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On Thursday (July 3), Sam Fender headlined the British Grand Prix opening concert at Silverstone. It was the first of four massive gigs at the iconic racing circuit over Grand Prix weekend, with RAYE, Fatboy Slim and Becky Hill headlining on subsequent nights. Also on the four-day bill? Pop alchemist JADE, R&B queen Mabel and a DJ set from Idris Elba.

With around 480,000 motorsport and music fans expected to attend the four-day event, there was a real festival vibe to opening night with loads of food trucks and thumping DJ sets between live performances. Some punters wore Newcastle United shirts as a nod to Fender’s beloved football club, while many more wore McLaren, Ferrari and Alpine baseball caps.

Fender’s hour-long headline set definitely got the crowd revved up, but here’s everything else that happened on a balmy summer night at Silverstone.

@silverstoneuk

Mega-incognito Sam Fender was on fire last night @Sam Fender #BritishGP #F1 #SamFender

♬ original sound – Silverstone

Taylor Swift got a couple of shout-outs

Before support act Blossoms came on at 8pm, the main stage welcomed two British F1 hotshots: McLaren’s Lando Norris and Mercedes’ George Russell. The former revealed that he wouldn’t mind a role in a Marvel movie, while the latter confirmed something that fans will already know: he’s a card-carrying Swiftie. Norris told the crowd he sings along to Swift in the car, though on this occasion, he couldn’t be coaxed into giving an impromptu rendition of one of her hits. Maybe next time, Lando?

Norris, who’s currently second in the drivers’ world championship behind his McLaren teammate Oscar Piastri, also joked that he hoped loud cheers from British F1 fans might distract his rivals at the grand prix on Sunday. He’s very much in it to win it.

Blossoms delivered a storming support slot

The Stockport crew delivered a typically stylish set featuring cool retro visuals. Their stage design incorporated a neon sign spelling out ‘Nightclub’ – the title of a recent album track – and an old-school reel-to-reel cassette player. Highlights included crowd-pleasing renditions of fan favourites ‘Charlemagne’ and ‘There’s a Reason Why (I Never Returned Your Calls)’, plus newer tunes from last year’s chart-topping ‘Gary’ album. The wry, wiry ‘What Can I Say After I’m Sorry?’ felt particularly atmospheric as the light was beginning to dim.

Frontman Tom Ogden also slipped in a location-appropriate motoring pun. “Come on, I know you’ve got a little more in the tank,” he told the crowd as he challenged them to cheer even louder for headliner Sam Fender. They didn’t need to be asked twice.

Sam Fender charmed Silverstone from the start

Having recently completed a UK stadium tour including three hometown shows at Newcastle’s St James’ Park, the 31-year-old really knows how to work a crowd. After his opening number, the sax-flecked stomper ‘Getting Started’, Fender said it was an “honour” to be performing at “such a prestigious racing circuit”. He also aligned himself with the many petrolheads in the crowd by saying: “You like cars – class. We like cars too.”

And though he quipped that he wouldn’t be walking down the main stage’s extended catwalk – because his guitar lead “won’t stretch that far” – he gave it a pretty good go later on.

@f1ems

Sam Fender speaking f1 fans language #f1 #silverstone #samfender

♬ original sound – Ems

He made the main stage feel impressively intimate

At this point, three chart-topping albums into his career, Fender has real range. He introduced the fast and furious ‘Howdon Aldi Death Queue’ as a “stupid punk song”, but tugged at the heartstrings a couple of songs later with ‘Crumbling Empire’. He described the latter as “a song about my hometown, this country and my family”, highlighting his flair for blending the deeply personal with universal sentiments.

No less affecting was ‘Spit Of You’, a song about his struggle to open up emotionally to his father. When he sang “I can talk to anyone, I can talk to anyone, I can’t talk to you”, thousands of fans roared along with him.

He bowed out with his biggest ever tunes

Like his hero Bruce Springsteen, Fender has a gift for writing stadium-slaying anthems that don’t skimp on heart and soul. He ended with two of his most galvanising: ‘Seventeen Going Under’, an unsentimental account of his teenage struggles, and ‘Hypersonic Missiles’, a song about holding onto love in an increasingly chaotic world. Both became mass singalongs.

He left the Silverstone crowd feeling seriously hyped up for the grand prix weekend – many were camping nearby so they could enjoy the full four-day programme of music and motorsport. If Glastonbury is looking for a home-grown headliner when it returns in 2027, Fender just powered his way into pole position.

The four-day British Grand Prix event highlights the crossover between live music, entertainment and F1. With viagogo now an official team partner of BWT Alpine F1 Team, fans can plan their own cultural and F1 crossovers this summer with tickets to all the major Grand Prix now available

The post Here’s what happened when Sam Fender headlined the British Grand Prix opening concert appeared first on NME.

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There’s nothing like Pride. Halloween might be ‘gay Christmas’, as they say, but this worldwide celebration of LGBT+ people and culture is utterly without comparison. Since 1972, campaigners and revellers in the UK have shown their solidarity by having a right bloody laugh through music, parades, club nights and more, making the planet a little more colourful and inclusive along the way.

The beauty of Pride is that you never know quite what to expect; no two events are ever the same. Leeds Pride, for example, has booked a Chappell Roan tribute act for 2025, and it really doesn’t get any better than that, does it? The real deal, a former NME cover star, is fond of calling herself “your favourite artist’s favourite artist”. Short of booking the icon herself, the event’s organisers have opted for your favourite tribute act’s favourite tribute act. Bravo! 

Across the country, UK Pride 2025 looks set to be as eclectic and joyful as ever, with metal and classical events rubbing shoulders with pop royalty and red-hot techno. Wherever you are and whether your colour scheme is rainbow-hued or goth black, there’ll be something to tickle your fancy. Here’s our pick of the best gigs… 

Pride On The Park

Preston Park, Brighton (August 2-3) 

Another former NME cover star, Mariah Carey, will finally headline Brighton’s Pride On The Park on the Saturday night, having been forced to cancel her planned 2020 set due to that rotten pandemic. Brighton Pride managing director Paul Kemp recently said he was “absolutely gutted by the cancellation,” but added: “Pride is always an amazing weekend of celebration and inclusiveness of our city and this year is going to be incredibly momentous.”

No kidding: Sugababes will headline on the Sunday, with Fatboy Slim, Ashnikko, Confidence Man and The xx’s Romy just some of the world-class acts also on the bill. As Mariah would say: obsessed.

