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Jul 11, 2026 By Lewis Oxley Photography by Lee B Photography (lead photo) Web Exclusive

Nottingham Waterfront Festival is back in town once again and I’m back here once more. Writing this feels more like an annual appraisal as opposed to a traditional review. It’s just under 12 months since last year’s edition of Nottingham Waterfront Festival, and it’s an event that plays out more like a work-in-progress than a finished article - no pun intended.

It is one of many one-day events the city has to offer, and whilst it has a way to go to match the likes of Dot-to-Dot and Splendour (RIP), it is slowly building a decent reputation with punters of various music tastes.

The multi genre appeal is still tied down by the alternative raison d’etre of local promoters I’m Not From London, who with their various events, champion acts of a leftfield persuasion from avant-garde hauntology to drone folk and straight up garage rock. Despite a tendency to favour leftfield genres, the cheery summer vibes are brought by acts of a sweet soul persuasion. Crossing the bridge that splits the building in two while a barge drifts below, we seek the fresh sounds of Waterfront 2026.

The good nature of the music is matched with I’m Not From London’s commitment to good causes as the proceeds of the event go towards the local Emmanuel House homeless charity in addition to mental health charity Mind. It’s imperative in this day and age that no one should suffer in silence or be sleeping on our streets.

After hitting the bar for my first pint of an exceptional guest pilsner, I stumble upon dream pop duo Innercolour straight after leaving the bar. The melodic, futuristic sounds are enhanced as soon as I’m able to get my ear plugs in and block out the chatter. Whilst I only got to see a snippet of their set, it left quite an impact with their rich mellow tones to style a summer afternoon and draw the crowds away from the bar and directly to the stage. Dreamy pop may be Innercolour’s main theme, but they are also dedicated to traditional forms of Jazz and Blues; this is fused beautifully… during their cover of The Zutons’ “Valerie”.

From the buzz of the bar below, we met the reality of kids with bubble guns cavorting as they chased them across the room. This wasn’t a Seas of Mirth gig nor a West Ham home game, but it wasn’t far off. On stage were Notts-based guitar duo The Gallow Glass. The lads offer fruitful folk tones with a touch of Indie edge - their words not mine. And this proved to be the case, the duo’s use of acoustic and electric guitars in tandem with one another offer a slice of joyous equilibrium which brings a feel-good factor to proceedings. Their song “Debbie” is particularly moving, twinged with humour in that the song goes out to all Debbies, as everyone seems to know someone named Debbie, apparently. It was just the tonic if you are a fan of Gerry Cinnamon or The Courteeners, that kind of indie rock typified by festivals like Y Not, Kendal Calling and Neighbourhood Weekender. The indie outreach of those festivals has been cropped to a smaller scale, but is just as dynamic.

The sullen acoustic tones of The Gallow Glass left people in a communal haze. Pretty Windows had different ideas as I wandered back down to the bar to see their set. I’m no stranger to them. They are always up for a riot. They offer an avant-punk barrage of stories from urban decay to working class heroism, leaving no room for serenity. Nick Hutchinson’s delivery grates against the brutal guitars and programmed sequences of Steve Godfrey. It channels the dark warehouse music pioneered by Suicide and the early incarnation of The Human League.

Given we are in a warehouse as well as a pub, it made perfect sense to have them on the bill. Despite playing straight by the bar, they fully encapsulated their wider surroundings of playing within an industrial building. The music reflects an interesting relationship between sound and setting; fusing something greater in the process.

Daughters of the Flaming Sword are on stage upstairs. Their appearance at Waterfront came just over a week after I saw them at the Mist Rolling Inn, an appearance that I could only describe as emotionally volatile in the pressure cooker of the Mist’s heatrapped basement. The stage was so condensed back then that there wasn’t enough room to fit their guitarist, but his tirade of supersonic riffs were enhanced by his presence in the crowd. Their stage appearance then, as now, was like a meeting with the hauntology society your eccentric friend convinced you to go to at university. It felt like we’d turned the clock back and it was autumn again. The fleeting beams of light refracting into the room cast a stained glass shadow, adding to the episcopal nature of things. The experience was otherworldly and deeply poetic.

