Blackpool UK West Coast 2026
Blackpool

OK, the UK West Coast Folk Festival, here we go!! 38 performances over 3 stages, on 3 days by 34.66 different artists (we will explain later) and your intrepid reporter caught every single one of them – not so much so that you didn’t have to – but very much to give you an impression of what you may have missed.

In summary, before we really start, the range of styles and content was quite something – a fact that many of those members of the audience with whom conversations were held also mentioned – so a collective impression, not the random musings of a stage lagged hack. Similarly, the quality of the artists themselves was impressive, to the extent that any of them would happily be seen again – of course there were stand out performances and happy new discoveries, but everyone had something to offer and that is to be applauded.

First up was Becky Foord, where the warmly lit, intimate setting of the Acoustic Stage was perfect for her gently delivered songs, evocative of the time and place of her North Yorkshire childhood, along with an acknowledgement of wider musical loves and influences, with her version of Dylan’s Don’ t Think Twice.

Speaking of Yorkshire, we were then treated to Sheffield duo Cobalt Tales. Their spirit and joy are, as ever, matched by the quality of their performance. Seemingly now a Blackpool fixture, their songs of powerful women are delivered in a mixture of styles, from their a Capella tale of the Pendle Witches, through to a powerfully delivered songs, with Pat and Nuala’s contrasting voices underpinned by their respective guitar and bass. As ever, they added significantly to their collection of friends!

Finishing the day on the Acoustic Stage is another Blackpool favourite. Rob Clamp was an audience choice at the first event and has returned each year since. His songs have an emotional depth and power, allied to a percussive delivery and an engaging stage presence made him a welcome visitor from his South Coast base!

The Introducing Stage is also a feature of the West Coast festival, transferred from the much-missed Skegness extravaganza, The Great British Folk Festival. As the name suggests, the stage present 4 newer, or new to the audience artists. The added attraction, incentive or jeopardy, depending on your outlook, is that the audiences are encouraged to show their support for the artists by means of tokens indicating their favourite. The best supported on each day are then invited back to play the main stage the following year.

Nottingham duo guitar and fiddle duo Malin Hill started proceedings with their well-received mixture of trad and original songs, putting their own contemporary twist on the arrangements.

Fine Lines

Getting a 7-piece on stage in a 15 minute can prove something of a challenge but with a minor tech challenge quickly sorted by Simon the Sound, Fine Lines didn’t let that spoil the fun, launching into a classy set of Americana. The dual male/female guitar/vocals drive the remaining band members through a tight set that found particular favour with the audience, and a consequent main stage return to the next event.

With the most intriguing name of the weekend, The Ogres Hummingbird appear as a 4-piece for a set based around the songs of Nottinghamshire’s Alan S. Robinson. Gently and charmingly engaging with some fine instrumental flourishes to boot, we could certainly have listened to more!

And what would a folk festival be without a shanty group, especially one held at the seaside – so step forward Nobody’s Friends Shanty Singers who filled the spot with enthusiasm, good humour and a selection of songs that had a risqué element, bordering on the ribald on occasion, for which they made no apologies

With the main stage starting after the Introducing had been completed – there was a quick exodus into the adjacent room, just in time to catch Hazjak, a deserved transfer from the previous year’s extravaganza. Lynne and Steve brought a variety of instruments, a selection of influences, some fine songs and an infectiously positive stage presence plus between songs stories ranging from the delights of parking wars to a night spent with Lemmy and Phil Lynott at the legendary Marquee Club, it all added to time well spent in their company.

Hazjak

Having had an upbeat start to the evening, courtesy of Hazjak, Blackbeard’s Tea Party were the perfect choice to continue the fun. On fine form, and in fine style with matching glittery outfits and movement to match, their riff heavy takes on trad tunes and more upped the feelgood factor. There can’t be many reading this who haven’t had the Blackbeard’s experience but, on this occasion, they were at their irresistible best! Hurrah!

Blackbeard’s Tea Party

After the onslaught, we all needed a little breather, and a gentle soiree with Nick Harper was just the ticket. We were treated to a selection from his 58 Fordwych Road album, in which he presents songs from the procession of famous visitors to the above address, home to his father Roy and his mother Monica. So, we get the likes of John Martyn, Sandy Denny, John Renbourn and Bert Jansch, plus the delight of the anecdotes in between. But that’s not all, his stage set includes artefacts from the family home, a table bears what is introduced as Roy’s herb box, with an invitation to meet it after the set. Such is the engagement between songs that the time passes swiftly, and on announcing that he will finish with one of his own songs, he rapidly changes his mind and treats us to a fiery version of his Dad’s Highway Blues. Magic. His tour continues, catch it if you can.

Nick Harper

All of which leaves us with headliner Seth Lakeman – and an opportunity to collect the set – having seen both Sean and father Geoff but never coincided with Seth.