Pride Rock ft. Sophie Lloyd

CHALK, Brighton (August 1)

Guitar shredder Sophie Lloyd rose to fame on YouTube and has since become a bona fide modern rock star, releasing chart-bothering solo albums, touring in Machine Gun Kelly’s band and smashing stages across the land. Topping the bill at this festival, a sort of axe-wielding alternative to the poptastic Pride on the Park, she’ll rock out in the name of love.

Classical Pride 2025

Various venues, London (June 27-July 10)

Like sexuality, taste can be a spectrum – why shouldn’t we mosh to Sophie Lloyd and throw on our glad rags for Classical Pride 2025? Curated by conductor Oliver Zeffman, this is a series of events held across the capital (with one at LA’s Hollywood Bowl if you’re feeling really committed). London’s leading LGBT+ choir The Fourth Choir will take to London’s historic Wigmore Hall, while the Barbican Hall will host Voice of Tomorrow, which sees hotly tipped young LGBT+ composers set music to poems by queer poets. Remember to polish your Docs.

Worthing Techno Militia Presents Worthing Pride Party

Coast Cafe, Worthing (July 4)

After all that respectability, let’s blow away the cobwebs with Worthing Techno Militia, a party on a self-described “mission to bring real underground deep techno music to Worthing”. Here Wes Baggaley and DJ Bunnyhausen will shake West Sussex to its very foundations with thumping house, techno and more. It’s all part of Worthing Pride, which this year also features S Club 7’s Jo O’Meara and Atomic Kitten’s Natasha Hamilton. Now there’s an event with range.

Gladrags: official Notts Afterparty

Rough Trade Nottingham (July 26)

Legendary Midlands LGBT+ club night Gladrags is throwing the official afterparty for Nottingham’s Pride event, promising performances from fabulously named drag acts such as Fatt Butcher and Pork Elizabeth Pie. Check out “punk horror drag superstar” – to quote their Insta bio – Baby Lame, who was once part of bizarr-o stage show Circus of Horrors and rocks a look best described as “Art the Clown stumbled into Claire’s”.

The Grand’s Pride After Party

Clapham Grand, London (June 29)

Back in 2022, after appearing as a guest presenter at the BandLab NME Awards, drag superstar Bimini promised us “some unexpected collabs,” teasing: “Think about someone you wouldn’t expect… and expect it!” Even in our wildest fever dreams, though, we couldn’t have imagined the Ru Paul’s Drag Race UK don appearing at a Pride afterparty with – checks notes – Tulisa and Nadine Coyle. Iconic.

Mardi Gras

Depot Mayfield, Manchester (July 5)

Determined not to let Brighton have all the glory, Manchester Pride’s festival, Mardi Gras, boasts an embarrassment of riches. If Mariah Carey is pop royalty, Manchester has some heirs to her throne lined up: Little Mixer Leigh-Anne will headline the shindig, as will former Years & Years frontman, one-time Eurovision hopeful and current solo star Olly Alexander. Throw in triple threat Billy Porter and rap pioneer Big Freedia and you’ve got yourself a party.

Among other essential events, Manchester Pride is also hosting a Gay Village Party – basically, imagine the greatest local fete on the planet – and an always eye-popping parade. All in all, it’s a knees-up like no other.

Not officially Pride, but don’t miss these too!

Lady Gaga

The O2 Arena, London (September 29 – October 4), Co-op Live, Manchester (October 7-8)

Lady Gaga has described herself as a “supporter” of the LGBT+ community, which has supported her in kind for almost 20 years. Her Little Monsters create a powerful sense of unity at her shows – and with her latest mega-tour dubbed the Mayhem Ball, you can bet the atmosphere will be celebratory, loving and a whole lot of fun. It’s no wonder, then, that 13 per cent of Brits voted her their number one bucket list artist to see live (according to data from secondary ticket provider viagogo). That’s more than Beyoncé, Rihanna, Bruno Mars, Bruce Springsteen and Ariana Grande.

Billie Eilish

OVO Hydro, Glasgow (July 7-8), O2 Arena, London (10–17 July) Co-op Live, Manchester (July 19-23)

Billie Eilish has many gifts, one of which is to make arenas feel as intimate as a tiny gig down your local pub. A Gen-Z superstar who’s made inclusivity central to her pop persona and whose ‘Lunch’ is a modern LGBT+ anthem (not a love letter to the Boots meal deal), she’s the perfect person to congregate around as we celebrate Pride 2025. 

Lana Del Rey

Principality Stadium, Cardiff (June 23), Hampden Stadium, Glasgow (June 26), Anfield Stadium, Liverpool (June 28), Wembley Stadium, London (July 3-4)

By the time she seemed to depict a queer relationship with 2019’s woozy ‘Doin’ Time’, she had already become an LGBT+ icon. Lana’s always played with different personas through her music, making her entire career an ode to self-invention. At a Lana gig, you can be whoever you want and find your people. If you’re only looking for tickets now you better get a move on though. According to viagogo, woozy pop pioneer Lana Del Rey ranked at number eight in the world’s top-selling female artists for 2023. So she’s incredibly popular with just about everybody.

The post The best UK Pride 2025 gigs to get tickets for appeared first on NME.

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The biggest stars in the universe have looked down on us very kindly in recent years. We’ve basked in the warm glow of colossal albums from the likes of Lady Gaga, Billie Eilish and Beyoncé (and many more). Now, these aforementioned legends are taking their sensational records on tour and a certain rap and R&B duo are also set to continue their quest for world domination. Let’s have a look at some of the biggest must-see blockbuster shows this summer, shall we?

Beyoncé

Tottenham Hotspur Stadium, London
5–16 June

It’s been a couple of years since Bey last touched down in London town. That might not sound like a long time, but a lot has happened in Beyoncé’s world. When NME last caught her in the capital, she was touring ‘Renaissance’, the banging dance album that celebrated the Black and queer pioneers who lit up dancefloors throughout history. Now Bee’s back with ‘Cowboy Carter’, the country-inspired knees-up that had us all trying (and failing) to perfect our “yeehaw!” last year. Buyers from 88 countries across the world have bought tickets to see Beyonce in the UK, according to data provided by viagogo, and nearly half of those (44 per cent) have been snapped up in the final month leading up to the shows.

For her Cowboy Carter show in the US, Bey’s been dividing three-plus hour shows into seven (yes: seven) explosive sections, with hit-packed bonanzas jammed in the middle of the setlists. Expect: sensational routines, an army of perfectly poised backing dancers and several thousand glittery pink cowboy hats. The whole of Tottenham – just about – became a sea of ‘em for her 2022 gigs, and she wasn’t even touring a country album!