Floating back down to the Gigantic stage for some Whisky Stain next with their red hot set of the deep blues. A duo composed of drums and guitar with the occasional swap to a bass is always exciting. The White Stripes and Royal Blood instantly spring to mind heavy distortion combined with piercing drums creating a crescendo of noise that gets passersby heading over the bridge to stop, go back and take notice.

The intensity of the blues downstairs is in stark contrast to In Chimera, who follow on the same stage. The former are a pale imitation of Fontaines D.C. trying to revive the summer of 2024 - the one which saw the Dubliners go head to head with Charli XCX for the crown of album of the summer.

Whilst the set was a palette cleanser from the raw blues that had gone before, it ultimately lacked edge. Following on from that is Moon Bullet who reignited the feel-good atmosphere that we desperately needed. The scratchy ska sound is an instant crowd-pleaser and the moves of the frontman Julian Woodcock are hypnotic and enigmatic to say the least. He dives and weaves into the crowd and ends up with him creating a starfish pose on the floor all whilst he wears a navy boiler suit. Moon Bullet are more than just a jangly ska band though, they reach into the pockets of various genres and add a tinge of angular art punk and psyche too, showing their dynamism.

Waterfront also has the recognition of putting on strong overseas acts such as multinational quartet Seven Red Lions, with members from Mexico, Sweden, Portugal and Venezuela - a dearth of multinational talent that almost sounds like a World Cup group stage phase. There was, however, a more poignant background to this gig, as it took place just a couple of days after the horrific earthquakes in Caracas; this performance was dedicated to them. They knocked this one out of the park with a performance of raw energy and charisma that encapsulated the deserted wildernesses of Latin America. The cacophony of guitars and the chanting from the crowd, not to mention the vintage rock attire made this an all-encompassing experience for any fan of newly discovered music. The discovery of overseas acts at small-scale festivals is a delight. It gives exposure from another part of the world that we aren’t familiar with and shares their story, takes us on their journey and leaves us wanting more at the end.

We now pop over to the Darren Blair stage, where we are confronted by intense heat beaming through thin windows and a narrow stage staring us straight in the face. The prospect of Jahrel JP and the Future beckons as we head into the late evening. The hard rock three-piece are one of Nottingham’s most exciting acts, and judging by the wave of bodies swaying in the groove, this unofficial moniker is justified. Jahrel JP is in his element at the front of the stage thrashing his bass: he doesn’t sing as much as shout, chant, proclaim, exclaim. It is a manifesto to not give up the good fight. In songs like “Not for Us” this could not be clearer. The performance has a deeply sincere tone, as Jahrel dedicates the set to Darren Blair, of whom the stage is named after, and Isaac Clare-Watts - a budding musician who we lost way too soon. It was a very moving affair. Musically, this is a trio who synchronise with one another exceptionally well. Drummer Bobbi Jerome unleashes a full on assault behind the kit, swinging and swiping; capturing the essence of a rock drummer with the fluidity of jazz. The rhythm section he shares with Jahrel’s growling bass is mean and nasty, just what you want from a hard rock three-piece. As their recognition grows around Nottingham, it is likely they’ll be gracing bigger stages soon.

To conclude the festivities are another three-piece and one eager to keep the crowd going into the late night. The DSM IV is another act I know well. They put on a hell of a show at The Angel last year; putting on a tantalising gothic discotheque. Guy McKnight, as frontman, is very personable as he goes out into the crowd and shakes everyone’s hand. He is playing the role of a great host, making sure everyone is feeling welcome and having a good time. McKnight’s hosting skills as frontman are matched by his accomplices Pav Cummins and Jade Ormesher who are on hand to provide the soundtrack to McKnight’s deeply personal meditations. The DSM IV are a mish-mash of post-punk and gothic disco with a smidgen of shoegaze, perfect for those wanting a last dose of energy to hold them hostage before the lights come on. The deathly, demonic sequences are in perfect sync with Ormesher’s expansive riffs, creating a gothic hypnosis, which continues even when the band exit the stage and the metamorphic beat of the programmed sequence is all that’s left.

Like I said at the beginning, returning to Nottingham Waterfront Festival was more of an annual appraisal than simply another writeup. This year’s festival was an improved performance on the 2025 edition, one which went above and beyond to bring people together and uncover some more hidden gems and firm favourites. My Waterfront 2026 appraisal reads: excellent with not much to improve on. Keep it up!