Flanked by Benji Kirkpatrick and Alex Hart, and accompanied by one, both or neither at various points in the set, we are treated to the sort of masterclass you would expect. Virtuoso high energy performance as expected, trad and contemporary fused and an audience enthralled – it was well worth the wait for catch him – thank you and good night!!

After a good night’s sleep, a decent breakfast and a bracing walk, an early door dilemma. Katie Spencer on the Main Stage or Louise and Chris Rogan in the embrace of the acoustic stage. Time to start getting those steps in.

Katie Spencer is having quite a year, her new album picking up numerous accolades and awards, unsurprising given its beautiful sophistication, epitomised by the opening, title track and eventually closing with a signature, John Martyn inspired guitar composition that begged to be enjoyed with eyes closed and imagination on full. Meanwhile, Louise Rogan is also having a memorable year, with 2 significant releases, a new baby and her first solo album, the latter being particularly well received in these parts. Appearing as a duo with father Chris, his guitar adding warmth and depth to a voice sent from heaven and songs that ranged through history, politics and a lullaby.

Katie Spencer

Another dash along and up to the main stage was rewarded by a fabulous performance from the Duncan MacFarlane Band. Despite the earliness of the hour, this was a masterpiece of audience engagement and participation, underpinned by energy shared between the band and the crowd, with the master of ceremonies himself conducting activities among the seats like a baton waving maestro, whilst others simply decide that resistance was futile and dancing was irresistible. The songs were great too!!

The Duncan MacFarlane Band

More gentle fare was available and greatly enjoyed back up in the acoustic room, with Joe Bayliss, drawing listeners in with his honest introspection and reflections on lived experience. Billed as a solo act, as on his previous outings, he was accompanied by Mike Seal on double bass, adding an extra degree of richness.

On the understanding that you can’t get too much of Katie Spencer, her quick transfer to the Acoustic Stage presented another opportunity taken with both ears and thoroughly enjoyed as a result. What passes for a sprint these days, but in reality, is more of a purposeful amble, and we are back upstairs at the main stage for the class of Gilmore and Roberts. Celebrating 20 years of togetherness, and demonstrating all the reasons for their multiple Folk Award nominations, they continue to take folk into powerful places, which has led to comparisons with the likes of Merry Hell, achieving that on just a quarter of the latter’s resources.

The Hooliemen

The Hooliemen kicked off the day’s events on the Introducing Stage, bringing another element of trad, bringing some Irish spirit and considerable performing polish over the border – though on this occasion from Yorkshire rather than across the sea. A regular feature in various gig guides and it is easy to see and hear why, finding considerable favour with the audience.

Back on the main stage, Elizabeth and Jameson had expanded from a duo to a quartet with the addition of Gafyn and Tom, mainly for the purposes of presenting songs from their recent album Way Out West (well received in this quarter) but also the surprise inclusion of a Bonnie Tyler song, though not that surprising given their links to South Wales, also celebrated in song.

There’s a slightly other worldly element to indie-folkers Ivan Campo (named after the Real Madrid (and less glamorously, Bolton Wanderers) footballer, if you wanted to know)), It’s hardly surprising, as their latest album, The Twilight Zone, draws inspiration from the classic series and gives rise to a number of fabulously descriptive introductions, occasionally quite disturbing. Appearing as a duo rather than a trio, they offered something different again, from both the earlier act and indeed the rest of the festival, and we loved them for it!

Wickenwood

Fusing their twin passions of history and music, Wickenwood’s trio of Phil, Debs and Mags delight us by weaving harmonies and stories around the results of their research and travels, including the tale of the twice interred, seemingly miraculously restored, drunk monk Jocundus, possibly the best intro tale of the weekend – and we had a few. Currently visiting a number of folk clubs, catch them if you can!

All of this leaves us with the final introducing act, who possibly need little introduction. Virginia Kettle, along with husband John are known for their roles in the folk-rock leviathan, Merry Hell. Her Rolling Folk project has gathered some of Cheshire’s finest as accompanists, to assist her in exploring more of her prolific output. An outbreak of singing and dancing among the audience was no more than both the songs and delivery warranted. Destined to rise the festival billings, they were the firm audience choice for a return in 2027.

Virginia Kettle's Rolling Folk

Speaking of rising up the festival orders, Honey and The Bear were an enormous hit on their first Blackpool outing and continued in the same vein on their repeat visit. Another expanded duo, Lucy and Jon are augmented by percussion and fiddle from long term bandmates, adding extra dimensions to their own multi instrumentalism, their bound chemistry underlying intertwined harmonies, as they deliver songs with a strong sense of place and people of their native Suffolk, where they are part of a mutually supportive and musically stimulating community.