Billie Eilish

The O2 Arena, London
July 10–17

Finally. It feels as though Billie Eilish’s Hit Me Hard And Soft tour has snaked its way around the entire planet before making it to UK shores. Well, like a university student returning home for the holidays, she’s had a lot of people to visit – such is the nature of being one of the biggest artists in the world. It’s not even a full decade since Billie released ‘Fingers Crossed’, the first track she uploaded to SoundCloud (inspired by The Walking Dead, pop fact fans), and here she is with a week-long residency at London’s The O2.

Here fans see her as a friend and you might expect some of this closeness to naturally dissipate in an arena – but you’d be wrong. For all the pyro (just wait for the fireballs during ‘Therefore I Am’), her genius is to create a real sense of intimacy in even the most enormous rooms.

Kendrick & SZA

Tottenham Hotspur Stadium, London
July 22–23

When it comes to jumbo-sized gigs, Kendrick and SZA have pretty enviable CVs. Both have smashed Glastonbury headline slots and both sent the internet into meltdown when the latter popped up for a couple of tunes at the former’s Super Bowl halftime show back in February. So you’d better believe they’ll blow the roof off the Tottenham Hotspur Stadium (and it doesn’t even have one!)

On paper, this might seem like an odd dual headline booking, given that his delivery is so furiously rapid-fire and hers so silky smooth. Yet the setlist is perfectly calibrated, with the pair taking it in turns to perform a smattering of tracks from their bulging back catalogues, bringing the energy up and down like the absolute pros they are. Apparently Kendrick has a song about Drake that he wheels out from time to time, too?

Lady Gaga

The O2 Arena, London
September 29– October 4

What to expect from Gaga’s epic return to UK arenas? Two words: goth disco. Seventh album ‘Mayhem’ was a mammoth return to form, as Gaga revelled in the squelchy mutant-funk that made us love her in the first place. The Mayhem Ball tour is sure to be packed with Little Monsters letting their freak flags fly.

She preceded this travelling circus with The Art Of Personal Chaos, a short tour that kicked off at Coachella earlier this year. Here she majestically wove together explosive ‘Mayhem’ bangers such as ‘Abracadabra’ with classic oddball anthems including ‘Poker Face’ and ‘Born This Way’.

As with the album, a key theme of these shows was Gaga battling her former self – at one point she vigorously danced off against a younger lookalike – which became a cathartic celebration of the off-kilter world she’s cultivated across almost two decades. Bring eyeliner.

The post The biggest blockbuster pop gigs of summer 2025 appeared first on NME.

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Last month was absolutely huge for live music. Beyoncé, Linkin Park, Olivia Rodrigo and more played epic shows across the UK – and whether you were physically at Glastonbury or watching on your sofa at home, it was one of the best yet.

The good news is that July is also going to be massive. Sabrina Carpenter, Drake, Kendrick Lamar, Fontaines D.C., Lana Del Rey and Billie Eilish are just some of the artists playing gigantic headline shows in the coming weeks. There’s also the small matter of Oasis’ long-awaited reunion, which kicks off in Cardiff tomorrow (July 4). Basically, there’s a lot going on. Check out the essential gigs you need to be at below:

Sites such as viagogo allow fans to buy resale tickets from other fans. However, it is important to note that ticket conditions often prohibit resale after initial purchase. Those tickets may not be valid for admittance to gigs.

Fans intending to buy tickets for live events through resale websites should check the ticket terms and conditions, to confirm whether resale is prohibited, before they buy. Ticket terms and conditions can be checked with the original seller, such as Ticketmaster or Live Nation. If resale is prohibited, tickets bought second-hand could be voided and admission to the event refused.

Fontaines D.C.

Fontaines D.C. have been off showing the world just how incredible their new album ‘Romance’ is, but they’ll be in London this month for their biggest ever headline show. Support comes from Kneecap, Amyl And The Sniffers, Blondshell, Been Stellar and Cardinals so get down early to Finsbury Park so you don’t miss out. Fontaines will then play two more big gigs in Newcastle and Cardiff.

Fontaines D.C. play:

JULY
5 – Finsbury Park, London
13 – Exhibition Park, Newcastle
30 – Cardiff Castle, Cardiff

Sabrina Carpenter

Two years ago, Sabrina Carpenter supported BLACKPINK in London’s Hyde Park. Now she’s back to headline two of her own nights. Her ‘Short N’ Sweet ‘ world tour was a pop spectacular that was as playful as it was powerful while these two gigs will kick off a whole new era – following the release of new album ‘Manchild’. Support across the two shows comes from a range of future pop superstars such as Chloe Qisha, Luvcat, Miso Extra, Beabadoobee and Olivia Dean.

Sabrina Carpenter plays:

JULY
5 – Hyde Park, London
6 – Hyde Park, London

Lana Del Rey

“It might not have seemed obvious at first, but once you’ve witnessed it, Lana Del Rey the stadium headliner feels like a very natural fit after all,” reads our five-star review of the opening night of Del Rey’s current UK tour. After owning stadiums up and down the country, the pop icon will bring things to a stunning close with two nights at Wembley (she’ll also have a little help from Addison Rae). It’s one you really don’t want to miss.

Lana Del Rey plays:

JULY
3 – Wembley Stadium, London
4 – Wembley Stadium, London

Billie Eilish

Billie Eilish was last seen in the UK absolutely owning the main stage at Reading and Leeds festivals back in 2023, but she’s now got a whole new album to play. Released last year, ‘Hit Me Hard And Soft’ was brighter and bolder than her previous music. Rather than a stadium run, Eilish has decided to showcase the record with a string of arena residencies which will be more intimate and (of course) absolutely electric.

Billie Eilish plays:

JULY
7 – OVO Hydro, Glasgow
8 – OVO Hydro, Glasgow
10 – The O2, London
11 – The O2, London
13 – The O2, London
14 – The O2, London
16 – The O2, London
17 – The O2, London
19 – Co-op Live, Manchester
20 – Co-op Live, Manchester
22 – Co-op Live, Manchester
23 – Co-op Live, Manchester
26 – 3Arena, Dublin
27 – 3Arena, Dublin

Kaiser Chiefs

It’s been 20 years since Kaiser Chiefs dropped their indie classic ‘Employment’ and to celebrate, the Leeds post-Britpoppers have been playing the album in its entirety. ‘Oh My God’, ‘Modern Way’, ‘Everyday I Love You Less And Less’ and ‘I Predict A Riot’ still sound as exciting now as they did back then. Get ready for a rowdy sing-a-long.

