford & Sons @ BST Hyde Park 2026 (Bethan Miller-Carey / bethanmillerco)

Then Marcus pauses. “I don’t know if we’ve explained what this show really means to us.” His words feel carefully chosen. “These songs started in this city… this is our home. There’s nothing like being home.” The sincerity lands immediately. Delta becomes one of the evening’s quiet highlights before The Wolf dramatically shifts the gears once more, the frontman urging the audience forward with a simple, “Let’s go!”

If the main set celebrates the band’s journey, the encore becomes an outright party. Rushmere already feels destined to become a permanent fixture before Marcus hints at another surprise. “We have another little cheeky surprise for you.” Moments later the Queen of Country Pop herself Shania Twain walks onstage. “You don’t understand,” Marcus laughs. “This is a very big deal for me.”

Shania Twain with Mumford & Sons @ BST Hyde Park 2026

Shania Twain with Mumford & Sons @ BST Hyde Park 2026 (Bethan Miller-Carey / bethanmillerco)

Having just finished performing across London at Wembley Stadium alongside Harry Styles, Twain joins the band for Here before cheekily asking, “What are we gonna do now? Something… sassy?” The answer is obvious. Her megahit Man! I Feel Like A Woman! transforms Hyde Park into one enormous country-pop celebration, Marcus looking every bit as thrilled as the audience sharing the stage with one of his musical heroes.

One final speech precedes the inevitable finale. “We fucking love you… If you keep showing up, we’ll keep going.” It is all the invitation Hyde Park needs. And as The Cave builds towards its euphoric conclusion, fireworks explode above the Great Oak Stage, bathing the London skyline in colour while tens of thousands of voices carry the chorus long after the final note has faded.

Festival headline shows often rely on spectacle alone. Mumford & Sons certainly deliver that, but what lingers long after the fireworks disappear is something far more meaningful. This is a band celebrating where they came from, sharing their biggest stage with old friends and new discoveries alike, and reminding a hometown audience why these songs have endured for so long. Ten years after first headlining BST Hyde Park, they return not as a nostalgia act revisiting former glories, but as artists confidently embracing their next chapter—and inviting everyone along for the journey.

Live review and photography of BST Hyde Park including Cliffords, Stella Lefty, Divorce, Holly Humberstone, The War On Drugs and headliner Mumford & Sons @ Hyde Park, London, by Kalpesh Patel on 4th July April.

Additional photos of Mumford & Sons with Hozier & Shania Twain by Bethan Miller-Carey / bethanmillerco.

Biffy Clyro Turn Up The Heat With A Triumphant Finsbury Park Spectacular

Biffy Clyro @ Finsbury Park

Biffy Clyro @ Finsbury Park (Kalpesh Patel)

California’s Wavves ease everyone into the afternoon with a laid-back blast of fuzzed-out garage rock. “Good morning,” Nathan Williams smiles as he strolls onstage. “Thank you for coming, we’re Wavves.” There is little hanging about as they crash into Way Too Much, Stephen Pope’s hair flying wildly before Williams introduces Idiot with the wonderfully blunt declaration: “Thank you, this song is called ‘Fuck Donald Trump’.” Their carefree attitude continues through King Of The Beach before Williams catches sight of the giant video screens either side of the stage and laughs, “Dude, we’re huge!” It’s loose, loud and exactly what’s required to kick-start a festival day.

Marmozets inject an altogether more ferocious energy. Standing atop his drum stool, Josh Macintyre bellows, “What fuck’s happenin’ Finsbury Park?… So we’re here to warm you up, so let’s fuckin’ go. Mon the Biff yeah?” before Jack Bottomley’s shimmering guitar ushers sister Becca onto the stage for the blistering A Kiss From A Mother.

Technical problems immediately threaten to derail proceedings as Josh repeatedly battles failing in-ear monitors and a missing click track, but the Yorkshire quartet refuse to let it affect their performance. “It’s a show, it must go on,” Becca Bottomley grins after acknowledging the issues. New material, including Mes Désirs, showcases the band’s long-awaited third album while Move Shake Hide reminds everyone how formidable Marmozets remain live. “We can’t thank Biffy Clyro enough for letting us play for you guys here at Finsbury Park,” Becca says warmly, while Josh jokingly pleads with his monitor engineer, “Shane, can you turn my drums all the way down, ‘cos my ears are bleeding… I love you Shane!”

