Festival review: Splendour goes out in style

DAY ONE - SATURDAY

Our weekend begins in quickfire fashion across the festival’s three main stages, in an attempt to try and see as much as possible. First up for the weekend is rock band The Clause from just down the road in Birmingham, who are playing over on the Parkside stage. They impress with their stomping rock riffs, drawing a decent crowd to their mid-afternoon slot. Most of the set pulls from their debut album Victim of a Casual Thing, which went Top 20 on the UK album chart; however there is also space for a short cover of Technotronic’s Pump Up The Jam at one point too. A fun way to start the day.

It’s then time to catch our first homegrown talent of the weekend, as soul superstar Saffron Gray arrives onto the Bodega's New Music stage (aka the Courtyard, opened this year by Ultimate Battle of the Bands winners Cherry Stone) accompanied by her own gospel choir.

We can only stay for the first part of her set but it creates one of the weekend’s most magical moments, as the gospel harmonies and Gray’s own angelic vocals seem to lift Wollaton Hall into the sky as they perform her latest EP Soul In Motion together.

Fully energised by Gray’s performance, it’s then a run down the hill to catch the very end of The Futureheads’ set on the main Lake stage. They effortlessly conduct the crowd in the first big singalong of the afternoon to their iconic cover of Kate Bush’s Hounds of Love, before closing out to huge applause on a rowdy rendition of their own fan favourite, Man Ray.

We stick by the main stage for Grammy-winning, R&B songstress Estelle. Her performance ends up being the perfect tonic for a Saturday afternoon, as she throws in crowd-pleasing covers of You Can’t Hurry Love by The Supremes, Is This Love by Bob Marley and Faith by George Michael, among others. She then asks the ladies in the Wollaton fields to throw their fists up for Thank You, before showing her own gratitude for her Day 1 fans during 1980 and Free. It’s a captivating performance and by the time we get to the grand finale in the shape of her monster hit single, American Boy, Wollaton has already turned into a joyous party.

Keeping the energy up, we catch a bit of chart-topping rockers The K’s who blast out the indie bangers from their two top five albums, before heading back to Parkside as Vicky McClure and gang light up the field with the now-traditional Day Fever disco. One of the highlights of this weekend has undoubtedly been seeing local people come together for one last hurrah at Splendour and it seems that whichever corner of the field you end up in, good people and positive vibes await.

This is certainly also the case for the legendary Primal Scream on the main stage, who overdeliver in their sub-headline sunset slot. They open on the classic Movin’ On Up, immediately getting the crowd dancing and singing along, with some young kids also waving their hands in the air on their parents’ shoulders.

From there they are a psychedelic hit factory, as iconic songs including Loaded, Come Together, Country Girl and Rocks get the whole field grooving along to the vibrant rhythms. If you missed them here however don’t worry – they are back at Rock City in September!

Time is fleeting especially when you’re having fun and,before you know it, it’s time for our Saturday night headliners: The Wombats. The trio arrive with a bang, jumping from Sorry I’m Late, I Didn’t Want to Come straight into old-school 00s indie classic Moving to New York. The latter sends the field into a frenzy, with many groups of families making their way off the chairs on the hill and into the standing area closer to the stage. Frontman Murph then introduces Techno Fan as being inspired by a “bender in Easy London”, with the track’s shimmering synths and anthemic chorus bringing sheer delight to the Wollaton crowd.

From there for the next hour or so, The Wombats put on a career-spanning masterclass, whether it’s rolling out a trumpet-playing Wombat during Ready For The High or encouraging mosh pits during the relentless riffs of Kill The Director and Method To The Madness. There’s also a great moment during Lethal Combination, as Murph alone serenades the Splendour masses with just his heartfelt lyrics and an acoustic guitar, with some phone torches held in the air to light up the now dark field. After rattling through an impressive and arguably unrivalled catalogue of indie bangers, they end the main portion of their set on the synth-propelled, limb-flailing Tokyo (Vampires & Wolves), before another big singalong to Turn.