Kaiser Chiefs play:

JULY
4 – Bristol Sounds, Bristol
19 – Alexandra Park Palace, London
27 – Brighton Beach, Brighton

Kendrick Lamar & SZA

Kendrick Lamar and SZA’s ‘Grand National’ world tour is a chance for music fans to see two of the most boundary-pushing global artists in the same place at the same time. Lamar is fresh from that headline-grabbing performance at the Super Bowl Halftime show and last year’s brilliant ‘GNX’ album, while SZA is still riding high after the breakout success of ‘SOS’, which got a deluxe release back in March. It’s a tour that’s going to be spoken about for years to come.

Kendrick Lamar & SZA play:

JULY
19 – Principality Stadium, Cardiff
22 – Tottenham Hotspur Stadium, London
23 – Tottenham Hotspur Stadium, London

President

Mysterious rock band President blew up after releasing their very first single – and their debut live gig at Download last month saw thousands of fans trying to cram around the tiny Dogtooth Stage for a better look at the masked rockers. President still only have two songs to their name but will play their first-ever headline show at The Garage at the end of the month. It sold out in seconds and with this much excitement around the group, it doesn’t seem like fans will ever see them in a room this small again.

President play:

JULY
30 – The Garage, London

PVRIS

Rock music has evolved a lot over the past 10 years and PVRIS have always been at the forefront of the rapidly changing scene, thanks to their stunning debut album ‘White Noise’. Bringing together pop, hardcore, punk and electronic music, it felt like a musical revolution when it was released back in 2015. A decade later, the band are heading out on a well-deserved victory lap.

PVRIS plays:

JULY
8 – Albert Hall, Manchester
9 – KOKO, London
10 – 2000 Trees Festival, Cheltenham

Drake

Not content with headlining all three nights of London’s Wireless Festival, Drake has also announced the last-minute ‘$ome $pecial $hows 4 UK’ tour, which will see him play arenas in Birmingham and Manchester alongside PARTYNEXTDOOR. It’ll be a chance for you to hear material from their collaborative album ‘$ome $exy $ongs 4 U’ live, as well as all the usual hits.

Drake plays:

JULY
11 – Finsbury Park, London
12 – Finsbury Park, London
13 – Finsbury Park, London
20 – Utilita Arena, Birmingham
21 – Utilita Arena, Birmingham
25 – Co-op Live, Manchester
26 – Co-op Live, Manchester

Stray Kids

Last summer, Stray Kids became the first male K-pop act to headline a major UK festival when they topped the bill at BST Hyde Park. Now they’re returning with two gigs at Tottenham Hotspur Stadium. Their ‘dominATE’ world tour has already taken them through Asia, South America and the United States with an all-singing, all-dancing three-hour epic, so brace yourself for something spectacular.

Stray Kids play:

JULY
18 – Tottenham Hotspur Stadium, London
19 – Tottenham Hotspur Stadium, London

Kneecap

After all the headlines of the past few weeks, Kneecap’s Glastonbury set was a fierce reminder of why the band have become such a powerful force in the music scene. Tapping into the fury, the frustration and the need for catharsis that’s in the air, these upcoming shows are set to be something very special indeed.

Kneecap play:

JULY
2 – The Depo, Plymouth
3 – The Depo, Plymouth
4 – The Depo, Plymouth
8 – O2 Academy, Glasgow
10 – 2000 Trees Festival, Cheltenham

SEPTEMBER
18 – Wembley Arena, London

The post These are the best gigs to see this month appeared first on NME.

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“At this moment, we’re all together – we’re gonna have a good time,” Ghetts assured the wildly enthusiastic audience at London’s Roundhouse last Sunday (May 4), summing up the inclusive spirit of Limitless Live. A music festival with a social purpose at its core, the event this year boasted blistering performances from slick trap star Nafe Smallz and Afroswing party starters Young T and Bugsey, as well as a roof-raising headline set from the aforementioned UK rap legend Ghetts.

This was the fourth Limitless Live, with the social purpose music business having been founded in 2021 by entrepreneur Tolu Farinto. Last year, he told NME that the enterprise came about because he’d noticed that companies such as viagogo – a show partner since its inception – wanted to work with underrepresented young people.

“I knew that if I created something grounded in music,” he said, “it would want to attract brands and organisations because music is amazing. It will attract under-represented young people, and through that, I can connect them, give them an incredible experience and signpost them into opportunities available within those organisations.”

Indeed, Limitless Live 2025 followed the Limitless Black Influence Awards, which championed the outstanding contributions of Black influencers and change-makers across 10 industries. With categories as varied as Health & Fitness (won by David Zakwan, who documents his life in running via TikTok) and Fashion (the modern British African brand LABRUM LONDON), it was an endlessly inspiring representation of the wealth of Black talent that makes Britain great.

Limitless Live, then, was a huge party that celebrated the Awards; all tickets were free and self-distributed (with a little help from viagogo via financial support and, this year, providing free transport to young attendees travelling from places including Manchester and Birmingham). In true Limitless style, every aspect of the event was rooted in social consciousness, as the organisation also announced a partnership with ACLT (African Caribbean Leukaemia Trust), a charity dedicated to raising awareness about the urgent need for blood, stem cell and organ donors within the Black community.

The night kicked off with a feel-good set from the upcoming DJ Sura, an opportunity provided by Idris Elba’s anti-knife crime charity Don’t Stop Your Future, and performances by emerging R&B star Norika and hotly tipped rapper Wohdee. These sensational shows were concrete proof, if any were needed, that Limitless is dedicated to backing fresh talent. Here’s what else went down at the party of a lifetime.

Nafe Smallz enjoyed the love-in

By the time Luton trap star Nafe Smallz took to the stage in the rockstar regulation uniform of leather jacket and shades, the crowd was well and truly warmed up. “Appreciate the love,” he purred as he soaked in the rapturous applause. Highlights included a tear through the Skepta collab ‘Greaze Mode’ and the blown-out beats of the Plug link-up ‘Broken Homes’.

It was ‘Bad to The Bone’ (“I know them haters, they be mad that I’m on / ‘Cause I just keep winnin’ and all these bands gettin’ long”), though, which showcased Smallz at his most reflective and determined to overcome the obstacles in his path. Channelling the loved-up atmosphere in the Roundhouse, he parried the raucous response by insisting that the audience “make some noise for yourselves”.

