With little more than a whim prompting my decision to attend Nozstock: The Hidden Valley, I had no idea what awaited me. However, what I discovered surpassed all expectations.
Running for 25 years, Nozstock is a festival with practically everything worked out just perfect. Nestled amid a beautiful, well-managed site, with a diverse and exciting lineup and a wonderfully friendly crowd, I feel like you can ask for little more from an event.
Given Nozstock is still, at around 5000 people in attendance and with £150 tickets, considered one of the smaller more reasonably priced festivals, the production quality across the event is absolutely phenominal. Beautifully designed sets and stages covered the entire arena, with essentially no area left undecorated. It’s reminiscent of a smaller Boomtoom.
Despite the inclement weather, the crew went above and beyond to ensure the event ran smoothly, featuring iconic acts such as Grandmaster Flash and The Wailers. Even heavy rain couldn’t dampen the spirits of the attendees.
Upon our late arrival to the site on Friday, my team and I entered the arena and were immediately greeted by the presence of the Grandmaster. He skillfully played nostalgic A-grade classics with extraordinary flair. The crowd was captivated by his performance, as Flash took us on a journey from the glorious days of the 1970s to the present, seamlessly scratching and sliding along the way. Although the sound quality wasn’t flawless, the vibrant energy made it an exceptional beginning to the festival, especially for us who arrived later.
Following Flash, my gang and I ventured further into Nozstock until we found ourselves entranced by the second stage. I affectionately named it the “monster mouth” stage due to its striking resemblance to a colossal sea serpent’s mouth, complete with menacing fangs.
The stage, known as the Garden Stage, featured a band called Mad Apple Circus. Initially, their first song gave off a pop punk with ska instruments vibe, but soon their horn section unleashed lively ska tunes infused with unique Balkan influences. The infectious rhythm had me and several others in the crowd dancing with raised knees. They truly embody the spirit of a festival band.
Around 1 am, my team and I ventured deeper into the festival. We reached a significant green slope beyond the main stages, where the clash of dance music reverberated from all directions. To remind us of our location, we gazed upon another slope adorned with a lighthouse and the prominent NOZSTOCK lettering. Absorbing the scenery and following the rhythmic beats, I eventually wandered through the trees and arrived at the Coppice stage.
This stage presented an endless stream of psytrance, attracting individuals immersed in circus tricks and certain mood-enhancing substances. While I appreciate the inclusion of psytrance in any festival, I believe the organizers could have selected DJs who offer more intricate and diverse examples of the genre. Although the Coppice was visually appealing and had a lively atmosphere, introducing greater musical variety would have significantly enhanced this stage.
Leaving the Coppice, we proceeded to The Elephants Graveyard, a stunning venue that exuded a nightclub-like atmosphere. However, the music there didn’t quite resonate with me. While some of my companions found the intimate dance stage reminiscent of a festival surprise, I observed people with their hands in the air, which was a positive indicator, even though I personally wasn’t fully immersed in the ambiance.
We took a break at Elephants and then ventured through the festival’s central area. We walked under towering wooden mushrooms and past what seemed like a Trojan horse, entering a quieter section of the event. The area was filled with closed tents, which I assumed to be the craft zone. I continued until I spotted lights and heard music.
I entered a seemingly solid structure accompanied by intriguing, clearly eastern inspired music, and discovered the Cabinet of Lost Secrets. This bar come stage consisted of four different areas, including a submarine entrance where Sean Connery made a cameo appearance, and even a secret garden. The lineup was curated by Kate, an experienced Nozstock veteran of 12 years, who has the honor of running the stage. She selects acts that revolve around groove but can encompass any genre as long as it matches her desired vibe. This venue, reminiscent of the best moments at Boomtown Fair, hosted some of the most captivating music of the weekend. It became my home for the rest of the evening.
Saturday brought a slight improvement in the weather, giving my adventurous companions a chance to rest their weary feet. Eventually, I managed to motivate them out of bed at 2pm to witness Gaspar Nali’s performance. Hailing from Malawi and touring the UK, Gaspar showcased remarkable talent on his homemade instrument, the Babatong. This impressive instrument featured a long wooden neck, a single tire wire string, and a drum for its body. The crowd was mesmerized by Nali’s enormous Babatong, while his melodious voice left us astounded. With its soulful and meditative vibe, this performance perfectly complemented a festival still recuperating from the previous night.