The band quickly re-emerge, though, for an encore, soaring straight into their viral TikTok anthem Greek Tragedy before ending with a euphoric Let’s Dance To Joy Division. As the crowd belts out the “We’re so happy!” refrain, kids who have stayed up late bounce around on their parents’ shoulders, friends and families link arm-in-arm, and a group of people dressed as wombats dance on stage with the band, it is an emotional reminder just what Splendour means to the people of Nottingham and how lucky we were to have it for 18 years. That said – there’s still time for one last party…

DAY TWO - SUNDAY

Arriving on site, it’s immediately apparent that Sunday is the busier of the two days, perhaps a few people having waited until England bowed out of the World Cup before buying their tickets. Whatever the reason, it’s great to see the turnout and we begin the final ever day of Splendour with a run of local favourites. 

The first are dark emo purveyors Marvin's Revenge on the brick-lined Courtyard stage, which in the early afternoon sun now feels like a pizza oven. Their set is predictably raw and hard-hitting, with inter-song comments from vocalist and bassist Luke Eaton kept to a cool minimum. This band have been slowly but surely winning the city and are perhaps one of the strongest live guitar acts around currently, despite being only a trio. There's a something about their intensity and focus combined with prolific and consistently strong songwriting which makes them standout. Today, Get Married and Coats - both from the band's October 2025 EP - hit particularly hard. There's a new song on the setlist too, packed with interesting cadences, although its name will remain a mystery for now (it's not Luke's style to announce titles).

Meanwhile rave-metal sister duo ALT BLK ERA take over the main stage and are followed by punk-rock heroes George Gadd + The Aftermath on Parkside. Sadly both experience some technical issues, as Nyrobi from ALT BLK ERA battles a quiet microphone on the main stage, while George Gadd manages to break a vital guitar string on the very first song of his set, with no replacement guitar available. Later in the set, he loses another, almost going full Seasick Steve tribute band territory...

However, in the true spirit of the resilient and uplifting Nottingham music scene, both bands carry on despite the technical hitches to deliver fun, early afternoon performances. ALT BLK ERA get the crowd energised with lively renditions of I’m Normally Like This and Run Rabbit, while Gadd’s dry sense of humour and heartfelt emo anthems make up for any missing strings. Not deterred, towards the end he drops his guitar on the stage floor and conducts a big crowd singalong for Shake A Ghost, using his undeniable connection with his audience to see him through. That’s how we do it Nottingham!

Nottingham's Divorce follow ALT BLK ERA on the main stage, performing a relaxed set with their usual skill. Hangman is a buzzy start and songs such as Bone Museum and Karen mix soothing vocals with complex musicality, although perhaps the expansive stage and outdoor environment doesn't always do their tunes full justice. Still, it's great to see this local band in such a dramatic setting and great also to see their integrity shining through. 

The instantly recognisable ska rhythms of The Specials, courtesy of Neville Staple, get the crowd hyped again. Then, after the hooting tones of Ghost Town fade away, it's time for Irish folk breakthrough favourites Kingfishr (upgraded to the big stage this year following a debut on Parkside in 2025). A large, loyal crowd quickly gathers for this set, including plenty representing Nottingham's Irish diaspora - although frontman Eddie Keogh soon tells us that "we're all Irish for the next few minutes", a generous gesture of togetherness from a band who are fiercely proud of their County Tipperary backgrounds. The lads are on fine form, four years into their band's journey after quitting their jobs (as they love to remind their audiences) and with no sign of the joy diminishing. 

They open with the pacey I Cried, I Wept, Eddie busting on to stage with a huge grin, which hardly falters for the whole 45 minutes. Maintaining the pace, Hold Me Down and Shadow follow with hardly a pause, and there's a sense that the band want to present as much of themselves as possible. They're never ones to pass up an opportunity to share music which clearly means so much to them.

There's a change of pace for The Blade, where Eddie adds yearning harmonica chords to this poetic ballad about inner turmoil and self-destructive behavior. It's a brilliantly written song, admirable for helping get issues like this out in the open. The triumphantly poignant Shot in the Dark follows: this one is Kingfishr's semi-official anthem and a song which sums up the risk-taking approach which has really paid off for the group. 

Man on the Moon sparks a hearty singalong, and Eddie rides that energy on The Sun Will Never Settle, encouraging maximum crowd participation. This song is only a couple of months old but sounds like one from an ancient folk songbook such is its timeless shape. After Vancouver, the hit song Killeagh is dedicated to core member Fitz who is taking a short break from band duties at the moment. Diamonds & Roses sways Kingfishr and their audience towards the end of the set with its lilting rhythm, before the band close with a passionate rendition of Caroline.

