The original SXSW festival has run in the US since 1987, and while it also serves as an exposition of emerging technology, scientific discovery and a showcase for independent films, it’s best known for its musical component. Crossing the pond for the first time last year, SXSW London’s organisers describe it as “a festival where innovation meets imagination, blending business, tech, music and culture in one place”.

Serving as a springboard for up-and-comers and unsigned artists, the 2025 list of names saw established acts like iconic guitarist Nile Rogers rub shoulders with over 500 talents from both the UK and afar. Held in the culture-rich East London region of Shoreditch, SXSW London operates across venues, clubs and many other important sites around the area. The roster of acts involved are just as diverse as London itself – as they put it “the programme reflects the diversity of sound and community that defines the UK music landscape, while connecting it to global talent and audiences”.

The first wave of 10 acts for 2026 continues the mission to bring the sounds of the world to East London, with an international contingent headed up by two of Africa’s leading lights. Tiwa Savage is one of the biggest names in Nigeria’s Afrobeats scene, having made history as the first female to win the Best African Act award at the MTV European Music Awards in 2018. Also that year, she became the first African female to sell out London’s IndigO2 venue, and she was personally selected by Coldplay’s Chris Martin to perform at the Global Citizen Festival in Johannesburg in front of 70,000. ODUMODUBLVCK is another of Nigeria’s great success stories – his mixture of drill rap with Grime, Afrobeat and R&B which he named “Okporoko Rhythms” has made him a hero of his scene since his 2017 breakthrough.

Next up is American rapper and producer Earl Sweatshirt, a former member of bizarre hiphop collective “Odd Future” alongside Tyler, The Creator. Since going alone, his unique lyrics and style have led him to become a cult hero. He’s joined on the lineup by New York soft rock band Infinity Song, who consist of 4 siblings, bringing beautiful vibes with their family-driven harmonies.

Also there is Amaria BB, a Hackney-based, Jamaican-Guyanese singer-songwriter, who since starting her full career in 2020 has gained a large fan base for her deep themes and mixture of R&B, pop and soul music. Rachel Chinouriri, a London-born, Zimbabwean-British singer-songwriter, will be bringing her exciting indie-pop tunes too, which saw her hit the Top 20 charts with debut album ‘What a Devastating Turn of Events’ and has earned her 2 BRIT Awards nominations. An interesting inclusion is Sega Bodega, whose jouney saw him travel from Ireland, to Glasgow, settling in London to build a foothold in music, fashion and film.

South-London is represented by Shame, a post-punk band known for their live reputation and confrontational lyrical content. They’re supporting their 2025 album ‘Cutthroat’. Liverpool’s Circa Waves are familiar with the top of the charts, having scored a Top Ten album with 2015 debut ‘Young Chasers’ and its hit indie-rock singles ‘T-Shirt Weather’ and ‘Stuck in My Teeth’. English multi-award winning producer and songwriter Fraser T Smith, who had success with his involvement on Adele’s ‘Set Fire To The Rain’ and Tinchy Stryder’s ‘Number 1’ will be in attendance, and finally we have Pete Tong, one of the UK’s best-known and most beloved DJ’s, who will bring his internationally-recognised dance set to Shoreditch.

In the official press release, Adem Holness, the Head of Music at SXSW says “At a moment when technology can generate endless music, what really shapes the future are the communities and scenes where artists push culture forward in their own contexts. SXSW London brings those global scenes together in one place. From artists like Sega Bodega reimagining live electronic performance, to bands like Shame building careers on their own terms, and artists like ODUMODUBLVCK bypassing genre and fusing his cultural influences into something entirely his own. The future of music isn’t uniform.”

SXSW London Music is held across Shoreditch from the 1st to the 6th of June, with wristbands available here ranging from £25 for one-day or £79 for the full experience. For the day-by-day breakdown of the event’s schedule, as well as further information and updates, visit their website here.

Now a staple of the city’s live calendar, Rock N’ Roll Circus has quickly grown from a novel concept into a bank holiday tradition, drawing fans from across the UK for its blend of big-name acts and left-field entertainment. The 2026 edition promises to build on this reputation with upgraded production, expanded bar and food offerings, and more interactive spaces designed to keep the energy high from doors open to curfew. For Sheffield, it underlines Don Valley Bowl’s status as one of the north’s key outdoor music destinations.