Following that was Funke and the Two-Tone Baby. Despite the expectation of ska based on the name, what we experienced was even more captivating. Funke operates as a solo artist, employing loop pedals to create a remarkably diverse and expansive disco-infused sound. Undeniably groovy.
Following Funke, my group explored the maker’s area in search of thrills and promptly discovered them. A fellow adventurer recognized a familiar sound and spotted an unmistakable hat, guiding us to the Slippery Slope stage. The hat and music belonged to Fukushima Dolphin, a guitarist whom one of my friends had encountered while busking on Brighton Beach before.
Dolphin’s music evoked thoughts of Russian doomer rock or even The Cure, but with a beach holiday twist. With his homemade resonator guitar and skillful use of loops, Dolphin had an enchanting, otherworldly presence that was hard to resist. It felt like he had crossed over from a universe where it’s Berenstein Bears instead of Berenstain Bears, bringing along a touch of magic (as evident in his song “Talking with the Bears”). Our party was completely captivated.
Despite the difficulty, I had to resist because it was nearly time for Beans on Toast in the Garden. Many readers may be familiar with Beans or at least know his song about MDMA. For those unaware, he is a renowned figure in the festival scene, famous for his raw, raspy voice and politically charged folk songs that cynically challenge anything deceptive.
Stacy Gracey, a young poet, joined him on stage and her ode to courageous women greatly resonated with the entire performance and festival. After her powerful recital, Beans surprised everyone once again by assisting an audience member in proposing to their girlfriend, and fortunately, she accepted.
After swiftly regrouping and savoring mouthwatering curry goat from a nearby food stall, we headed to the main Orchard Stage for My Baby’s performance. We had received numerous recommendations about this powerhouse band led by a talented female vocalist. With their fusion of dance, funk, gospel, and blues, My Baby delivered an electrifying show that packed a remarkable punch.
After enjoying My Baby’s performance, we eagerly anticipated the headline act: the renowned New Zealand dad band, Fat Freddy’s Drop. Their captivating blend of bluesy dub (or perhaps jazz?) created an indescribable experience, intensified by the rain. The intricate melodies seamlessly fused with the downpour, enveloping us in a dense, swampy atmosphere. As a devoted fan, witnessing Fat Freddy’s Drop was undeniably the highlight of the festival. I wholeheartedly urge all my readers to seize the opportunity and see them live, irrespective of their initial musical preferences.
Following our visit to Fat Freddy’s, my group and I proceeded towards the Bandstand in search of a woman we had met earlier. The stage at the Bandstand is quite impressive, with a spacious wooden structure positioned in front of an open area encircled by a roofed bench. This arrangement offers great comfort and adaptability, accommodating seated audiences during quieter times and providing ample space for standing and dancing when the venue is bustling.
Being the residence of singer-songwriter Kitty Bella and her band, it was an astonishing experience. Her melodious voice, reminiscent of a youthful and innocent Lilly Allen, captivated me, and their smooth jazzy performance held my attention throughout the entire show.
On Sunday, although not as astonishing as Nozstock’s incredible Saturday, a diverse range of acts took the stage. The first performance I witnessed was by an artist known as Drifta. This project is extremely difficult to classify, blending traditional drums, guitar, and fiddle with influences from various parts of the world, notably West Africa. Drifta is truly intriguing, and I strongly encourage people to explore this unique and eclectic body of work.
I was captivated by the next performance, Roving Crows, a Celtic Punk band. Their energetic folk fiddle instantly charmed me, compelling both the audience and myself to join an impromptu jig. Although the lead singer’s on-stage banter felt slightly awkward, it seemed intentional and added a humorous touch. Memorable songs from their set were ‘Bury Me Naked’ and ‘That’s Business’. Overall, it was an outstanding show, enhanced by Kaitlyn Barret’s flawless fiddle playing and eccentric dance moves.
Towards the end of the Roving Crows performance, I faced a tough choice: to leave the Orchard and head towards The Balkaneers in the Cabinet of Lost Secrets. The Balkaneers, a seven-piece band with accordion and clarinet, are possibly the most festive group ever, playing lively Balkan-inspired Folk music. Their exceptional energy and musicianship attracted a surprisingly large audience, quickly filling and heating up the cozy venue. Despite someone from my group praising Roving Crows’ encore tribute to Avicii, I felt completely justified in my decision to experience The Balkaneers. The sheer energy coursing through me at the end of their set confirmed this.