Don Broco waste absolutely no time turning the atmosphere up another notch. Wearing sunglasses to fend off the blazing afternoon sun, Rob Damiani bounds onstage as Cellophane instantly sends bodies bouncing throughout the park. Alongside guitarist Simon Delaney and bassist Tom Doyle, the frontman barely keeps still, launching himself from stage risers throughout an energetic opening.

“Finsbury Park! Holy shit!” he roars. “We are a band called Don Broco and we want to set these pits off as we mean to go on for the rest of the day.” Moments later he is demanding circle pits and a wall of death while reminding everyone: “Anyone falls down, you pick them straight back up.”

The new Nightmare Tripping material lands just as strongly as the established favourites, with the title track and Disappear proving early highlights. Damiani also wears his admiration for the evening’s headliners proudly. “We are massive Biffy Clyro fans… They are pretty much the reason we started a band to be honest and after only a mere 20 years we’ve managed to blag a show with Biffy Clyro!” he laughs, before introducing more new music from the band’s latest record.

If Don Broco ignite the afternoon, Nothing But Thieves elevate it entirely. Opening with the towering Amsterdam, Conor Mason immediately invites the crowd to sing the opening refrain before Is Everybody Going Crazy? arrives with his soaring falsetto effortlessly gliding above Dominic Craik and Joe Langridge-Brown’s crushing guitars.

“Finsbury Park how the fuck are you doing today? We are Nothing But Thieves,” Mason beams. “Are you ready for today? Are you ready for Biffy?!” The answer comes back in deafening fashion. The Essex quintet simply don’t let up. Itch is greeted by a sizeable contingent of devoted fans before Tomorrow Is Closed keeps the energy surging. Looking across the packed hillside, Mason pauses for a moment. “You are fucking beautiful, there are a lot of you, there is a lot of people,” he says. “We are so, so excited to be here. Thank you Biffy Clyro for having us! Mon the fuckin’ Biff! We’ve got a lot of songs to get through.”

That journey moves effortlessly between delicate vulnerability and outright aggression. Particles allows Mason’s remarkable voice to soar before he asks one simple question: “Who wants a fucking rock song?” Seconds later, I’m Not Made By Design detonates across the park, its colossal riffs drawing one of the biggest reactions of the afternoon.

If I Get High and Sorry become communal singalongs, Mason frequently stepping back from the microphone to let thousands of voices take over. Between songs he deadpans, “You know what it is, I just need a FIFA hydration break,” earning immediate boos from the audience before laughing along himself.

His affection for Biffy Clyro is clearly genuine. “We’re so appreciative of Biffy Clyro,” he says. “We’ve known those guys for years now,” recalling how Simon Neil once heard an early Nothing But Thieves song and “gave us the spirit” by telling them how much he loved it. It is an anecdote that perfectly illustrates the mutual respect shared between the two bands.

Overcome provides one of the set’s emotional peaks before Nothing But Thieves confidently unveil the live debut of forthcoming album title track Stray Dogs. Rather than feeling unfamiliar, it slots seamlessly into the set, sitting comfortably alongside the sinister synth pulse of Oh No :: He Said What? “I’m having such a fucking good time,” Mason grins. “Thank you for being here to watch us before Biffy.”

Then comes another announcement that receives an enormous cheer. “We haven’t really played any shows this big in quite a while, we’ve been squirrelling away writing a new record… It comes out September 25th!” Latest single Evolution already sounds destined to become another fan favourite before Welcome To The DCC and the haunting Impossible close a genuinely outstanding performance. Support slots rarely feel this complete.

As dusk begins to settle over North London, the haunting sounds of Erghen Diado (Song of Schopsko) drift across the park before Biffy Clyro emerge to deafening applause. Frontman Simon Neil appears topless, sporting a blue denim kilt that has become something of a trademark in recent years, immediately cutting a commanding figure as he strides to centre stage. With James Johnston continuing to sit out touring duties, Naomi Macleod once again steps seamlessly into the live line-up alongside Neil, Ben Johnston, Mike Vennart and Richard “Gambler” Ingram. Two string players complete the expanded touring ensemble, adding an orchestral richness that elevates much of tonight’s set without ever overwhelming the band’s trademark power.

“Hey Finsbury Park!” Neil shouts before The Captain immediately sends the hillside into full voice. There is barely time to breathe before That Golden Rule crashes in, thousands screaming every word. “Come on London, let’s every single fuckin’ one of you get your hands in the air.” Every one of the 45,000 happily obliges. “Ah that looks good.”