What sets Rock N’ Roll Circus apart is the way it merges world-class performances with a visually striking circus atmosphere. Attendees can experience live music under a huge big top, surrounded by aerial performers, acrobats, fire-breathers and roaming street acts that transform the site into a surreal, immersive playground. Between sets, festival-goers can wander through installations, grab a drink at themed bars or catch pop-up performances, ensuring that there are no lulls in the day and that the spectacle extends far beyond the main stage.

As the ex-frontman of Britpop legends The Verve, Richard Ashcroft brings an iconic pedigree to the lineup. Best known for anthems like “Bittersweet Symphony” and “The Drugs Don’t Work,” his solo catalogue has cemented him as one of Britain’s most enduring songwriters, able to shift from widescreen euphoria to intimate confessionals with ease. His live shows are renowned for their emotional heft and rousing delivery, promising a headline set that weaves together Verve classics, solo staples and newer material for a multi-generational crowd.

The Fratellis will take the stage as main support, adding their vibrant indie-rock energy to the night. Celebrating 20 years of their debut album ‘Costello Music’, they’re primed for a set packed with festival-ready singalongs like “Chelsea Dagger” and “Henrietta,” the kind of choruses built for mass, beer-in-the-air catharsis.

Also on the bill, Cast keep the spirit of ’90s Britpop alive with favourites such as “Walkaway” and “Alright,” ensuring that long-time fans of the era are as well served as younger attendees discovering these songs for the first time.

The Don Valley Bowl will once again host the Circus, with clear instructions for customer entry, gate times and site layout to be provided ahead of the event. The festival maintains an all-ages policy, allowing under-14s to attend with an accompanying adult, while children under five can enter for free, reinforcing its reputation as a family-friendly weekender. Attendees are advised to plan travel carefully, as there is no parking on site, making public transport, walking, ride-shares or dedicated shuttle services the most practical options for getting to and from the Big Top in style.

Tickets go on sale this Friday. Presale sign up is available here.

All Points East has quickly established itself as one of London’s premier music festivals since launching in 2018, featuring consistently impressive line-ups. Over the years, Victoria Park has hosted headline performances from some of the biggest names in contemporary music, including The Chemical Brothers, Tame Impala, Gorillaz, LCD Soundsystem, The Strokes, The xx, Stormzy, and Björk. Its blend of internationally renowned acts, genre-spanning programming, and a free midweek community festival has helped cement its reputation as both a major cultural event and a local celebration, drawing tens of thousands of music fans to East London every summer.

The event will run across five dates in August 2025, with gates opening earlier for primary entry and VIP ticket holders. On Friday August 15, gates open at 14:30, with early access from 14:00. The following day, Saturday August 16, general admission begins at 14:00, while primary entry and VIP ticket holders can arrive from 13:00.

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The programme resumes on Friday August 22, when gates open at 15:00, or 14:00 for those with primary entry or VIP passes. Saturday August 23 and Sunday August 24 will open to the public at 14:00, with early access beginning an hour earlier at 13:00. For all five dates, gates will close at 20:30.

Organisers have described the 2025 bill as one of the most diverse in the event’s history. The festival opens on August 15 with ‘Provenance’, featuring the acclaimed soul singer Cleo Sol headlining alongside SAULT. They will be joined by reggae star Chronixx, UK garage and grime pioneer Ms Dynamite, and neo-soul artist Nao.

 

 

 

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On August 16, Chase & Status take to the stage. Known for their high-energy drum and bass sets, the duo will be joined by innovative electronic act Overmono, veteran DJ and producer Shy FX, and BRIT Award nominee Nia Archives, bringing a mix of jungle, garage, and bass-driven sounds.

The programme continues on August 22 with Barry Can’t Swim, whose melodic, jazz-infused electronic tracks have won him a fast-growing global following. He will be joined by Australian pop duo Confidence Man, pioneering dance act Orbital, alt-pop artist Shygirl, and internationally renowned DJ The Blessed Madonna.

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On August 23, chart-topping singer-songwriter Raye headlines a bill that also includes Grammy-winning Tyla, genre-blending rapper Doechii, rising R&B artist Jade, Nao, and BRIT Award-nominated singer Cat Burns. The day promises a blend of pop, R&B, and contemporary soul.

The festival closes on August 24 with the highly anticipated return of The Maccabees. Sharing the stage will be indie favourites Bombay Bicycle Club, singer-songwriter CMAT, experimental rock group Black Country, New Road, and post-punk newcomers Sprints – rounding off the programme with a celebration of the UK and Ireland’s vibrant guitar scene.

