KENDAL CALLING 2025: TWENTY YEARS YOUNG, LOUDER THAN EVER

Kendal Calling has quietly become one of the UK’s most cherished countryside festivals, now celebrating two decades since its modest beginnings at Abbot Hall Park in 2006. Although the event now calls Lowther Deer Park near Penrith home, its spirit remains rooted in community, music, and a touch of controlled chaos.

This year’s celebration drew around 40,000 festival-goers, with over half the tickets snapped up before the line-up was announced—a testament to the loyalty the festival commands. The 2025 line-up balanced nostalgic headliners with fresh acts, promising an electric mix of guitar-driven bands, dance beats, and rock anthems.

Thursday

Thursday’s curtain-raiser set the tone perfectly with Sophie Ellis-Bextor, who transformed the main stage into a glittering disco palace. Draped in sequins, Sophie radiated timeless glamour and effortless energy. She opened with a buoyant rendition of “Murder on the Dancefloor,” immediately pulling the crowd into a euphoric sing-along. Between tracks, she treated fans to uplifting covers including Cher’s “Take Me Home” and Madonna’s “Like a Prayer,” turning the pink-hued sunset into a jubilant dance party. A surprise on-stage engagement added a heartwarming moment, sealing Sophie’s set as a dazzling introduction to the weekend.

Following this, Kaiser Chiefs returned to Kendal Calling with a set charged by 20 years of rock anthems. The band wasted no time, blasting into “Na Na Na Na Naa” with infectious energy. Ricky Wilson dominated the stage, fully embracing the festival vibe with leaps, dives into the crowd, and commanding mic-stand theatrics. Crowd favourites like “Ruby,” “I Predict a Riot,” and “Everyday I Love You Less and Less” ignited the audience, who matched the band’s intensity with raucous cheers and moshing. The set perfectly celebrated the band’s legacy, bridging nostalgia with undeniable vitality.

Friday

Friday began with an unexpected but compelling early set from Tim Burgess, frontman of The Charlatans, joined by Helen O’Hara and the RNCM Session Orchestra. Their midday performance at 12:30pm was an orchestral revelation. Burgess’s soulful vocals paired with sweeping strings gave new depth to classics and solo material alike. Despite the early hour, the crowd—some still bleary-eyed—was mesmerised by the lush arrangements and emotive delivery, proving Kendal’s community spirit by gathering to support one of their own.

Adding a surreal splash of nostalgia and whimsy was Dick and Dom’s 1pm show. The children’s TV duo’s irreverent energy got families out of their tents, with chants of “bogies!” echoing across the site. It was a brief but joyous interlude that reminded everyone that Kendal is more than a music festival—it’s a full-on celebration for all ages.

Later, The Academic delivered a tight, guitar-driven set filled with melodic energy. Their lively stage presence and catchy hooks energised the afternoon crowd. Then, Pixie Lott took the Parklands tent by storm, defying expectations with a powerful vocal performance. She opened with hits like “Mama Do” and impressed with a clever mash-up weaving “Kiss Me,” “Stick Season,” and “Good Luck, Babe!” Her vocal tone had matured into a jazz-inflected richness, especially evident in the heartfelt rendition of “Cry Me Out.” The heavily pregnant singer’s stamina and stage charisma commanded respect, and closing with a pregnant pause before “Mr. Brightside” offered a perfect nod to the crowd.

The K’s brought a thunderous dose of confident guitar music later in the day, their set marked by high-energy riffs and anthemic choruses. With news fresh of their first UK Number 1, the band’s performance felt like a declaration of arrival. Fans revelled in the mix of new tracks and crowd-pleasing bangers, their enthusiasm bubbling over with every song.

As evening settled in, the hidden gem of Kendal Calling—Chai Wallahs—welcomed Strawberry Lace. The alt-rock quintet’s polished set was a masterclass in melodic versatility. Their songs blended brooding intensity with infectious hooks, captivating a growing crowd in the intimate woodland stage. The audience’s quiet attentiveness was a testament to the band’s magnetic performance, forecasting a promising future.

The Wombats then commandeered the main stage, delivering a set packed with upbeat melodies and cheeky lyrics. Their seamless blend of catchy tunes had toddlers waving glowsticks and university students belting every line. Hits like “Kill the Director” and “Let’s Dance to Joy Division” had the crowd pulsating, proving The Wombats’ knack for uniting generations through joyous anthems.

Closing Friday night were the Courteeners, a band synonymous with Northern rock royalty. Frontman Liam Fray strode onstage in trademark leather and white trousers, commanding attention from the first note of “Are You In Love With a Notion?” Their set was a thrilling blend of new material from Pink Cactus Café and beloved classics such as “Cavorting” and “Take Over The World.” The band’s refined sound was evident in the smoother production and thoughtful arrangements of the newer tracks, which sat comfortably alongside their earlier, rawer hits. The emotional apex came with a stripped-down cover of “It Must Be Love,” dedicated to Fray’s mum, which drew tears and cheers in equal measure. Closing with “God Bless The Band” on the backdrop, the set left the crowd roaring for more before many drifted towards the Eden Forest silent disco to continue the celebration into the night.