It was smiles all around for Young T & Bugsey

The Nottingham duo bounded onstage in a flurry of good vibes. Tropical bop ‘Ay Carumba’ set the sunny tone of their set, which they immediately undercut with the icy ‘Gangland’; it’s this multifaceted creativity that helped them graduate from TikTok stardom to mainstream success a few years ago.

For the most part, though, the Limitless Live set found Young T & Bugsey at their most upbeat and celebratory. They criss crossed over each other’s paths onstage during the glorious kiss-off ‘4X4’ (“Go ghost if you like – make sure the door don’t hit ya”) and suggested the crowd “get the party started” during the Day-Glo Aitch collab ‘Strike A Pose’, as if that particular mission hadn’t already been accomplished.

Here was a set that couldn’t fail to raise a smile – especially when Young T & Bugsey accepted phones from members of the audience, grinning into the cameras as they whirled to the music, before handing the devices back to their delighted owners.

Ghetts proved why he’s headline material

The Newham star, too, showcased his versatility with a headline set that swung from chest-out self-celebration to clear-eyed introspection. He charted his journey from grind to grime stardom on opening track ‘Fine Wine’ (“The mic is my therapist / I’m just having a session…”), before leading the audience through an uproarious chant of underground fave ‘Celine & Chanel’, a collaboration with London producer Rude Kid.

If 2015 grime classic ‘Who’s Got A Problem’, another Rude Kid collab, drew perhaps the biggest response of the night (“If I say I’m the best in a room full of MCs…” Ghetts began before the audience roared back, “WHO’S GOT A PROBLEM WITH THAT?”), the gargantuan 2021 Stormzy team-up ‘Skengman’ wasn’t far behind.

It’s notable, though, that Ghett’s newest material – such as woozy ‘Laps’, taken from his 2024 album ‘On Purpose, With Purpose’ – was just as well received as the classics, a fact that seemed to epitomise the boundless creativity at the heart of Limitless Live. “Today we came together for a good cause,” he concluded at the end of this unifying set, “and that’s always a great feeling.”

The post How Ghetts rocked Limitless Live, a party with a social conscience appeared first on NME.

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The Five Valleys that surround Stroud, with their swoops and pockets of greenery, give the area a mystical quality. On the edge of the Cotswolds, it’s a dramatic landscape that has inspired generations of creatives who have stayed at Hawkwood College.

NME has headed up these green Gloucester hills for the second year in a row to meet up with Saffron, a non-profit organisation aiming to advance gender equality in the music tech sector, as they host their annual five-day creative retreat as part of ‘Emerging’ – an artist development programme that supports Black music creators who are also women, non-binary, trans or gender non-conforming people.

The artist programme, supported by viagogo and funded by PRS Foundation, in the hope of reshaping the music industry into a more inclusive and equitable space, aims to  provide crucial resources to the next generation of exciting artists, such as Saffron alumni: Marla Kether (bassist for Little Simz and Loyle Carner) who participated in the retreat in 2021.

This year’s cohort is comprised of SoulBee, who forges a unique fusion of dub, reggae and neo-soul, rooted in the gospel they grew up singing at church; Laura Dia, whose brand of alternative R&B takes inspiration from her West African heritage; Sisanda, whose work blends ‘90s South African house music with jazz; and Tja, who tells NME that her previous music was heavily inspired by Bristol’s drum and bass scene, but after the retreat, she’s stepped into her production journey and is ready to expand her sonic palette. “This has been the safest space to experiment to feel confident enough to do something a little bit different,” she says.

Part of that has to do with the connection to nature, which has existed as Hawkwood’s ethos since 1948, and has proved valuable for the thousands of artists who have sought creative refuge within its stone walls. “Sometimes, as an artist, you can get stuck or you’re not sure about your next step,” Hawkwood’s Chief Executive Officer Alicia Carey tells NME as we arrive there on a drizzly Friday morning. “Just stepping outside the door into a really lovely, beautiful environment can inspire you anyway.”

The importance of opportunity

Tja’s words also highlight the way programmer and guest artist Pops Roberts meticulously curates workshops and guest speakers to meet the needs of the artists attending. “We are providing a program that gives them an idea of all the facets of the industry,” she tells us. “I think a lot of musicians don’t know much about publishing, radio, branding or marketing, so it’s important to speak to somebody who has great experience in them.”

Workshops this time around included beats production with electronic musician and producer Ikonika, writing to screen with German composer Afrodeutsche, a talk on setting intentions and artist identity with DJ Ruby Savage, “the art of collaboration” with DJ and producer Karen Nyame KG and an insight into publishing with music publisher Cavendish.

Providing emerging artists with practical skills is part of Saffron’s mission to address the extreme gender inequality in music tech – a sector made up of less than five per cent women, non-binary or trans people. Within that, less than one per cent are women of colour.

The current climate is challenging

In the past 12 months, the importance of Saffron’s work has become even more obvious. Last year’s retreat came a month after the Women And Equalities Committee (WEC) issued their Misogyny In Music report, aiming to improve gender equality in the music industry. Hopes that the findings would deliver lasting change in UK music, though, were quickly dashed when, in April, the Department Of Culture, Media And Sport confirmed they wouldn’t be taking any of the report’s recommended actions to improve working conditions.

It’s why Saffron founder Laura Lewis-Paul sees their mission as more vital than ever. “It’s about creating safety and belonging,” she explains. “We’re giving artists the feeling that they can be free, they can breathe, they can create. That’s what we want for all of our community.”

Crucial in fostering that sense of belonging is the retreat, which Lewis-Paul says exists as the 12-month programme’s “most deepening, connecting creative moment.” That connection is integral to the community Saffron has been building since 2015. “Each year we are supporting and developing more people, so eventually there will be those established artists that are then able to support the next generation that are coming through,” she says.

Leena Zhane – a participant in 2024’s program who has returned this year as Project Assistant – is a good example. “I’m incredibly honoured to be invited back,” they tell NME. Their role came about following feedback they gave after attending the retreat themself. “Everything was amazing, but I just felt like it’s such a big psychological transition as a person, as an artist, to take yourself out of your usual environment. It can be quite hard to get out of your shell, so I think having me here has kind of helped to bridge that gap,” they say.