After Balkanise, I headed to the Garden Stage to experience the Beatles Dub Club. Though they succeeded in their intentions and provided enjoyable entertainment for approximately ten minutes, the combination of Beatles Dub and Drum and Bass remixes didn’t turn out to be as brilliant of an idea as initially anticipated by myself and likely others.
I seized the chance to return to the Orchard stage and experience Bristol’s Bloco B. They skillfully recreated the vibrant ambiance of Brazilian carnival music, enhanced by a captivating dance group. In the middle of their performance, Bloco B brought their drums into the crowd, transforming the already lively party into a riotous celebration. Being a member must be incredibly enjoyable, without a doubt.
The festival concluded with an unforgettable performance by the iconic Wailers. Renowned for their collaboration with the legendary Bob Marley during the ’60s and ’70s, I’ve listened to their songs countless times, both in recordings and as cover versions. However, experiencing their live performance, featuring talented musicians from the reggae world, added a whole new dimension. It’s impressive how the band continues to carry on despite the passing of all the original members. While it’s not the same as seeing Bob Marley himself, the Wailers are more than just a tribute act and proved to be the perfect headliner for Sunday evening at Nozstock.
After the Wailers and some exploration, it became apparent that the festival was winding down. Unfortunately, my favorite stages were among the first to close, much to my disappointment. As a result, a large crowd gathered at the garden stage to catch DJ Markey and his MC after the main stage shut down. Despite the heavier rain, the atmosphere was electric with hands raised in the air. However, all good things must come to an end. At precisely 12:30 pm, DJ Markey’s set abruptly ended mid-song due to licensing requirements—a bit of a tease. On the bright side, they announced their presence at Nozstock next year.
After the crowd scattered and individuals made their way through the rain, a significant number of people gathered at the teepee bar near the festival entrance. Many shared my thoughts that enjoying some chai and a playful shisha would be a perfect way to conclude the evening. Energetic speed garage music filled the teepee, and groups of people naturally formed circles. Despite being crowded, the atmosphere was amazing, creating a pleasant environment to conclude the night in a stylish manner. The line for chai, unsurprisingly, turned into an impromptu dance floor before I ventured back to my tent through the rain.
Nozstock’s “Extracurricular” activities were remarkable, adding to the festival’s already impressive lineup of music. Among them were captivating walkabout shows like the fascinating ‘Insecurity Guards’ trio. These charismatic performers roamed the festival, encouraging attendees to place their insecurities into a portable safe for a symbolic burning. This interactive experience provided a lighthearted opportunity for introspection in an unconventional setting.
The comedy stage featured a busy lineup, with varying levels of humor among the acts, as is typical in comedy. Additionally, numerous craft stalls offered diverse offerings, including blacksmithing (although visitors were wisely kept away from the forge) and a community-run clay bread oven. I’m amazed at how they brought that oven here, which speaks to the remarkable dedication of the Nozstock organizers and attendees.
Now, let’s discuss the festival’s typical issues. However, Nozstock proves to be an exception. The usual problems like unfriendly security, filthy toilets, and long walks were completely absent. The security staff was pleasant, the toilets well-maintained, and the venue compact. Despite heavy rain, muddy conditions in the arena were rare (even sneakers would suffice), thanks to a fleet of tractors that kept the pathways clear and assisted vehicles in need when departing.
Nozstock is generally trouble-free, but there is one minor area for improvement. This year, the stunning site felt somewhat lacking—like Bilbo Baggins’ description of being “thin, sort of stretched, like butter scraped over too much bread.”
The availability of live music venues during the event is not consistent throughout, particularly at night when few venues are being utilized. Discovering unfamiliar late-night live acts or cabaret performances is one of the most exciting aspects of festival life. However, at Nozstock, it seemed like the majority of stages were finished by two o’clock.
The festival offers great quality overall, but it could benefit from more attendees and additional performances. It doesn’t necessarily require big-name acts, but the site feels somewhat empty during both the day and night, with room for about a thousand more people and a dozen more acts.
Nozstock: The Hidden Valley stands out as a premier festival in the country, providing participants with an opportunity to immerse themselves in a stunning environment for three incredible days filled with music, enjoyment, and dancing. The attendees are known for their remarkable friendliness, rivaling only metalheads and psychedelic music enthusiasts, while the performances showcase truly exceptional talent from around the globe.
If you enjoy even one act on the lineup, I highly recommend attending. Despite my initial concerns of it being a chaotic rave with an emphasis on drum and bass, it exceeded my expectations. Nozstock is essentially like a condensed version of Boomtown, but without any of its drawbacks.
