Running for its 30th instalment this year, Weird and Wonderful Wood is a bit of a unique beast in the world of festivals. A combination of the best bits of a craft fair, music festival and village fête, the event offers a frankly absurd amount of entertainment for its £17 day ticket—activities, workshops and demonstrations lined up as far as the eye can see.
Thanks to that low price and broad scope, Weird and Wonderful Wood attracts a seriously varied crowd. Among the throngs you’ll see Suffolk families, lured by cheap tickets and a full day’s distraction for their kids; festival crew regulars; people who spend their summers dancing or working in assorted fields; and the odd white-haired, well-heeled local gentry, come to check what the rest of us are up to.
All around the site, buskers, dancers, acrobats and stilt-walkers entertained the wandering crowds. The towering wickerwork Vikings were particularly noticeable—massive, pagan, mythic. You get the sense you’re stumbling across some lost folk ritual, not just another event in the Suffolk calendar.
The Vikings were hardly alone. Rimskii and Handkerchief—the cycling musicians with instruments built into their bikes (or possibly the other way round)—were spotted serenading passers-by. Crumbucket’s Mechanical Dragon fascinated children, while a giant, rideable snail roamed the grounds, adding to the general air of a children’s storybook.
This sort of genuinely jaw dropping magic is one of the best things about the festival. I can imagine a child being genuinely awestruck by the green giants, or getting lost in the free scrap-crafting area—actual hammers, actual nails, and miraculously actual adult supervision.
While Weird and Wonderful Wood is not some wild, hedonism-fuelled party, and to be honest, it never pretended to be, it still has plenty for anyone who fancies a bit of a dance and a drink. A strong lineup of local bands and festival favourites performed on the beautiful but far-too-often overcrowded main stage.
Musical highlights from Saturday: Suffolk staples Aartwork delivered a smashing set—their Celtic folk/drum and bass fusion pleasing everyone from the tea-and-cake brigade to actual ravers. They could play anywhere, frankly – from the souks of Marrakech to the mountains and jungles of deepest Peru, I’m sure the audience would appreciate them.
The Floozies, who opened the main stage, managed to conjure a magical, olde-England vibe out of 1970s and 80s. Their folk-country fusion—flute, guitar, sax, had charm in spades. The Foreign Locals were a riot too: reggae, polka, folk, theatrics, fun.
Mark Chadwick, of Levellers fame also played, but the main stage was uncomfortably busy at that point. Seats dominated, and even standing room hard to come by. As pretty as the main stage is, Weird and Wonderful could really, really do with a little more space here.
Most of the crowds come between 10am and 6pm, but for the properly enthusiastic, recently a campsite has been made available. Honestly, I reckon the festival comes into its own in the evening, when the daytrippers thin out and you’re left with the keenest fans and the bounciest crew.
The Maui Waui-run main bar, where the evening’s antics happened, was a happy place—bright colours, strong cocktails, actual friendliness to new folk and old faces alike.
This atmosphere, already something like a dreamy family BBQ, was boosted by Orse and Merlyn, Weird and Wonderful regulars. A pair of old mates, they handed out tambourines, dusted off their cajon and guitar, and got the Suffolk scene stalwarts in the crowd singing along to a set of classics. Joyous stuff. King Killership followed, headed by an enigmatic fellow called Lightning, who seemed to have played saxophone everywhere else all day too. Proper barn dance vibes—honky-tonk, blues, and a whiff of madness.
Sunday’s music didn’t disappoint: my favourite, hands down, was Thy Last Drop. Their heavy, gothic, polka-punk drew a crowd of proper energetic young dancers—pretty sure half of them came just for this band.
The Willswood Buoys did a set I’d call hardcore folk: think Frank Turner but a bit less riddled with anxiety, lyrics and hooks hiding a punky edge if you listen close.
Niimei, a West African drum and dance group, got strong applause, but little dancing from the historically-insular Suffolk crowd. I’d wondered how they’d land, and the answer was: tentatively, but with approval. I was twice impressed: first by their energy, and second by the crowd just about meeting them halfway.
And I can’t not mention the Old Time Sailors. They delivered their usual all-in, energetic performance— but this was before their recent scandal broke, so it’s hard not to feel a bit weird in hindsight. I genuinely hope it turns out to be nothing, but it’s impossible not to mention it now.
Now this can’t be blamed on Weird and Wonderfuls’ organisers, but I do think they could do something about another separate issue. The festival is just too busy. I know, I know—I’m a weird, autistic outlier, but I heard the same thing from loads of people: queues for everything were slightly to long, there was not enough seats, and an overcrowded main stage. Great for the traders, not so much for everyone else.
There is a fix: expand the core site a bit, spread things out, and—yeah, I know, I shouldn’t say this, but maybe raise the ticket price a little bit. I don’t like it either, but people would pay a bit more if it meant less queuing and a bit more space.
Overall? Weird and Wonderful Wood is an excellent day out, and an even better weekend. It’s got storybook magic by day and a welcoming, communal, slightly bonkers barn dance vibe at night. If you’ve got even a smidge of inner child left, go. You’ll find something magical, even if you have to wait for it.
Oh, and there’s lots of wood. It’s kinda based around that. I guess if you really like trees, and don’t like seeing any chopped down, I suppose you should stay away.
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