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The festival will offer a range of on-site facilities, including food concessions, licensed bars, free water refill points, toilets, medical tents, a welfare area, and seating near food vendors. A cloakroom service and accessibility provisions – such as viewing platforms, accessible toilets, and medication storage – will also be available. Entry is via designated gates shown on the official site map, with Mile End Underground station the closest transport link.

In case you missed it, MXDWN’s earlier coverage of the festival line ups on August 16 and August 23 can be read here.

The main stage headliners included Raye, Central Cee, and The Prodigy. Other notable acts on the main stage were Flo, Leigh-Anne, The Wombats, Nelly Furtado, Bob Vylan, Myles Smith, and London Grammar. The main stage also had afternoon special guests each day, including Kaiser Chiefs, Rizzle Kicks, and Natasha Bedingfield. 

The Mordros stage featured artists Wet Leg, Maribou State, Hard Life, Caity Baser, and Interplanetary Criminal. The Unleashed stage, known for electronic music, included acts Patrick Topping, Sub Focus, Danny Howard, and Jazzy. 

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There were five other stages throughout the festival, including The View, known for emerging artists, Keg & Pasty, a space for pub quizzes, lively atmosphere, and karaoke, Surf Club 81, Banzai Bar, which included themed music and parties, and the Hospitality lounge, a space for VIP ticket holders. Boardmasters largest acts throughout the years included Snoop Dogg, Florence and the Machine, Stormzy, and The Chemical Brothers. 

Boardmasters is a unique festival in that not only does it provide a wide range of artists, but it is also known for its surfing and skateboarding competitions at Fistral Beach. Boardmasters started as a surfing competition in the 1980s and expanded to include music acts in 2005 through the decision of the event organizers, now reaching a capacity of around 58,000 people. Cornwall’s coastline is rooted in a passion for surfing culture.

The festival showcases international surfing professionals in men’s, women’s, and junior divisions. The competition included Boardmasters OPEN and Boardmasters Longboard OPEN. This year’s surfing champions are Annette Gonzalez Etxabarri, Martin Coret, Ginger Caimi, Willow Smith, and the two-time winner and local legend, Lukas Skinner.

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Aside from the music and surfing, Boardmasters offers a range of activities throughout the weekend, such as surfing lessons and coaching for beginners, other sports including paddle boarding, kayaking, diving, and volleyball. They also offered a wellness section for yoga and meditation, and a variety of wellness workshops. After the performances throughout the day, Boadmasters also had a silent disco and after parties throughout the town of Newquay.

Boardmasters already have their 2026 dates that will be held next August 5-9. The line up for next year has not yet been announced, however, loyalty tickets for next year go on sale this Wednesday, August 13, and Early Bird tickets are available on August 14. You can find tickets here.

The opening day of End of the Road 2025 kicks off with a more pared-back programme, with live music hosted on just two stages ahead of the full weekend schedule. On the Woods Stage, Sharon Van Etten & The Attachment Theory headline the evening with an emotionally charged set – blending rock with Van Etten’s unmistakable vocals. She’s joined by rising ‘Britainicana’ act Westside Cowboy and the dreamlike, introspective soundscapes of Youth Lagoon. Meanwhile, at The Folly, the energy is high, with sets from genre-blending duo Getdown Services, Swiss indie-pop artist Anna Erhard, and Montreal’s post-punk band La Sécurité.

Friday’s line-up features a wide array of artists performing across every stage throughout the day. Among the standout names, the Garden Stage will host a headline set from Caribou, delivering his signature fusion of shimmering electronics and kinetic live energy. He’ll be joined by Swedish psych-rock collective Goat and the Welsh garage pop trio The Bug Club. On the Woods Stage, catch the rich, atmospheric folk of Daisy Rickman, alongside The Orchestra (For Now) – a collective promising sonic experimentation.

The Big Top Stage features with avant-garde pop duo Man/Woman/Chainsaw and the intense, post-industrial soundscapes of These New Puritans. At the Folly, moody vocalist Warhaus shares the stage with the sardonic energy of Chastity Belt. Meanwhile, the Boat Stage offers a change of pace with a DJ set from Tom Ravenscroft and a performance by the drone-folk collective Smote. Finally, the Talking Heads Stage sets the tone for intimate, powerful moments with performances from Sabine McCalla and Syrian-Irish folk artist Mohammad Syfkhan.

