So, I had so much fun at Nozstock 2024 that writing this review is actually difficult.
Taking place for its final year in 2024, Nozstock: The Hidden Valley has been one of the best independent festivals in the UK for longer than most people in the scene can remember (eds note: for various reasons).
Set on a beautiful patch of farmland in Herefordshire, the festival and its home are completely inseparable. Various stages clearly exist in some form year-round, substantial landscaping has taken place, and large, perfectly placed trees dot the site. Given the organisers are the same people who manage the land year-round, it is clear that a lot of work has been done to turn the site into a perfect festival haven over the last three decades.
This work pairs perfectly with the immense efforts of Nozstock’s art team: the event absolutely encapsulates all that is good about British festival design. Big elaborately designed stages, built fresh for this year, paired with hundreds of intricate details dotted across the site, make the entire event a feast for the eyes before you even see any of the performers. The theme this year—The Wild West of the Last Dance Saloon—was adhered to closely, with animal skulls and saloon doors covering the site, while practically every trace of last year’s underwater-themed event (prophetic considering the rain) was replaced.
Onto the performers—now the walkabout show density at Nozstock 2024 was insanely high. Last year, I called it a Pocket Boomtown, mostly for this reason, and in the sun and warmth of 2024, this side of the festival shined even more.
We had a roving tribe of silver folks following a giant disco ball, we had the raving grannies bringing bingo to DNB, we had a yellow and black crowd of what looked to be morris men, and obviously, the Insecurity guards were back, guarding the attendees’ greatest weaknesses.
And this is without mentioning the clowns. Now, anyone at a certain type of British festival will have encountered a few unlicensed festival clowns. They’re a great, albeit chaotic element of the scene—I once saw one hammer a nail up her nose. Now, for some reason, Nozstock’s clown density was very, very high. This led to antics and mayhem spilling into everything else, and a certain, beautiful joy permeating the festival. One particular highlight was the human fruit machine—I may have spent a full five pounds on it over the weekend.
From a musical point of view, I had way more fun than I expected. Compared to the absolute dreamboat of a lineup they had last year, 2024 seemed like a bit of a, to use a close friend’s language, drum and bass muntfest with headliners like Andy C and Groove Armada, and little in the way of my festival favourites.
In hindsight, I’m kinda glad for that. I saw a bunch of things I hardly knew or didn’t know, and felt no pressure to be running from stage to stage. I can’t remember the last time I’ve spent so long happily bumming about at my own camp.
The first act I recall from Friday was Natty Speaks on the Garden Stage. As a hip hop youth worker, he brought a genuine and heartfelt energy to his duties opening and MCing the stage. While it was a bit cringe, that was almost enjoyable—it fit with the genuine feeling of loss at Nozstock’s end.
Ital Sounds was up next in the Elephant’s Graveyard. They were by far the best use of that fantastic little venue over the whole weekend, delivering exactly what their name promises—pure, unadulterated reggae and dub vibes. It was a perfect afternoon set, letting everyone ease into the festival’s rhythm.
Next, The Social Ignition on the main stage was an absolute blast. Their high-energy performance was infectious, keeping the crowd dancing and singing along. It was noisy, it was lively, and exactly what you’d want from a main-stage ska act.
Over at the Bandstand, another fantastic little venue, semi-enclosed and surrounded by plyboard pillars, a country-ish band, No-Thee No-Ess, caught my attention. Their REM-inspired sound was a pleasant surprise, blending the familiar with their unique twist. It was a soothing break from the higher energy sets, providing a nice change of pace.
The night then brought a whole new level of madness with Dutty Moonshine Big Band bringing their wild A-game. Their set was intense, blending elements of jazz, swing, and bass music into a high-octane performance that had everyone on their feet. The energy was relentless, making it one of the standout performances of the weekend.
Andy C, one of the headliners, initially seemed like an odd fit given my tastes. However, his show was a revelation—full of fun, not taking itself too seriously, and with a crowd energy that was off the charts. His performance was a highlight, proving that sometimes the hype is well-deserved.
