A good time? In this economy??
When the full line-up for Arbroath Fest 2026 was revealed several months ago it landed with the impact of a dubiously timed April Fools gag. Could it be real? At a time when so many festivals and major cultural events have downsized, taken a year off or even folded completely, it seemed unbelievable that an independent festival halfway up the east coast of Scotland could stack their bill with a list of indie rock heavy hitters, then pad it out with some of the hottest rising talent in the country, and only charge £50 for a ticket. It had to be a hoax, right? It sounds too good to be true.
Well, at the risk of over-romanticising a nice time had on an average Scottish summer’s day, Arbroath Fest played out like an unexpectedly wholesome fever dream. People were so friendly and helpful, the portaloos were clean and functional – never something to be taken for granted, food and drink provision was tasty and affordable – although heaven forbid you have a dietary requirement, and the musical offering was equally scrumptious. Across the compact site, fans and artists mingled throughout the day, embracing the relaxed atmosphere that the event embodies. With Arbroath Market running just outside the gates, and some of Scotland’s finest seafood eateries within walking distance, there were plenty of reasons for visitors and residents alike to show up and support this incredible local initiative.
It wasn’t a utopia and people will have their gripes; the main stage fell behind schedule which caused sound bleed and other disruption, bins were overflowing by the end of the night, the bar sold out of several beer and wine options, and eventual wet weather forced the inflatable sideshow amusements to pack down early. Honestly though, we can forget too easily how good we’ve got it. Events like Arbroath Fest aren’t a given, especially in Britain’s current economic and social climate, and beyond the generous, Field-of-Dreams-entrepreneurial drive of festival founder Andrew McDonald, there are a host of local sponsors, partners, community organisations and volunteers who deserve immense praise and gratitude for realising the festival in its latest and most ambitious iteration. Contrary to the doom and gloom headlines of traditional news media, it turns out we actually can have nice things.
About that line-up, then:
After a slightly delayed opening, Dundee quintet Copper Lungs didn’t waste any time, engaging the early arrivals with their strong vocal dynamics, well-crafted pop songs and an energetic charm that felt both sincere and commanding. As festival welcomes go, theirs was particularly warm. Noting the presence of a few well-behaved dogs, lead vocalist Darren Lindsay even dedicated Life Your Way to them and his own good boy, Zeus, who was moseying through the crowd at the time. An early contender for “Most Wholesome Moment of the Day”.
Singalongs ensued as Ben Walker and his band ran through catchy chorus after catchy chorus. The front row was lined by young fans with placards of song requests and love declarations. Far from gloating in all this adoration, the Montrose songwriter turned in an elevated, joyful performance, winning over many new fans in the process.
The second “Most Wholesome Moment of the Day” contender was announced when Calum Bowie was gifted a selection of smoked salmon by one of the market stallholders. Smoked salmon. In truth, Calum Bowie’s entire set could have claimed the wholesome moment title, as he drew a devoted audience from all ends of the country, many resplendent in his branded t-shirts and hoodies, and ready to bust out their bespoke choreography on bops like Anthem and Dancing in the Sun (even whilst singing in the rain). For his part, Bowie performed his songs with an unhurried generosity and buoyancy, and when his time on stage was over, he took up a meet-and-greet position at the barrier until every fan had gotten an autograph, selfie, etc. He was even gifted fan art. Ugh, so pure!
Over on the second stage, which was sponsored by Dundee and Angus College, Arbroath local Jenna Ritchie returned to the festival with an acoustic set of her otherwise-would-be scuzzy pop songs about deluded romantic fantasies and how cringe love is (not really but…kinda). The long-story-short takeaway of her set was “don’t date musicians, they’ll ruin your life”. Top bants.
The mood on the main stage evolved mid-afternoon with Cloth’s mellow and mellifluous tones. Rachel Swinton’s enchanting vocal was carried across the site and out to sea like a siren on the breeze.
Back in the courtyard of the Signal Tower Museum another Arbroath native, Rebecca Connelly, proved herself a real songwriters-songwriter, shouting out Best Kebab where she wrote the infectious So Near while waiting for her chips and cheese late one night. Her professionalism extended to performing while her rogue offspring rushed the stage. Credit where it’s due: She didn’t miss a note.
Believing themselves to be outliers on the day’s line-up, Witch Fever nevertheless set about showcasing their beguiling and temperamental collection of songs. In truth, they were the perfect act to pivot the afternoon’s energy towards heavier melodrama. Dreamily aggressive.
Katie Nicoll captivated a sizeable crowd in front of the Signal Tower Museum, with only adept songwriting and an acoustic guitar. Despite the encroaching noise of the main stage PA, she even mustered a singalong on with you (na na na) from punters seeking a windbreak along the back wall.
As masters of the three-minutes-and-under punk pop smash, it was not unimaginable that Paws could play out their entire set and somehow timeshift the main stage back onto schedule. Their amalgamation of short-fast-loud and melodic proved as crowd-pleasing as ever; small groups moshed near the front while parents with toddlers held hands and practiced their best twirls on the fringes. Paradoxically though, indulging in the inherent urgency in Paws’ delivery only made time feel more elastic, so that when they announced their final song the whole rollercoaster ride felt over too soon, despite the next band being due on stage that very moment.
Twenty minutes later The XCERTS declared their “triumphant return to Arbroath” with characteristic earnestness and a no-holds-barred selection of crunchy power pop anthems from across their catalogue. Never easy to pick a highlight when it’s all this high but the reception for Kid On Drugs was instantaneous and deeply euphoric like the reveal of a surprise party.
In what should have been one of those glorious, golden hour sets, but for a cloud blocking the early evening sun, brownbear brought a warm, reserved tenor to proceedings. Without straining himself to be heard over the main stage melee, he drew listeners in with charming melodic hooks and his endearing huskiness.
Brooding swagger meets quiet joy in the music of Fatherson, the penultimate act on Arbroath Fest’s main stage. Still fairly fresh off the back of 10th anniversary shows for their acclaimed sophomore album, Open Book, the trio approached their sunset slot with discerning assuredness and a setlist of fan favourites like Hometown, Just Past the Point of Breaking and Ghost. It was a not-so-subtle reminder, as if one were needed, that the emotional dynamics of live music – and of Scottish rock music in particular – are unparalleled when experienced outdoors and in a crowd. Pure cathartic revelry.
The festival’s headline performance belonged to Idlewild. On the cusp of celebrating three decades as a live band, their booking was a major coup for organisers and local fans alike, and a treat for the band members themselves who hold strong connections to the east coast. Not inclined to dwell in nostalgia though, their set threaded a throughline between past and present sounds, connecting tracks from last year’s eponymous album with the trademark frenetic energy, melodic angularity and poetic lyricism of their earlier songwriting. Within this sonic framework, more sentimental songs like Live in a Hiding Place and Let Me Sleep (Next to the Mirror) were the sweetest of unexpected delights. Hearing Roddy Woomble exploit his full vocal capacity once again, particularly on the latter, was a healing experience for many who has listened and winced as he struggled with illness when the band opened for My Chemical Romance a few weeks back. There were plenty of willing voices in attendance if support was ever needed and the night closed out on the ever soothing In Remote Part / Scottish Fiction as twilight engulfed the shoreline.
Arbroath Fest will return on 6th & 7th August 2027. Early bird tickets are on sale now.
Words and pictures: Kendall Wilson @softcrowdclassic