Alongside Roberts, they’ve worked to support the artists as they undergo the vulnerable process of opening up throughout the retreat. This, they tell us, has illuminated the impact Saffron has had on them. “I really notice the growth that I’ve had in just a year from being with Saffron. Being back here I’m realising I really have changed, and a lot of the things I learn here have stayed with me this whole time,” they explain.

Creative communities are all-important

And, as we speak to the 2025 cohort on their final day, the payoff is palpable, with each of the attendees having taken something different from the experience. Bee was beginning to have doubts about pursuing music at all, so the retreat came just at the right time. “Just being around people who validate the fact that being an artist is something important and worth investing in has been really, really healing,’ they explain.

Sisanda says it’s the sense of “creative community” that will leave a lasting impact. “We do a lot of our work in isolation by virtue of writing,” she says. “It’s so important to just be around other creative people who look like you and who understand how your mind operates.”

Revelling in the stillness of Hawkwood, even for a few hours, shows the need for initiatives like Saffron’s ‘Emerging’ programme in providing our next generation of creatives with space, time and encouragement to make their best work. Sadly, it also highlights the scarcity of opportunity – something Roberts is reflecting on as the retreat comes to a close. “We are deep in an era where you are constantly being pressured into producing things and as artists, we have to become our brand.

“But, here, we can explore our relationship with sound. This magical thing has happened – music has called us and we’ve answered the call,” she says. “We’re here just enjoying it for what it is and our relationship with it rather than worrying all the time about the product we need to sell.”

The post Saffron are planning a new, more inclusive future for the music industry appeared first on NME.

A paid for ad feature for viagogo

Non-profit organisation Strut Safe has launched a new campaign to help music fans get home safely after late-night gigs with the #SAVETHENUMBER initiative, supported by viagogo and Uber.

The campaign has been launched to raise awareness around Strut Safe’s non-judgemental support line [0333 335 0026], which is operational between 7pm and 3am every Friday and Saturday evening, as well as 7pm and 1am on Sundays. “If you’re walking alone, our volunteers will be a friendly voice to keep you company and help you feel safe until you are through the door,” said the non-profit.

As part of the #SAVETHENUMBER campaign, viagogo is offering a £10 discount code on rides across the UK for anyone travelling to or from gigs. The code [ruGtzslERHA] will go live at 8pm this Friday (April 4) and is valid between 8pm and 6am every night. The code can only be redeemed once per Uber user.

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“The increase in calls to Strut Safe reflects ongoing safety concerns around travelling alone at night, especially among people of marginalised genders,” said Strut Safe Director Of Strategy Michelle Kelly. “Raising awareness of the resources available is crucial to help all people feel empowered to participate fully in public life.”

“We welcome the news of more people embracing solo travel and independent experiences while recognising the complex ways in which experiences of marginalisation can pose barriers to these activities,” she added. “We are thrilled to partner with viagogo and Uber to continue our work in helping UK fans get home from live events safely.”

“At viagogo, our mission is to help more fans access live events,” said viagogo’s Matt Drew. “That’s why we’re going beyond the event itself – partnering with leading support line Strut Safe and Uber to help address some of the barriers fans experience so they can enjoy a great night out from start to finish.”

The #SAVETHENUMBER campaign follows new research from viagogo that found more than a quarter of women (27 per cent) would be keen to attend gigs by themselves if they felt safer travelling home afterwards. The study spoke to 1000 gig-goers last month and according to the results, the biggest worry for Brits journeying home solo from gigs is walking alone (35 per cent), however women (41 per cent) and LGBTQIA+ individuals (37 per cent) are disproportionately affected.

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Despite those concerns, nearly half of women (47 per cent) say they’ve found themselves in situations where they would have used a support line or safety tool but didn’t. Many hesitate to call for support – even when feeling unsafe – due to fear of disturbing loved ones (18 per cent), causing unnecessary worry (16 per cent), or being judged (12 per cent).

“Too often, people dismiss their desire for a little support as an ‘overreaction.’ Sadly, it’s a mindset we’ve been conditioned to accept. But the truth is, if that’s how you’re feeling, it’s valid — and completely understandable in today’s world,” explained Strut Safe volunteer Gracie.

“Our mission is simple: to offer company to anyone who could benefit from a friendly voice while they walk. We understand that sometimes, people don’t want to disturb their parents, partners, or friends, or might not have anyone to call. That’s why we’re here — not to judge, but to listen. Whether it’s for two minutes or two hours, we’re happy to chat or wait quietly on the line offering support whenever it’s needed.”

To find out more about Strut Safe, head here.

The post New campaign launched to help gig-goers get home safely appeared first on NME.

A paid for ad feature for viagogo

Now in its 45th year, the BRIT Awards is the biggest night in British music. It’s not just a massive party and a chance for the industry to celebrate major success stories of the past 12 months – this year, ‘Brat’ summer instigator Charli XCX took home five awards including Album Of The Year – it’s also an opportunity for fast-rising artists to showcase their sound in front of clued-up music fans watching at home on TV. So if you use the BRITs platform wisely, you’ll really see the benefits, as this freshly released data from viagogo demonstrates.

A BRITS victory is a terrific advert for your tour

At this year’s ceremony, London five-piece Ezra Collective made history by becoming the first jazz act to perform at the BRITs. Their four-song medley with R&B queen Jorja Smith capped off a fabulous 12 months in which their third studio album ‘Dance, No One’s Watching’ stormed into the Top 10.

On the night, Ezra Collective also took home the British Group award ahead of Coldplay and The Cure. In the process, they made history again as the first jazz act to claim this accolade. Following their BRITS win and performance, Ezra Collective saw a 566 per cent increase in searches for their gig tickets on viagogo compared to a week earlier – a sure sign that they smashed it all round.

Indie quintet The Last Dinner Party also had a triumphant night at the BRITs. They were named Best New Artist, a win it’s difficult to quibble with following the chart-topping success of their glittering debut album ‘Prelude To Ecstasy‘.

The band cemented their rapid rise by performing a standout track from the LP, ‘Nothing Matters’, and clearly impressed the home audience. After the BRITs, searches for The Last Dinner Party gig tickets on viagogo increased by 217 per cent compared to a month prior.

But taking home a trophy isn’t everything

South London’s Lola Young also took to the stage at this year’s BRITs, delivering a memorable rendition of her Number One hit ‘Messy’. Somehow, the witty and relatable singer-songwriter managed to make this moment feel epic and intimate at the same time.

Though she didn’t win the award she was nominated for, Best Pop Act, she still enjoyed a 365 per cent spike in page searches for her gig tickets on viagogo. Clearly, when it comes to the BRITS, winning isn’t the be all and end all.