Post-midnight at the Elephant’s Graveyard, the scene shifted to heavier drum and bass. Despite not being my favourite genre, the sets from various DNB artists were intense and full of energy. Though I wondered if I just wasn’t in the right state of mind to fully appreciate it, the crowd’s enthusiasm was undeniable.
Back at the Garden Stage at 1 AM, Utah Saints had a similar effect. Their DNB set was technically impressive but, once again, I found myself questioning if my enjoyment would be heightened with a bit more ‘assistance’, so I went back to the camp and drank a pint of sangria. This worked perfectly, and I greatly enjoyed the last 20 minutes or so of the set.
On Saturday morning, I rather regretted my decision, feeling at least slightly rough. However, the advantages of a festival where the lineup doesn’t have you running about is that you can sleep this pain off. The first band I saw on Saturday, after a little bit of folk antics, which inspired me to request “Drunken Sailor” at the human bandstand, was Spits Milk. Essentially metal, and heavy as hell, they offered a great break from Nozstock’s usual musical fare.
One of my highlight experiences of the day was Sam Redmore and the Tropical Sound Clash. Despite a little bit of rain, their tropical beats kept the vibe light and bouncy. It was a testament to the festival’s spirit that even the weather couldn’t dampen our fun. Late in the evening, I wasn’t finding the main Orchard stage lineup quite to my tastes, so I wandered around the short distance to the second Garden stage and found one of those amazing acts you only ever see while wandering around slightly too inebriated.
The Junkoactive Wasteman and the Tin Can Twins are one of the most incredible pieces of performance art I’ve ever seen. Composed, as expected, of three people, the only thing I can compare it to is Henge. While this crew are geared up as, well, men made from junk, and play less guitar-focused music than the space rockers, the Junkoactive trio are just as good, and I hope to see them at basically every festival from now on.
Come Sunday, Karl Phillips and the Rejects brought back the ska energy with an intense, high-energy performance that was pure fun. Their infectious enthusiasm had everyone bouncing along.
Another fun act was Mr. B The Gentleman Rhymer. Silly, energetic, and erudite, while some audiences may find his posh man a little cringe, he seemed perfectly in keeping with Nozstock. Over the years, he’s become more and more natural in what he does, and it’s really becoming a festival staple.
The festival had quite a big fun side. Mr. Tea and the Minions, also performing on Sunday, brought a silly, fun side of ska but proved themselves a very real band when it comes to musicianship. Their infectious energy and humorous antics did not detract from their impressive musical abilities, making their set a delightful experience.
Vaginapocalypse, playing at the bottom of the Slippery Slope stage, offered a different pace with their combination of brass and acapella folk. It was a relaxing interlude amidst the high-energy performances and very enjoyable.
Finally, Cut Capers closed out my highlights with their big, brassy sound despite some minor initial sound issues. Their 9-piece band, fronted by a charismatic lead with a broken arm, was an absolute delight, showcasing the eclectic talent that Nozstock is known for.
After Cut Capers, I caught the beginning of Boney M, but at the insistence of my friends, who were appalled at the lack of a full band, left to go enjoy some psytrance down in the beautifully decorated Coppice instead. Enjoying the crazy psytrance raving much more than what my buddy described as “glorified karaoke,” we raved the night away under the trees, dancing in the light of the lasers, LED poi, and glowing butterflies.
So yeah. That’s what we’ve lost this year. I’ve spoken to Ella Nosworthy, the lady behind Nozstock, and she wants it to keep happening as much as we do, but it just doesn’t add up in this economic environment. They had a sold-out festival, and who knows if it turned a profit.
Doing something of the incredible intensity of Nozstock, while keeping ticket prices affordable, is an incredible feat. I salute everyone involved, not only in Nozstock, which absolutely smashed it out of the park for its grand finale, but in the entire independent festival scene. You make magic out of plyboard, generators, and a comparatively minuscule budget, and yet outcompete massive events with titanic corporate behemoths backing them.
We lost a real good one with Nozstock, and I truly hope conditions change so it can return.
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