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Saturday 30 promises a dynamic and eclectic line-up across all stages. On the Woods Stage, festival favourite Self Esteem brings her bold, confessional pop to the stage, joined by rising folk-rock collective The New Eves. The Garden Stage showcases the raw energy of Viagra Boys and a solo set from Geordie Greep of black midi, promising unpredictable experimentation.

Over at the Big Top, alt-rock pioneers Throwing Muses appear alongside breakout trio Mary in the Junkyard. Over at The Folly, expect dreamy textures and art-rock experimentation, with sets from BDRMM, Greg Freeman and The Sophs. Meanwhile, The Boat Stage dives into the underground with psychedelic project Dactyl Terra and genre-bending Black Fondu. The Talking Heads Stage presents more intimate sets from singer-songwriters Merce Lemon and Jennifer Castle.

Sunday 31 closes up the weekend with another full day of standout performances.  At the Woods Stage, Father John Misty brings his melancholic, orchestral folk-rock storytelling to the headline slot, joined by post-punk innovators Squid and the wildly chaotic Tropical Fuck Storm. Over at the Garden Stage, Black Country, New Road return with their ever-evolving sound, joined by the introspective alt-pop of Sorry and festival favourite Katy J Pearson.

The Big Top Stage offers synth-driven performances from John Maus and genre-blending newcomer Miso Extra. Trace Mountains and Adult DVD bring intimate, lo-fi textures to The Folly Stage, while The Boat Stage spotlights forward-thinking electronic sounds from Astrid Sonne and Aili. Rounding out the weekend, Christopher Owens of Girls will deliver a rare and emotional solo set on the Talking Heads Stage.

A full run down of the line-up and day splits for End of The Road 2025 can be viewed here.

 Support for Wonder’s performance was thoughtfully curated, with standout sets from artists including Thee Sacred Souls, Corinne Bailey Rae, and more throughout the day. The main support came from Ezra Collective, whose infectious Afrobeat-infused jazz brought an atmosphere of joy and celebration to the park. Drummer Femi Koleoso reflected on seeing Wonder perform at Hyde Park in 2019, calling the opportunity to now open for him a “full-circle moment.” Their vibrant, emotionally rich set had the crowd dancing in the sunshine, perfectly setting the stage for Wonder’s headline performance.

The anticipation broke just after 7pm, as Stevie Wonder made his entrance onto the stage. The music legend was guided onto the stage by two of his nine children, Aisha and Kailand, and greeted the crowd with a heartfelt message: “Praise to God for allowing me to be here today.” His opening words set the tone for an evening centred on love, unity, and reverence, reminding the audience that “love is far bigger” than anger or hate.

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 He opened the set with his 1976 classic ‘Love’s in Need of Love Today’, followed by a surprise cover of John Lennon’s ‘Imagine’, accompanied by his signature harmonica and a powerful crowd singalong. His vocals – smooth, soulful, and pitch-perfect – proved undiminished since the beginning of his career in 1961.

Throughout the night, Wonder’s charisma was on full display. He lightened the atmosphere with jokes, even attempting a British accent to the crowd’s delight, and shared anecdotes between songs that reinforced the show’s spirit of joy and gratitude.

He was joined on stage by various guests, including his children, members of his backing band, and Corinne Bailey Rae, who performed Sly and the Family Stone’s ‘Everybody is a Star’ alongside Wonder in tribute to the recently deceased frontman Sly Stone.

As the evening drew to a close, Wonder treated the audience to a parade of hits: ‘I Just Called to Say I Love You’, ‘Living for the City’, ‘Sir Duke’, ‘Isn’t She Lovely’, and ‘Happy Birthday’. The rousing finale featured a medley of ‘Superstition’, ‘As’, and ‘Another Star’, with the crowd erupting in celebration.

With his family by his side, Stevie Wonder returned to the front of the stage to bow – a fitting end to a night that celebrated not only music, but also connection, legacy, and love.

Due to the last minute withdrawal of Jeff Lynne’s Electric Light Orchestra due to the frontman’s health issues, Wonder’s performance on Saturday ended up being the closing day for the festival. More on the premature end of this years BST Hyde Park can be read here. In case you missed it, MXDWN’s earlier coverage of the announcement of Stevie Wonder’s headline performance can be read here.