The first unforgettable spectacle arrives during Who’s Got A Match? “Who needs a match when you’ve got a fuckin’ flamethrower!” Neil laughs before casually lifting an actual flamethrower from the side of the stage and firing huge jets of flame high above his head. “Safe this fuckin’ isn’t,” he jokes. “We’re gonna play some old stuff, some new stuff and I’m gonna hold this flamethrower for the rest of the night.” Only Simon Neil could make wielding a flamethrower feel completely natural.

Biffy Clyro @ Finsbury Park

Biffy Clyro @ Finsbury Park (Kalpesh Patel)

Biffy’s carefully constructed set effortlessly moves between every chapter of their career. Justboy delights the old guard before the soaring Biblical demonstrates just how much tonight’s string arrangements add to the band’s already expansive sound. “That was fuckin’ stunnin’ London, thank you.” Neil pauses to take in the vast crowd stretching up the famous Finsbury Park hill. “Thanks for being here for the Biffy show, this is a stunning view.” The audience gladly repays him during God & Satan, taking over the vocal almost entirely.

Recent material proves equally powerful. Red flares explode above the stage as A Little Love brings Futique into the spotlight before the welcome return of Booooom, Blast & Ruin — played live for the first time since 2017 — reminds everyone just how criminally absent it has been. Ben Johnston is magnificent throughout, his explosive drumming underpinning every twist and turn while the additional strings lend Instant History and Cop Syrup an altogether more cinematic scale.

The production reaches another level during Living Is A Problem Because Everything Dies, with piercing white beams firing into the crowd in perfect sync with every rhythmic accent, while Space transforms the packed field into one giant sea of swaying arms. “You guys are angels, thank you,” Neil smiles afterwards.

The closing stretch is masterfully paced. Different People steadily builds into a towering crescendo before A Hunger In Your Haunt lands with immense force. Neil then wanders to a secondary microphone at stage right, asking “How are you guys doing over here?” before delivering an intimate Goodbye to fans away from the centre of the field.

One of the evening’s most magical moments follows as the band gather shoulder-to-shoulder beneath spotlights for an unaccompanied performance of There’s No Such Man As Crasp. It is hauntingly beautiful before There’s No Such Thing As A Jaggy Snake instantly raises the pulse once more. “Thank you Finsbury, we’ve got some old-skoolers in the house then, love it.”

Biffy Clyro @ Finsbury Park

Biffy Clyro @ Finsbury Park (Kalpesh Patel)

Neil then becomes visibly emotional. “We’ve been in a band for a long long time, really we don’t take it for granted. Thank you so much for sticking with us, thank you for being here tonight.” The deafening response to Black Chandelier and Mountains proves that appreciation runs both ways.

Returning alone with an acoustic guitar, Neil asks, “You guys still got a few more song in ya?” before delivering a deeply moving Machines, gradually joined by the rest of the band and actor-musician Jamie Campbell Bower, whose guest vocals add another emotional layer to an already poignant performance. The encore quickly shifts gears as Wolves Of Winter roars into life before Neil grins, “Fuck yeah, let’s do some Bubbles,” the group tearing into the joyous Bubbles.

Finally, after wishing everyone “Have a great summer, we are Biffy. Fuckin’. Clyro”, the band close with the inevitable emotional release of Many Of Horror. Fireworks erupt above Finsbury Park as tens of thousands of voices carry the final chorus long after the band have stopped playing.

Biffy Clyro @ Finsbury Park

Biffy Clyro @ Finsbury Park (Kalpesh Patel)

It is a fitting conclusion to a day that celebrates everything modern British rock does so well. Every support act rises to the occasion, Nothing But Thieves deliver a performance worthy of headlining arenas in their own right, and Biffy Clyro once again prove that, more than three decades into their career, they remain utterly peerless when it comes to commanding a stage this size.

Live review and photography of Biffy Clyro @ Finsbury Park, London by Kalpesh Patel on 3rd July 2026.

Lucia & The Best Boys Continue Their Rise With A Spellbinding O2 Shepherd’s Bush Performance

Two Door Cinema Club @ Crystal Palace Park

Two Door Cinema Club @ Crystal Palace Park (Abigail Shii)

Opening the London heatwave-intensified afternoon are The Royston Club, who immediately set the tone with an energetic, hook-filled performance. The Welsh four-piece continue to prove why they’re rapidly becoming one of the UK’s brightest young guitar bands, their jangly riffs and infectious enthusiasm providing the perfect soundtrack as the early arrivals stream into Crystal Palace Park.