It’s definitely a chance to make your mark

Luton musician Myles Smith had the night of his life at this year’s BRITs. He was nominated for four awards and took home one: the prestigious Rising Star prize, which has previously been won by the likes of Adele and Sam Fender. He also thrilled fans with a joyful performance of his folk-pop smash ‘Stargazing’, an instant classic that has amassed more than 685million Spotify streams.

Especially if you use your voice for good

Smith arguably made the greatest splash with his acceptance speech, in which he urged record executives in the room to nurture artists with greater long-term development and support. “Are we building careers or are we just chasing moments?” he said rhetorically. “Because moments fade and careers take time. So please stick with artists past their first viral hit, past their first tour, because it really matters to us. Moments, they fade, but careers last forever.”

Evidently the combination of Smith’s impassioned speech and his equally committed performance struck a chord with music fans, After his brilliant BRITs weekend, searches for his gig tickets on viagogo were up a massive 677 per cent compared to the same weekend a year ago. Right now, Myles Smith isn’t just soundtracking the moment – he is the moment.

The post Does BRITs success actually help artists sell tickets? appeared first on NME.

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Last weekend, Kendrick Lamar played the biggest 13-minute gig in music when he headlined the Super Bowl LIX Halftime Show. It was a set for the history books, boasting guest appearances from SZA, Serena Williams and Samuel L. Jackson – who turned up dressed as Uncle Sam.

Ahead of the show, Lamar was expected to reach more than 120 million TV viewers tuning in to watch America’s most important sports event of the year – but one person who probably couldn’t be blamed if he didn’t want to join them was Drake. Not only was he playing the first of four massive gigs at Melbourne’s Rod Laver arena that same evening, but his decade-long rivalry with Kendrick has (to put it lightly) soured over the past year. We’ve had chart-topping diss tracks and the threat of legal action as the two rap heavyweights publicly wrestled for supremacy. Here’s a beginner’s guide to what went down – backed by some insightful ticket data on fan demand, supplied by viagogo.

2013: Kendrick lands the first blow

Kendrick Lamar and Drake started the 2010s as two of the most popular new rappers around, and they were willing to share the love. They collaborated on ‘Take Care’ cut ‘Buried Alive’ and ‘Poetic Justice’ from Lamar’s major label-debut ‘good kid, m.A.A.d city’ before Drake invited Lamar to support him on his ‘Club Paradise’ tour. It went on to become the highest grossing US tour of 2012.

However, the following year Big Sean released the braggadocious ‘Control’ with Lamar, which saw him champion himself, Jay-Z, Nas, Eminem and André 3000 as the greatest MCs of all time. “The rest of y’all… don’t get involved / I got love for you all but I’m tryna murder you,” rapped Lamar.

Drake tried to play things down (“I know good and well that Kendrick’s not murdering me, at all, in any platform,” he told Billboard), but the pair are rumoured to have spent the past decade exchanging secretive “sneak disses”. Things suddenly went very public last year…

March 2024: Kendrick heats things up on ‘Like That’.

Metro Boomin and Future released their joint album ‘We Don’t Trust You’ in March which featured Kendrick on breakout track ‘Like That’. Over a menacing beat, Lamar hit back at J. Cole’s claim on ‘First Person Shooter’ that the big three of rap were himself, Drake and Kendrick (“it’s just big me”) before mocking Drake comparing himself to Michael Jackson.

April 13: Drake does ‘Push Ups’

Cole originally clapped back at Lamar with ‘7 Minute Drill’ before removing the track, calling the beef “lame, goofy shit”. Drake wasn’t so forgiving though and a few weeks later, his track ‘Push Ups’ appeared online. The song claimed Kendrick wasn’t part of the big three, having been beaten out by SZA, Travis Scott and 21 Savage.

When Kendrick didn’t respond, Drake took to Instagram to taunt him (“he has nothing to drop”) and released ‘Taylor Made Freestyle’ – a diss track poking fun at Lamar’s working relationship with Swift. The song was eventually taken down when Tupac’s estate threatened to sue him over AI-generated verses from Snoop Dogg and Tupac but fans clearly couldn’t get enough as demand for Drake tickets increased by 160 per cent on viagogo.

April 30: Kendrick bites back with ‘Euphoria’

It may have taken a few weeks for Kendrick to come back on ‘Push Ups’ but he’d clearly been working on his revenge. The first diss track was the six-minute ‘Euphoria’ which took shots at Drake’s rap skills among other things.

May 3: The rap battle becomes a war

On May 3, Kung-Fu Kenny put out another scathing track called ‘6:16 In LA’ where he called  Drake a “terrible person”. Hours later, Drake rebutted with ‘Family Matters’ – a seven and a half minute epic that made accusations about Kendrick and his relationship with partner Whitney Alford.

It took him just 20 minutes to respond with ‘Meet The Grahams’ and ‘Not Like Us’ – an upbeat roast track which saw the rapper doubling down on his accusations against Drake. It went on to top the Billboard Hot 100 and broke the Spotify record for the most streamed rap song in one day.

May 5: Drake tries to cool things down with ‘The Heart Part 6’

Lethargic diss track ‘The Heart Part 6’ reiterated everything that was previously said but Drake ended the song with lines such as “You know, at least your fans are gettin’ some raps out of you / I’m happy I could motivate you,” which sorta felt like the start of a truce.

June 19: Kendrick ‘s LA date helps him claim victory

With no more music from Drake, Kendrick hosted an unofficial victory parade in his hometown. Taking over the Kia Forum for a gig that was also livestreamed on Amazon Prime, he performed diss tracks ‘6:16 In LA’ and ‘Euphoria’ before Dr. Dre kickstarted the first of five blistering run-throughs of ‘Not Like Us’. Following the show, viagogo saw a 369 per cent increase in Kendrick’s searches from fans that day, wanting to witness one of the biggest rap showdowns in person.

November 8: The party keeps going

In September, Kendrick Lamar was confirmed to play the Super Bowl Halftime show and  searches for his live shows spiked by 1,975 per cent on viagogo compared to the week before. On November 8, his Drake diss tracks earned seven Grammy nominations – including nods for Record and Song Of The Year. Two weeks later, he surprise-released new album ‘GNX’ and his viagogo page views increased again by 552 per cent.

November 25: Drake snaps back

Never one to take things lying down, Drake filed a series of lawsuits against Kendrick Lamar and their shared record label, Universal Music Group. He claimed the numbers for global megahit ‘Not Like Us’ were artificially inflated. UMG called the allegations “offensive and untrue.”