The group gave an impassioned performance at the California festival, stepping onto the Sonora Stage for both weekends. On the first weekend, the livestream to their set was abruptly cut off after they voiced their support for Palestine and led the crowd into a controversial chant centred on Margaret Thatcher – specifically, ‘Maggie’s In A Box’, to the tune of ‘Give It Up’ by KC & The Sunshine Band.

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They hit back at the festival after their livestream was taken off, claiming that not only was their Thatcher chant cut, but also that their visuals were changed, writing that “our messaging on the US-backed genocide in Gaza somehow never appeared on screens either.” For the second weekend, Kneecap provided their own livestream, as fellow pro-Palestinian commentator Hasan Piker broadcast their set live on Twitch. Behind the band, statements including “Fuck Israel, Free Palestine” and “Israel is commiting genocide against the Palestinian people” were projected on a screen.

@thenewsmovementTo end their weekend 2 Coachella performance, Mo Chara from the Irish rap group Kneecap gave a speech to the audience and started a chant in support of Palestine. ♬ original sound – The News Movement

During this set, one of Kneecap’s rappers Mo Chara gave a speech to the crowd on the conflict: “The Palestinians have nowhere to go, it’s their fucking home and they’re bombing them from the skies,” he said. “If you’re not calling it a genocide what the fuck are you calling it?” Since their sets at Coachella, The Hollywood Reporter has reported that Paul Tollet, the CEO of Goldenvoice, the festival’s organizer, felt “blindsided” by the trio’s on-stage commentary.

The imagery and statements from Kneecap have also caused condemnation from the Simon Wiesenthal Center, one of America’s leading Jewish human rights organizations. The Wiesenthal Center CEO Jim Berk said on Monday: “At its best, music should bring people together and spread empathy, not hate. It’s therefore remarkable that Kneecap used a music festival to foment hate, exactly the kind of gathering where, on October 7, 2023, Hamas terrorists brutally murdered, raped, burned and kidnapped innocent young people at the Nova Music Festival in Israel.”

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However, the West Belfast band’s stance was praised by fans online on forums like Reddit. One user wrote that “an “Anti-Israel” message would be calling for the dissolution of the Israeli state. All they’re calling for is the end of the Palestinian genocide.”

They weren’t the only artists to use the Coachella platform to provide comments on the ongoing war. Green Day altered the lyrics of their song ‘Jesus of Suburbia’ to “running away from pain like kids from Palestine”. Amyl & The Sniffers also offered solidarity to the Palestinian people, and Senator Bernie Sanders commended Clairo for her advocacy for Palestine while introducing her set.

@thenationalnews American rock band Green Day used their Coachella headline set to show solidarity with Palestine, altering lyrics of their 2004 hit Jesus of Suburbia to reference the plight of Palestinian children.♬ original sound – The National News

Kneecap have recently been confirmed for Glastonbury 2025, taking their punk-powered raps to the Shangri-La stage. You can read our writeup on that here.

The rising British star, singing on the Mojave stage, gave a charismatic, clean performance, even after telling the audience of her sudden sickness. She told the Coachella crowd “I’m either going to faint or throw up, one of the two is about to happen.” Trying to muster up some moral support, she told the crowd “Guys, tell me I’ve got this,” to a supportive cheer from her fans.

@eyearewoke She’s so real #lolayoung #coachella ♬ Messy – Lola Young

Giving her full honesty, she later said “I feel a bit sick, so if I do throw up, I apologise, please don’t post it on the interweb.” Other clips show the ‘Messy’ singer tapping her throat, drinking water and slightly gagging. Young’s set mainly consisted of tracks from her 2024 album ‘This Wasn’t Meant For You Anyway’, but it also included two new songs – an unnamed tune that she announced would be her next single, and another one called ‘Spiders’, which can be heard below.

@michaeldrisko Lola Young is an icon!!!! #lola #lolayoung #coachella #spider @lolayounggg #coachellaweekend1 #coachellaweekend ♬ original sound – Michael Drisko

Her set was highly praised by those who watched it, both in person and at home. She was noted by Rolling Stone as one of the artists who “stole the show” on the first day of Coachella. The Desert Sun also gave kind words to her performance, highlighting the “ferocious pipes” she showed and the “good-natured affect she brought to a show she said she was struggling to get through.”

In the run-up towards her set at Coachella 2025, she spoke to The Hollywood Reporter about her excitement for the festival. “I’m just excited to be there. I’ve never been to Coachella. I wanna experience it, soak in the sun, soak in the people, the other artists. I’m not as excited for myself because I’m just nervous about it, but I’m excited to see everyone else and watch everyone be together.”