Seamlessly transferring from their previous acoustic stage, dad and daughter Chris and Louise Rogan turned in another classy set. It is impossible not to be entranced by Louise’s vocals, but you still need something to sing and there is such variety in the topics. There is history with tales of travel and shipwreck, intimate stories of family and friends and an eye for a good tale, such as the apparently hero dog of Paris, who turned out to be more of a clever villain than man’s altruistic best friend. We were also treated to new material from an upcoming released featuring Louise in the company of whistle and pipes maestro Mike McGoldrick.

Reaching what should be the pinnacle of any weekend festival – the Saturday night headliners, the organisers had chosen well. Nothing raises the spirits like tales of parties in a dystopian future Sheffield, though have you seen parts of Blackpool lately? Anyway, having seen your man in several incarnations, he turned in a performance as good as any previous encounter, with energy, drive and presence, suitably supported by his Remnant Kings. The conversation ahead as we made our way out into the dark coastal night centred on whether Mr Boden was the best band leader around – certainly in with a loud shout on this showing!

Anna Renae

After swapped stories of travels along the highways and byways of the folk, rock n roll highways and byways in the hotel bar, with drinks that aided restful sleep, followed several but possibly not enough later by the delights of an all you can eat breakfast, the last day of the weekend saw Anna Renae bringing us lyrically into the 21st Century. After many a tale of 16th Century misdeeds and the like, we are treated some insightful songs that not only mention the modern phenomenon of texting, but also of navigating interpersonal relationships in the modern age. She brings a pop sensibility to her performances that have drawn comparisons with Suzanne Vega and Taylor Swift, perhaps her own era draws near!!

At the same time that Anna was charming the Acoustic Stage, Rob Clamp’s second appearance of the weekend was sweeping away any early day cobwebs that the main stage audience may have had. Appearing on a bigger stage and in a bigger room. Up-tempo - and despite being sat down - quite animated, which adds another dimension to his performance. His songs ranged from his grandfather’s war time experience and relationship to the present day, to everyone’s pet hate (especially musicians) of the experience of open mics and those who don’t understand the etiquette- those b*stards who decide to have a conversation during the songs, because sharing the trivia of their lives is more important than the audience being able to enjoy the skill of the artist! Quite appropriately, the set finished with a short rendition of I’m on Fire! A sentiment the audience embraced!

The UK (and probably the World’s) premier trilingual murder ballads trio, Michell, Pfieffer and Kulesh could also be described as a folk supergroup, taking 3 successful artists from their usual situations and combining them into something very different. They weave their distinctive voices around captivating arrangements of both traditional and self-composed songs, that draw on their German, Russian and Yorkshire heritage, to the extent that the subjects of the songs also flow into each other, with Tam Lin fusing with the King of The Faeries and a timely reminder that not every maiden that ventures into the Greenwood is ill prepared!. Drawing material from their excellent Flowers album, they are dressed accordingly, representing again their personalities and backgrounds – adding a theatrical element their distinctive performance.

Having returned to his folk club roots, Craig Joiner combined his own song-story writing prowess with a visit back to where it started, inspired by Andy Irvine and Paul Brady’s Mary and the Soldier, even managing to link it to Bob from Blackadder. We are also treated to some fine guitar, including some deft harmonics – the first of the weekend. If you aren’t already familiar with Craig after his stadium rock sojourns with Romeo’s Daughter, you will already have heard his music – from sources such as covers by the likes of Heart, inclusion in iconic TV series and the theme tune to Would I Lie To You. Appearing at a folk club near you soon. Investigate!

Remember the artist count included a two thirds element – that’s because after performing as part of the trio, Daria Kulesh dashed straight down to the Acoustic stage, Following a swift costume change into one that reflected her exotic background, besides the songs, we have a geography lesson, a linguistics tutorial and a quiz. Joined by musical polymath Marion Fleetwood on fiddle!!, adding extra Russian flavour to haunting songs of love in exile or a touch of the green to a musical memory of times spent singing in Moscow Irish bars. Oh yes and the crowd finished by singing along in the Ingush language – no mean achievement on either side!

Restless Oceans

Another couple of hundred steps to the add to the count and we are upstairs with Restless Oceans, another deservedly winning returnee from 2025. Their often dreamy folk-rock is combined with lyrical metaphor and occasional flashes of prog, However, with Ben on an interesting selection of hand hit drums and cymbals and Oscar on bass providing some low-end thump, they also managed to rock out towards the end with some bounding around the stage in evidence. A promised album is eagerly anticipated!

Jake Leg Jug band

With no rest for the would be wicked, if they had the time, it is straight into the Introducing stage for the Jake Leg Jug band. Their polished mixture of vaudeville, jazz, blues and swing even left time for some gospel, which they introduced as the first song that Moses bought, he got it on a tablet. Yes, there were laughs in there too. Was it folk? Well, there’s an argument that the original Jug Bands were a precursor of the folk revival – but we shall settle for a good time on 8 legs and leave it at that.