Days later, Drake announced his first Australian headline tour in eight years but the same day that pre-sale tickets went live, Kendrick Lamar announced a US headline tour with SZA. Despite Lamar’s attempt to steal the spotlight, the Canadian came out on top, as his fan demand spiked by 12,000 per cent compared to Lamar’s increase of 7,600 per cent.

February 2025: Kendrick looks invincible

‘Not Like Us’ reenters the UK Top 40 ahead of Kendrick’s Super Bowl appearance while the gig itself was a fiery, smart yet playful showcase of his ability to tell a commanding story. There were also more digs at Drake (including a new meme) followed by the news that his US stadium tour with SZA is coming to the UK and Europe this summer. Meanwhile Drake has teamed up with PARTYNEXTDOOR for new track ‘$exy $ongs 4 U’ which drops on Valentine’s Day. Let’s wait and see what happens next…

The post How Kendrick Lamar and Drake’s beef has impacted their ticket sales appeared first on NME.

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Found Festival is a brand new three-day event that has risen from the ashes of Towersey Festival, which bowed out in 2024 after 60 years. Last May, ahead of the very last Towersey, festival directors Joe Heap and Mary Hodson said “economic challenges” had forced them to wind down the much loved independent event, which was founded in 1965 by their late grandfather Denis Manners MBE. Today, Hodson says they “knew it was time to try something new” before the family business “potentially fizzled out in quite a sad way”.

So, Heap and Hodson regrouped and came up with Found Festival, “an inclusive yet exclusive event of musical and cultural discovery”, which will take place from August 22 to 24 at Claydon Estate in Buckinghamshire. Towersey moved to this site in 2020 after many years in neighbouring Oxfordshire, but Found promises a more intimate experience with 2,000 revellers instead of the previous festival’s 5,000.

“We want Found to feel like an ‘easy’ festival: small, but with lots of space,” Hodson explains. “Not having to fight your way to the front to see the band you love, that’s a really important element of Found.”

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Hodson says elements of the tried and tested Towersey recipe will be carried forward, including the “great programme of folk music” that regulars have come to expect. But at the same time, she believes that relaunching as Found Festival gives her and Heap “a clean slate” to be even more eclectic. Artists representing genres including Americana, country, roots, blues and world music will take pride of place on the bill, along with spoken word, comedy, circus and arts performers.

“We like to say we’re programming head-turners, not necessarily headliners, which means we’re all about providing really great quality music by artists that people may not know yet,” Hodson adds. Found attendees will also be able to try masterclasses and workshops in everything from blacksmithing to learning a new musical instrument. “It’s a festival built on experiences as opposed to a ‘sit back and watch’ vibe,” she says.

Overcoming the odds

Hodson readily admits that the decision to build Found with just 2,000 punters in mind was partly a practical one. “It’s almost impossible for independent festivals to survive in the current climate and reducing the size means that we can take the pressure off a bit in terms of targets and budgeting,” she says. “It means that in our first year, we can put on something as brilliant as we want it to be without a really heavy financial risk.”

Hodson says candidly that Found Festival “simply couldn’t go ahead” this year without some kind of outside funding. She and Heap have decided to partner with viagogo after a two-year process of working with and getting to know the team behind the ticket marketplace. “It felt like the right thing to do because of our shared values,” she says. “viagogo really believe in supporting emerging artists and that’s a key aspect of our ethos. The funding they’ve given us has rescued us from shutting down completely – it means we can launch a brand new festival this year with a bit more comfort.”

Viagogo have been working with the grassroots sector by supporting venues, emerging artists programs, and now independent festivals. Outside of the support for Found Festival, this work includes partnering with organisations like Saffron and Limitless Live.

In 2024 viagogo started supporting Towersey Festival, they said “We’re excited to be working with Mary and Joe on their new project to sustain their brilliant legacy. It’s a very important partnership to us, festivals like Found are vital to propelling and sustaining the next generation of talent.

We’re dedicated to finding ways to support the industry. For over a decade, we’ve partnered with organisations that help underserved, emerging talent. Through social impact partnerships and donations, we’re working with the wider live entertainment industry to help solve some of the systemic issues that prevent people from participating in live events.”

This isn’t overstating the challenges now being faced by events like Found. According to the Association of Independent Festivals (AIF), 78 grassroots gatherings were cancelled, postponed or wound down completely in 2024. Although the start of summer festival season is still several months away, 2025 has already claimed its first casualty. Last week, Liverpool’s Africa Oyé Festival announced that it will be taking a year off because rising costs of up to 30 per cent had made this year’s event “unworkable”.

Hodson says with a sigh that there are “many interconnected reasons” why independent festivals are sadly in decline. “Of course the hangover from COVID has a lot to do with it, but so does the cost-of-living crisis,” she says. “Before, a family might have gone on a traditional summer holiday and come to a festival for a weekend, but now they’re having to choose between the two.”

At the same time, festivals are having to cover rising production and supplier costs of anything up to 50 per cent. “One of the reasons these costs have really gone up is the fact the talent pool is so much smaller now,” Hodson says. “People had to find another way to earn a living during the pandemic and they haven’t necessarily come back to the industry.”

Whereas the “big boys” of the festival scene may be able to absorb some of these costs by making economies of scale, it’s becoming increasingly difficult for smaller events like Found to balance the books. And at a time when so many people are feeling the pinch, putting up ticket prices just isn’t a realistic option.

Discover your next obsession

Ahead of the first Found Festival, Hodson encourages music fans to “look around more” when picking which events to attend this summer. Instead of returning to the same massive festival as last year, why not try one with a more bespoke vibe? “Don’t be too influenced by one act on the bill, because the rest of the festival might not be what you want from a weekend,” she says. “We definitely want Found to feel like a whole festival experience. It’s about losing yourself for a few days and trying stuff you don’t normally have time for.”

She believes the festival’s intimate capacity will make it feel even more energising and community-minded. “People are going to come away refreshed and renewed instead of feeling like they need a week off because they’ve spent three days rushing around from stage to stage,” she says. “It’s called Found Festival because you’ll make discoveries – a passion for something you haven’t tried before or a new band you really love.”

Found Festival takes place at Claydon Estate in Buckinghamshire from Friday August 22 to Sunday August 24

The post How Found Festival is continuing the 60-year legacy of beloved folk fest Towersey appeared first on NME.