‘VARIOUS ARTISTS’ – VICTORIOUS FESTIVAL, SOUTHSEA 28-30.8.26
Over 150,000 people descended onto Southsea Common overlooking the Solent near Portsmouth for three days of unforgettable live music performances and family fun at this year’s annual ‘Victorious Festival’ which ran from Friday 28th to Sunday 30th August.
‘Victorious’ is the UK’s biggest metropolitan festival and The Live Awards ‘Major Festival of the Year – Winner 2025’. The ultimate family-friendly festival experience is reflected by the expansive selection of varying music artists across many genres plus an incredible collection of other artists. The Bank Holiday extravaganza event was held across 12 stages on the three days.
We sent some of our team members along to catch the atmosphere.
This is article two of three and concentrates on the happenings on Day Two. Day One’s account can be found HERE and Day Three’s account will follow in due course.
DAY TWO – SATURDAY 29TH AUGUST
THE HILL BROTHERS – Common Stage (12:05 – 12:35)
Unfortunately, Australian band Teen Jesus and the Jean Teasers failed to show up in time to open the Common Stage for day two of the festival, so in stepped local Portsmouth covers band The Hill Brothers at short notice. Nathan and Ryan formed the band back in 2015, and since then, they have become quite popular, performing a vast range of songs from the 60s to modern songs of the day.
This afternoon, they performed as a four-piece, and although I only managed to catch part of their set, I instantly recognised that they are good at what they do. As far as I’m aware, they started off with a few songs from the 60s and then switched to some from the 80s and closed out with The Jam’s ‘A Town Called Malice’ and Oasis’ ‘Don’t Look Back In Anger’. By the time I arrived, there were a fair few people enjoying themselves watching and singing along despite the dismal weather.
(Ian Holman)
DIZZEE RASCAL – Common Stage (13:05 – 13:50)
Each year, Victorious Festival puts on headline-worthy acts on the Common Stage in an early afternoon slot to entice festival-goers to arrive early. Filling that slot today was Dizzee Rascal, and despite the dismal wet and windy weather, a decent-sized crowd turned out to see the London East End rapper. Having built a local following as a teenager on pirate radio stations, Dizzee became the youngest winner (19 years old) of the Mercury Music Prize in 2003 for his debut album ‘Boy In Da Corner’. He then transitioned into pop stardom in 2008 and 2009 with his hit singles ‘Dance Wit Me’ and ‘Bonkers’. Dizzee went on to perform ‘Bonkers’ at the 2012 London Olympics Opening Ceremony in Stratford, close to where he grew up.
Before this afternoon’s performance, some members of the crowd let off some party poppers. Moments later, cheers rang out as Dizzee made an appearance alongside his sidekick Bigman Scope (Aaron Williams) with DJ MK on the decks towards the back of the stage. Following opening tracks ‘Foxtrot Oscar’ and ‘Jus’ A Rascal’, Dizzy said, “The weather was shit, but the people ain’t shit; they came out, look at them. This is how they do it at Portsmouth. We like the Southampton crew as well, obviously.” This was followed by boos from the local festival goers.
Former One True Voice boy band member Daniel Pearce then entered the stage, adding his powerful and soulful vocals to the next two songs. These were ‘Fix Up, Look Sharp’ and ‘Dirtee Cash’.
Dizzee then mentioned his upcoming new album and performed ‘What You Need’ from it. Next, there was a cover of Sigma’s ‘R U Sleeping’, then it was time for the crowd controllers in the pit to wake up as Dizzee mentioned the word moshpits. Two formed, one each side of the large crowd, and as another new song ‘All Night’ was performed, there were people moshing and even a few flying in the air. The crowd sang along, bounced, and cheered to ‘Baseline Junkie’, then it was time for another new one. The bass-heavy ‘C U Dance’. Daniel Pearce returned to join Dizzee and Bigman Scope for the final four songs of the set. These being the number one hits ‘Dance Wit Me’ and ‘Holiday’, new song ’So Hot’, and another chart topper ‘Bonkers’.
(Ian Holman)
MATT HENNESSEY – Castle Stage (13:05 – 13:35)
Saturday at Victorious starts for me with Matt Hennessy at the Castle Stage. Matt is studying for a degree at Brighton’s Waterbear Music College, but is originally from Portsmouth, so is a local boy. Matt and his band won the Road To Victorious competition this year, and prior to playing here, as part of the prize have played at the Truck Festival in Oxfordshire, Tramlines in Sheffield, and the Y Not Festival in Derbyshire, so by the time they get here they’re old hands where festivals are concerned.
Most of Matt’s material is punchy indie, with lead work shared between him and his guitarist. Matt is still building up his repertoire and includes a new song called ‘Over It’. It’s mid-paced and the other guitarist plays lead. It has to be said the band are very tight. ‘More Than This’ was written last year with a specific view to it being played on the Castle Stage. So that’s an ambition achieved! They’re about to play another song but unfortunately they run out of time. Maybe less chat in between songs next time Matt! This has been an enjoyable set and I’m sure that we’ll be hearing more from Matt Hennessy. He plays at Brighton’s Prince Albert on 14th September. Go check him out!
linktr.ee/matthennessyofficial
(Mark Kelly)
THE CLAUSE – Castle Stage (14:05 – 14:35)
I’m camped at the Castle Stage for most of today, and my next artist here is The Clause. They’re a four piece band from Birmingham who released their debut album ‘Victim Of A Casual Thing’ in October last year. They are purveyors of powerful, tuneful indie who exude a fair degree of attitude. They can play too! Opener ‘Nothing’s As It Seems’ is a complete earworm as well. For ‘Tell Me What You Want’ vocalist Pearce Macca plays the lead solo. There’s a bass solo from Jonny Fyffe too, and the song goes into double time towards the end. This is getting quite interesting.