What a difference 15 minutes makes – off with the old – in with the Sepia Tone Folk Collective, who defied expectations by appearing as a duo. Just as a journey starts with the first step, so a collective starts with the addition of that second person. In this case, Ritchie and Lucy joined together, they have provided a basis for further comrades, looking to share their folk vision! They gave us a more relaxed, thoughtful fusion of both trad and contemporary folk, with influences spanning the decades and genres. The seeds are definitely there – let’s see how their project grows!

Samantha Whates and MG Boulter were another festival find, with Matt returning after a stint with the Remnant Kings the night before. Styistically different but the quality of the guitar work remained the same, including some sublime lap steel. They appear as a duo and also taking it in turns to deliver solo songs, often from themed collections, whether it be in praise of books, an appreciation of flowers, or impressions of a seaside hometown. Whatever the stage presence, the songs are lyrical, emotive and engaging. We are possibly deprived of an additional song as a shared guitar and their differences meant that each change required. (Apologies to Samantha – it was at this point that my battery took a rest!!).

As a further observation, if any capo manufacturers should chance upon this, then a range in bright colours would be a great idea, as a quid for each lost capo over the weekend would have paid for an evening meal in the on-site and reasonably priced café!

The Pelican Babies

Full marks to the tech crew throughout the weekend, sound engineers are often overlooked but the quality was consistently high and the organisers had provided a good standard of kit to enable fast changeovers. That said, extra brownie points must be given to Simon and Chris, who, faced with their last act of the weekend, were suddenly confronted by a digeridoo! The Pelican Babies, for it was they, delivered a thoroughly entertaining set of both songs and self-deprecating commentary, finishing with their recent single Judas Goats, with their intro drawing approving applause from the crowd, whilst their concluding self-titled song, featuring the previously mentioned instrument filled the room with deeply reverberating sonorous tones underpinning a harmonious finale. Excellent – currently resurgent around the folk clubs of the North West – catch them if you can!!

Baskery

With only the main stage to occupy the revellers, we had what was for many of them the discover of the weekend. Three Swedish sisters, appearing as a cross between the girl gang in Grease and the Beastie Boys confounded all expectations, moving from a thrash folk sonic attack that would not have been out of place at the Heavy Metal festival downstairs, to asking the sound crew to give them Winchester Cathedral vibes while they enthralled as an a Capella trio, before consulting the audience as to their preferred style for the rest of the evening. As the earth shifted slightly on its musical axis, they even had the audience howling, thankfully by invitation. Delivering more energy than the offshore oil rig in the bay, some guitar hero skills and shapes, along with a banjo playing drummer, sometimes playing both at the same time, self-identifying as The Queens of Banjo Punk, before the event, several people had suggested that Baskery were one not to be missed – they were right!!

TRADarr

Follow that TRADarr, and they did – in style. Stripped of three members by unforeseen circumstances, they started their set with an appeal for a bassist and drummer their choice of hastily rearranged set, musicianship, fabulous harmonies and personality were more than sufficient to carry the day! As vocal duties were passed along the line according to song selection, Gemma, Guy, Marion and Greg were decidedly different from the previous onslaught but still very much to the liking of the audience. A vocal tour-de-force from Marion on Sandy Denny’s The Lady was followed up with three fiddles and a brace of tunes, rounding off a feast of fine folk!

After three full days of a festival, organisers, who had already played a blinder with the line-up can decide either to go out with a bang, or let us drift off gently, reflecting on what we have seen and heard, wondering what the following year will bring and looking forward to finding out. The harp/guitar and interwoven voices of the Webb Sisters allowed us to do the latter. They promised us a set of their own songs, followed by a selection of their favourites. Their ethereal vocals have led to them singing and touring with Leonard Cohen, Tom Petty, Sting and David Gilmour as well as their award-winning writing and it is easy to hear why. Their final song of Bird On A Wire had its own magic before they descended from the stage, wandering among the crowd to their version of I Want You To Want Me, very much the real ending rather than a Cheap Trick.

the Webb Sisters

That’s it! 3 days of fabulously contrasting music within a folk framework – though with some pushing nicely at the edges. Congratulations to Solid Entertainments for putting the whole thing together. The main venues are excellent acoustically, well laid out and comfortable, the acoustic stage is more intimate, suiting the acts selected to play there. There’s always something happening, It’s to be hoped that the event will return next year, either in its current format or slightly tweaked to attract a larger audience that will establish it as an important part of the folk calendar. Granted there is not the on site accommodation associated with its sadly missed Skeg Vegas forebear, but tales abound of cheap and more than cheerful B&Bs and hotels around the town. Onwards and upwards say we!