@poopculturestan @Charli XCX, @BILLIE EILISH – Guess (Live from Coachella 2025) | #charlixcx #billieeilish #coachella #brat #guess #concert #live ♬ Guess featuring billie eilish – Charli xcx & Billie Eilish

More British pop talent shone through on Saturday’s bill too, with Charli XCX providing an energetic set which featured several special guests, including Troye Sivan, Lorde and Billie Eilish.

Both Lola Young and Charli are set to return on weekend two of Coachella, taking place this weekend on April 18-20. All event details and its lineup schedule can be found here.

As announced on the festival’s Instagram page, regular tickets will be sold on November 17 while packages tickets, which include coach transfer, will be sold on November 14.

Glastonbury Festival 2025 tickets will go on sale on Thursday, November 14th (coach + ticket packages) and Sunday, November 17th (standard tickets).
Info at https://t.co/iNoqjqbQ5T pic.twitter.com/hajhnEjwJb

— Glastonbury Festival (@glastonbury) October 10, 2024

Furthermore, the price of tickets has also been announced with an increase from previous years. Any ticket will have a booking fee of £5, and the price of standard tickets is £373.50. Over social media, the organizers for the festival stated that there is an increase of £18 in tickets from last year, where a standard ticket would be sold for £355. Coach prices have also been announced: a return ticket from London is £74, from Edinburgh £162 and from Manchester £74. You can check the full list below:  

Registration for tickets is currently open at this link. Registering will allow you to enter the sale, however it doesn’t guarantee tickets. The big change that the 2025 edition will see in terms of tickets is that Glastonbury will use a queue system this year. This is to facilitate and make more fair the ticket buying process. The organizers have advised ticket buyers to only use on device per account, as logging in and queuing from the same account from multiple devices may cause delays or even being stuck in the queue.

In previous years, in order to buy tickets the page had to be refreshed multiple times; this year instead anyone who is trying to buy a ticket is advised not to refresh the page at all as that may cause to lose their place in the queue. Anyone who joins the queue when the tickets are already on sale will automatically be put to the back of the queue.  

 

 

 

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In the Q&A section of the Glastonbury website, the organisers have explained how the new queue system works, and they stated: “When you reach the front of the queue, you will be asked to enter the registration number and registered postcode for the lead booker and up to 5 other people for whom you are attempting to book tickets. You will have 10 minutes to complete this page before your session expires, however tickets are not allocated at this point. When you proceed, the details you have provided will be displayed on the next page.”

Glastonbury usually reveals the first few names in the line-up after the first batch of tickets is sold. This year, artists such as Rhianna, Taylor Swift and Ed Sheeran are rumored to be performing.

Established in 2019, Doonhame is still in its infancy after being put on hold for two years due to the COVID:19 pandemic. Rain did not appear to stop the festival-goers last July as they reveled in all that the four stages, the main arena and the beautiful grounds of the estate had to offer. The weekend was complete with a more relaxed, family-orientated Sunday, with youngsters enjoying activities, music and live performances from Taylor Swift and Ariana Grande tribute acts.

Despite having a successful run in 2022 and 2023, like many grassroot venues, festivals and events in the music industry, it too has fallen victim to spiralling costs. Co-director Sandy Sweetman said that although the previous years were a triumph, it had sadly become too much of a strain to balance ticket prices with the financial upkeep of hosting the festival. Mr. Sweetman said in a statement: “2023 was a hugely positive experience for us with the festival taking shape and finding its format, however balancing ticket price with the rising costs of putting a festival together and looking at our own limited availability to dedicate the necessary time to the project sadly makes it unsustainable.

“Mark and myself cannot be more grateful to all the people who supported us throughout this journey, from the dedicated team who put so much time and energy into helping us throughout the last five years, the Crichton for accommodating us, sponsors and everyone who committed by buying tickets.”

Fans of the festival have expressed their disappointment on social media but hope to see Doonhame up and running again in the near future, with one user commenting: “Sorry to hear this news, a sad loss for the region. It’s a huge task and financial commitment to organise a music festival. Sandy & Co can hold their heads high for all their efforts.”

Another user added: “So sad to hear this news but totally understand your reasons. Thanks for the great memories…I had an absolute blast at every Doonhame Festival I attended. All the best to everyone in the team.”