Next comes James Marriott, whose rise over the past few years has been nothing short of remarkable. Far removed from his beginnings as a content creator, Marriott now looks every inch the accomplished frontman. Opening with Ventriloquist, he quickly establishes an emotional connection before moving through Something’s Wrong, Plasticine and Him.

His songwriting balances vulnerability with explosive indie-rock dynamics, and songs like Sleeping On Trains and California Rain demonstrate an artist growing rapidly in confidence. The unreleased Burn Down The Disco is enthusiastically received despite many hearing it for the first time, while closing numbers Toothache and Grapes leave little doubt that Marriott is becoming one of Britain’s most exciting young live performers.

As the crowd continues to swell, raucous indie darlings The Vaccines raise the energy another level. From the explosive opening of Blow It Up into Wreckin’ Bar (Ra Ra Ra), Justin Young and company waste absolutely no time reminding everyone why they’ve remained festival favourites for well over a decade.

Their catalogue feels tailor-made for sunny outdoor shows. Post Break-Up Sex, Wetsuit, A Lack Of Understanding, Nørgaard and If You Wanna arrive one after another with barely a pause for breath, prompting huge singalongs across the South London park. Even newer material such as Headphones Baby, Heartbreak Kid and I Can’t Quit slots effortlessly alongside the classics, while the closing run of Teenage Icon, I Always Knew and All My Friends Are Falling in Love leaves the audience perfectly primed for the night’s headliners.

By the time Two Door Cinema Club take to the stage, anticipation has reached fever pitch.

There are few bands capable of making nostalgia feel this fresh. More than fifteen years after Tourist History first soundtracked countless indie discos, the Northern Irish trio arrive looking relaxed, confident and completely in command.

Opening with Cigarettes In The Theatre, they immediately have the audience in the palm of their hand before I Can Talk and Come Back Home maintain the relentless early momentum. Alex Trimble’s distinctive falsetto remains effortlessly sharp, while Sam Halliday and Kevin Baird recreate the band’s signature shimmering guitar interplay with remarkable precision.

One of the evening’s greatest strengths is just how naturally every era of the band’s career fits together. Do You Want It All?, This Is The Life, New Houses and Something Good Can Work are greeted like old friends, every chorus sung back word-for-word by an audience spanning multiple generations of indie fans.

Visually, the production complements rather than overwhelms the music. Crisp lighting, colourful visuals and the gradual transition from daylight into dusk provide the perfect backdrop as Crystal Palace Park slowly transforms into an open-air nightclub.

The middle section of the set highlights the band’s impressive longevity. Sleep Alone, Next Year and Changing Of The Seasons demonstrate how comfortably Two Door Cinema Club have evolved beyond their breakthrough without ever losing the melodic immediacy that first defined them.

Recent favourites Dirty Air, Handshake, Wonderful Life and Are We Ready? (Wreck) inject fresh energy before Sun arrives to one of the evening’s biggest receptions.

Then comes the stretch everyone has been waiting for.

Two Door Cinema Club @ Crystal Palace Park

Two Door Cinema Club @ Crystal Palace Park (Abigail Shii)

Undercover Martyn instantly transforms Crystal Palace Park into one giant indie dancefloor, thousands bouncing in perfect unison beneath the summer evening sky. Costume Party, You’re Not Stubborn and Eat That Up, It’s Good for You continue the celebration before the unmistakable opening guitar of What You Know sparks one final explosion of joy.

Every lyric is shouted back towards the stage as confetti fills the air, closing a performance that never once loses its momentum.

What makes tonight feel so satisfying is the strength of the entire bill. The Royston Club provide youthful promise, James Marriott continues his impressive ascent, The Vaccines remind everyone why they’re one of Britain’s finest festival bands, and Two Door Cinema Club deliver the kind of effortlessly joyous headline performance that only comes from years of refining a catalogue packed with timeless indie anthems.

Crystal Palace Park may be one of London’s newest major outdoor venues, but on this evidence it already feels like the perfect home for nights like this. As the crowd filters into the South London night still singing the chorus to What You Know, it’s impossible not to feel that indie music remains in remarkably good health.

Photography of Two Door Cinema Club, The Vaccines and James Marriot @ Crystal Palace Park London on 26th June 2026 by Abigail Shii.

Lucia & The Best Boys Continue Their Rise With A Spellbinding O2 Shepherd’s Bush Performance