Saturday

Saturday dawned bright and promising. The Pigeon Detectives opened the main stage with a set that shattered any lingering morning lethargy. Frontman Matt Bowman’s kinetic stage presence—marked by wild leaps, pacing, and cheeky antics—galvanised the crowd early. Their signature hit “I’m Not Sorry” transformed the field into a sea of fists pumping and unified voices. It was a revelation to see the band transcend their “one-hit wonder” tag, delivering a robust set of sharp guitar hooks and infectious melodies.

The Royston Club followed with a poised, melodic set. Their crisp guitar tones and hook-laden songs created an accessible, yet compelling atmosphere. The front pit buzzed with enthusiastic lads, but the wider crowd showcased Kendal’s diversity—families, couples, and older fans moved gently to the rhythm, underscoring the festival’s universal appeal.

Veteran Scottish band Travis brought their trademark emotional warmth to the afternoon. Fran Healy’s soft, evocative vocals drew the crowd close, as if whispering secrets through an intimate conversation. The timeless “Why Does It Always Rain On Me?” elicited spontaneous sing-alongs, with even the security staff humming along. Healy’s parting line, “Make peace, not war,” encapsulated the subtle but powerful messages threaded through the performance.

Then came Norman Cook—Fatboy Slim—whose DJ set shattered all doubts about his fit within Kendal Calling’s eclectic programming. Taking command behind the decks, Cook created a sprawling sonic journey that blended iconic beats with unexpected mash-ups. Visuals flashed wildly: Rita Ora morphing into Princess Leia, then John Lennon, and David Bowie singing “I’m a loser, I’m a sinner,” syncing with strobe lights that ignited the trees. His set was a masterclass in crowd control—classic anthems mixed with fresh edits kept dancers of all ages on their feet. The cheeky closing message, “Drop acid not bombs,” offered a playful political punchline that felt both rebellious and quintessentially Norman Cook.

This set clashed with Scouting for Girls, whose set took place simultaneously, forcing a tough choice for festival-goers. While Scouting for Girls performed to a smaller crowd, their nostalgic hits provided a gentle, feel-good alternative to the kinetic energy at the main stage.

Sunday’s midday slot often struggles at festivals, but Kendal Calling managed to surprise with a last-minute announcement: John Bishop stepped in to replace the unwell Jason Manford. The Liverpool comedian’s witty storytelling and cheeky humour cut through the Sunday haze. His set, though less family-friendly, drew laughter and lifted spirits, resetting the mood and preparing the crowd for the final musical chapters.

Meanwhile, Polly Money delivered a dreamy set at the Calling Out stage, which was dressed in festive Christmas kitsch. Known for her association with The 1975, she showcased her debut EP with ethereal vocals and shimmering guitar layers. Though her audience was modest, those present were captivated, singing along with quiet devotion. Her restrained stage banter and radiant smile reflected both professionalism and genuine enjoyment.

The Parklands stage’s “Here’s Johnny” set was the festival’s best-kept secret—Red Rum Club. The band’s brassy, swaggering pop was a festival highlight. Frontman Fran Doran, donning a sombrero, commanded the crowd with big hooks and singalong choruses. The sun-soaked “Would You Rather Be Lonely?” had strangers linking arms mid-song, exemplifying the communal spirit Kendal fosters.

Prepping the crowd for the final act, The Last Dinner Party stepped onstage with undeniable flair. The all-female quartet’s impeccable style and sharp stagecraft made their 7:40pm set unforgettable. Their blend of sultry rock and theatricality captivated even those unfamiliar with their material. Unreleased tracks hinted at a Led Zeppelin influence, while crowd favourites like “Sinner” and “Nothing Matters” ignited cheers. A QR code for Palestine relief underscored their commitment beyond music, adding depth to their performance.

Closing the festival was The Prodigy, tasked with following Fatboy Slim’s high-energy set. Their darker, relentless electronic assault divided the crowd. Die-hard fans revelled in classics like “Firestarter” and “Breathe,” embracing the shadowy stage presence and pounding beats. However, for the uninitiated, the abrasive tone felt jarring amid Kendal’s otherwise warm atmosphere. The set was intense but arguably less inclusive, highlighting the challenges of programming for diverse tastes.

The weekend closed with DJ Helen and Dave Sweetmore spinning guitar and Oasis classics at the Woodland silent disco. With headphones on, strangers danced side-by-side as friends, sharing euphoric moments that perfectly encapsulated Kendal Calling’s magic—a communal celebration of music, friendship, and joyful release.

Kendal Calling 2025 was a reminder of why festivals matter: messy, magical, and full of noise. As it marks its twentieth year, Kendal remains a vibrant testament to community spirit and musical discovery. Here’s to many more decades of muddy fields, euphoric crowds, and unforgettable memories.

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Lucy Holden

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