Set against the backdrop of the south coast, Country On The Coast 2026 delivered exactly what the UK country scene thrives on right now: community, discovery, and a genuine love for the music. Across 17th–19th April, the festival continued to cement itself as a vital grassroots event, less about chasing huge headline moments, and more about championing the artists and people shaping the scene from the ground up.
Katy Hurt @ Country on the Coast Festival 2026
Saturday captured that spirit perfectly, opening on the acoustic stage with Jukes. With a striking metal-inspired appearance, he brought an intensity to his raw, emotional songs that immediately set the tone. Speaking earlier in the day, he reflected on how music helped his mental health and how the country scene felt far more welcoming compared to other, more clique-driven genres, something the festival itself seemed to embody.
Following him, Waif & Stray leaned into humour and effortless crowd work, their almost comedy-duo dynamic warming up both the audience and the atmosphere as drinks, laughter, and applause began to flow more freely.
Over on the main stage, Bryony Sier opened proceedings in style. Her boots may have been eye-catching, but it was her stripped-down performance that stood out, somehow making the stage feel full not just of music, but of potential for everything still to come.
Back at the acoustic stage, Ollins Lande carried the Country vibes forward as the now-iconic hay bales began to fill (yes, actual hay bales), while Michael Pickering brought a deeper emotional weight to the main stage. His personal stories of adoption, delivered with an easy charm under a well-worn cowboy hat, had people moving both physically and emotionally.
That feeling rolled straight into Rebecca Richards, supported by Guy Surtees, as the early afternoon crowd swayed along in the growing warmth.
A brief pause in the music didn’t slow things down. Dance Fusion took over with a choreographed line dance that quickly turned into a full interactive lesson. Fans, artists, and curious onlookers all joined in—proving that at this festival, participation is part of the experience.
Kicking things back into gear, Jada Cato burst onto the stage with relentless energy, before Briggs and Stark followed. Despite Briggs performing with a fractured clavicle, the duo adapted seamlessly, with Claudia Stark’s flute and guitar adding texture to a set full of passion. Their chemistry made them feel less like performers and more like people you’d happily spend time around.
As the day settled into its rhythm, Chloe Clouds could be spotted not just performing but hosting, soaking up the weekend from a different perspective, highlighting just how collaborative and interconnected this scene really is.
Then came a natural midpoint in the day, and with it, a chance to properly take in the wider festival experience. Merch stands were drawing just as much attention as the stages. Dead Cowboy Clothing, run by Thomas Kavanagh, showcased modern Western attire from denim jackets to cowboy hats, with festivalgoers proudly wearing their t-shirts throughout the weekend. Alongside them, We Burns It, led by John Burns, was drawing crowds with laser-burned designs on everything from mugs to slate and leather belts, his infectious, upbeat approach making each interaction feel memorable. Even Katy Hurt was later seen with one of his customised cups.
Close by, Country Hats UK added to the authentic Western aesthetic, while the presence of the Country Music Association showed just how much wider industry attention this once small coastal gathering is now attracting.
Back to the music, Kassidy Keirnan reopened the main stage with emotionally honest songs drawn from everything from personal experience to friend group chats, giving her music a relatability that clearly resonated with her growing fanbase. KerryL followed on the acoustic stage, his Welsh roots giving way to a voice that could easily belong in Nashville, with songs inspired by Yellowstone characters and heartbreak.
Then the energy surged again as Dusty Moats brought his Texans collective to the main stage, featuring Payton Riley, Jesse Jennings, and Jackson Ray. It felt like a mini-festival within the festival, with each artist delivering their own standout moments. Payton Riley, in particular, had the crowd whooping along, while Dusty led a sea of phone lights swaying through a heartfelt love song.
After that high, Cassa Jackson offered a welcome breather, before one of the standout performances of the weekend arrived. Ryan Evans took to the main stage armed with just a guitar and his voice, and completely owned it. Tracks like Boots On and Kinda Crazy ’Bout You felt radio-ready, and the crowd response suggested this won’t be the last time he plays stages of this size for long.
The pacing continued to ebb and flow naturally. Sammie Soravia brought things down to a more narrative-driven, intimate level, while Chasing Twisters lifted the energy again with boot-stomping, guitar-led tracks that had the crowd dancing.
On the acoustic stage, Stella Lain, the self-proclaimed “Country Barbie” finally stepped into the spotlight after turning heads all weekend with her bold, bubblegum Western outfits. Inviting the crowd to “paint the town pink,” she delivered a set that matched her larger-than-life presence.
As the night built, Jack Browning delivered a powerful penultimate main stage performance, and once again proved why he’s one of the most exciting names in UK country right now. His songwriting has a rare ability to feel both deeply personal and universally relatable, and hearing tracks like Muhlenberg County Stars in a full-band setting only elevated them further. He moves effortlessly between quiet, heartfelt moments and big, anthemic swells, commanding the stage without ever losing that authenticity. There’s a polish to his performance now that suggests he’s not just on the rise—he’s already outgrowing stages like this, with a presence and catalogue that feel ready for something much bigger.
Then came the headline set, as Katy Hurt burst onto the stage without introduction, immediately taking control with a confident, high-energy performance packed with crowd interaction, line dancing, and singalongs.
Rather than ending on the headline alone, the night found a more intimate close. Hannah Trim took the second-to-last slot on the coast stage, delivering emotional storytelling that drew people in, before Shea Rafferty eased the festival to a close. As people gathered around, his performance felt less like a finale and more like a shared moment—artists and fans together, winding down the weekend in the same spirit it had built all along.
That energy, combined with the performances from Friday, including Liam Brice’s standout DJ set that saw what felt like half the weekend’s performers dancing into the night and the more stripped-back, reflective Sunday sets, gave the entire festival a real sense of shape and journey rather than just a series of performances.
What makes Country On The Coast stand out isn’t just its lineup, it’s the feeling. The closeness between artist and audience, the ability to discover someone new and then speak to them minutes later, and the mix of music, fashion, and shared experience all create something that feels personal rather than transactional.
If there’s a criticism, it’s only that those expecting huge, arena-style moments might find it understated. But that’s not really the point. This festival isn’t trying to compete with the biggest, it’s building something arguably more important: a foundation for the UK country scene to grow.
And at the heart of it all is Hannah Roper and her team, whose passion and vision have taken what started as a small coastal gathering and turned it into something far bigger. Country On The Coast 2026 didn’t just showcase where UK country music is, it showed exactly where it’s heading.
Liam Brice @ Country on the Coast Festival 2026
Live review & photography of Country On The Coast Festival 2026 @ The Gaiety Southsea, Portsmouth, by Henry Finnegan on 17th-19th April 2026. Instagram: @finneganfoto | Facebook: @finneganfoto
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