After a stage reset, it’s finally time for the man who seems to be the biggest crowd draw of the whole weekend: Craig David. Arriving as somewhat of a Craig David-sceptic, it’s hard not to be converted as the man dazzles with his array of musical talents. Whether it’s effortlessly mixing his own tunes into club and garage classics at the DJ decks, being his own MC, delivering soulful vocal performances or even rapping at lightning fast, jaw-dropping speed, he is frequently a one-man marvel. He delivers the hits, too, whether it’s his own chart-topping singles such as Fill Me In, Walking Away and 7 Days, or rolling out iconic hits from Destiny’s Child, TLC and Robin S, the packed crowd from the hill to the floor are on cloud nine having the time of their lives. He even drops House of Pain’s Jump Around at one point, turning Wollaton Park into a sea of limbs and bopping heads. An immaculate vibe from beginning to end that was hard to top.

Editors are a big name draw and clearly please the growing crowd who are now thronging into the main stage area (and creating some epic food queues nearby). They play a 12-song set spanning and, despite their self-penned "misery band" label, there's a sense of cheer and upbeat emotion spanning the park by the time they finish soon after sunset.

They open with The Racing Rats before performing perhaps their most popular track, Munich. That one sparks early pogo-ing from the crowd with its chiming riffs. Sugar sounds fabulous, with the firm snare drum hits echoing from the gentle slopes, and The Rush and Smokers Outside the Hospital Doors provide other high points. In Papillon, Editors choose an 80s vibe to finish, with the tight harmonies and pulsing synths provoking widespread carefree dancing.

As timings are running behind in the Courtyard, there's just time to see local singer-songwriter Jerub close that stage for the final time. He is performing with his guitar and a drummer, with some backing sounds in the mix too. A highlight of the set is new single Forever Right Now: it's based on a pattering, almost country and western rhythm and topped by Jerub's locally legendary vocal. At times it veers towards raw rock, but is tempered with singer-songwriter charm. With 2025's Deeper, Jerub shows off some impressive range and control as his voice soars quickly to the stratosphere and back again. His cover of Coldplay's Fix You is unexpected but great, sung full pelt in the strong afternoon sunshine. 

Then, after almost two days of sunshine and joy, it falls to Snow Patrol to conclude the proceedings. They're a good choice for final headliners, possessing a vast back catalogue of emotive songs which their fans know intimately and which others quickly realise they know much better than they expected. Songs such as energetic opener Take Back the City (cleverly picked for this city of Nottingham love-in) or the reflective-then-building Crack the Shutters sound at the same time intimate and euphoric, sweeping the crowd up into the skies. These are tunes as old as Splendour itself and which feel like they were built for the summer gloaming and collective memory-making experiences in grassy fields.

Snow Patrol are a band who have seen a lot and played their fair share of huge shows over the years, yet - led by Gary Lightbody - they look genuinely thrilled to be here, struck by the sense of occasion and the duty which has been entrusted to them.

A sprightly version of Called Out in the Dark is another highlight, as is the hugely successful Run. The band are not set on playing it safe though, throwing in the much newer track All and, later, a brand new, as-yet unrecorded song called Love, I Guess. It's a good one, pulsing and rhythmic, erring on the side of triumphant euphoria, and easily sitting up there with some of their best offerings.

Snow Patrol have thought out the setlist carefully, using their experience to masterfully nudge emotions with subtle rises and falls of energy. Open Your Eyes and Shut Your Eyes cleverly surround Make This Go On Forever. Chasing Cars is saved until - almost - the end and is everything the audience have been hoping for. As that repeating two-note motif rings out, cheers go up from across the field - and it's a restrained, carefully choreographed build that follows.

With You're All I Have, the band announce their intention to go out on a high, pushing forward and focusing on positive affirmations. But there's also time for an encore tonight: Just Say Yes brings togetherness and, ultimately, human emotion, as we prepare to say goodbye.

Fittingly, the day - and the Splendour legacy - ends not with the traditional post-headliner fireworks display but with The Verve's Bittersweet Symphony blasting out from the huge speakers while a montage of the best moments from the past 18 years plays on the big screen. It's a poignant end to the festival's successful run. Splendour, you've been good to us. We'll miss you!

The final Splendour Festival took place at Wollaton Hall & Park on 18 and 19 July 2026. You can delve into the festival's storied history here.