Guitarist Liam Deakin plays a howling intro to what turns out to be a brief cover of ‘Pump Up The Volume’, before segueing into ‘I Don’t Care’, one of their own songs. This apparently is their last festival of the year, so they seem to be going for it somewhat. ‘Exception’ is the most energetic song of the set so far, and has a hint of the early Arctic Monkeys about it. Indeed, in terms of attitude that’s who the band remind me of. ‘In My Element’ is their last song and is so immediate that initially I thought that it’s a cover. It isn’t. It is an absolute banger though. There’s a storming bass solo followed by a guitar solo, and the crowd at the front are jumping up and down like they’re on springs. The Clause’s entire set has come from their first album, and it’s clearly a cracker. They tour in November and December, playing at Kings Cross Scala on 17th December. They’re more than worth a look.
(Mark Kelly)
THE LOTTERY WINNERS – Common Stage (14:20 – 14:50)
At last year’s Victorious Festival, there was a comedy act on Common Stage each afternoon. This year, they did away with that, but instead they did have the two-time album chart-topping Greater Manchester band, The Lottery Winners, with lead vocalist Thom Rylance providing enough comedy for the whole weekend.
Arriving on stage alongside band members Robert Lally (lead guitar and backing vocals), Katie Lloyd (bass guitar and vocals), Joe Singleton (drums), and Charlie Cole (acoustic guitar), with the wind blowing a gale, Thom stretched out his arms wide and said, “I feel like Michael Jackson in the Earth Song. I’m exactly like Michael Jackson except you don’t have to stay at my house.” Laughter erupted from the crowd, then Thom continued, saying, “I know we’re following Dizzee Rascal, and that’s not easy.” He asked for the crowd to bring energy and said they were going to have a good time.
They performed ‘Burning House’, then before the next song, Thom added more humour with “I’m so cold, my willy’s gone so small. Is anybody worried?” They then went straight into ‘Worry’, and during this one, Thom asked the photographers in the pit, “Are you taking good pictures? You wet little perverts.” Thom then provided a short verse of a Dizzee Rascal song and said, “I wish I was as famous as him.” He then asked, “Does anyone actually know who we are?” There is a large cheer, then he encourages the festival goers to join in for the next song, ‘Start Again’.
Thom then mentions that they are going to put out a new album next year and asks the crowd to join in with the new song, ‘Steady We Go’. As with all songs by the Lottery Winners, it’s a catchy melodic tune that sounds anthemic and gets the crowd swaying. Thom says, “That’s a hit song, right? Ed Sheeran is shitting himself.” There’s more crowd participation for the final two songs, ‘Much Better’ and ’Turn Around’, with even more banter from the lead vocalist in-between. Overall, this was one of the most entertaining sets of the festival.
(Ian Holman)
DYLAN JOHN THOMAS – Castle Stage (15:05 – 15:35)
The crowd at the Castle Stage is relatively sparse due to the intermittent but persistent rain and high winds. However, we’re northerners and are made of stern stuff, and therefore we only briefly seek shelter before Dylan John Thomas and his band take the stage. His walk-on music sounds a bit like a spaghetti western soundtrack, before morphing into something that sounds like Pink Floyd. It gives little clue as to what to expect from the man. The first song sticks with the spaghetti western feel, but with a ska beat. Interesting. What has this man been listening to? And what state was he in when he was listening to it? Dylan turns in a mean guitar solo. As well as himself his band comprises a bassist, keyboard player, percussionist and a drummer. Despite any links with Wales that his name might conjure up, Dylan is Scottish.
We get a new song next called ‘Come And Get It’. This has a Latin feel initially, and a quite ethereal guitar part. Two songs in and there’s certainly an eclectic feel to the material. I’m not entirely sure who this would appeal to, but Dylan has a decent sized crowd. Maybe it appeals to everybody! The next song has an acoustic sounding guitar intro, and the percussionist is on trombone. When the drums come in the song has a surprisingly indie feel. Dylan surprises us (this man is full of surprises) with a cover of The Killers’ ‘Someday’. However, it’s not a straight ahead cover. Goodness gracious no. It features Dylan on fingerpicked acoustic sounding guitar, accompanied just by the bassist. It’s kind of delicate with balls, if that makes any sense.
Next up we have a song with a trumpet intro, and Dylan on banjo. As the song progresses the trumpet plays in unison with the vocal melody, which produces quite an unusual sound. The song may be called ‘I Have Got You On My Mind’. Dylan only plays a couple more songs. I wish he had more time. He’s certainly one of the most interesting artists so far this weekend, and certainly the most eclectic. He’s virtually impossible to pigeon-hole, which is good. He plays Islington Assembly Hall on December 8th. Go and see what you think of him.
(Mark Kelly)
WHITE LIES – Common Stage (15:20 – 16:05)
With the wind still blowing a gale, the next band to take to the Common Stage were indie rock band White Lies, featuring Harry McVeigh on lead vocals and guitar, Charles Cave on bass guitar and backing vocals, Jack Lawrence-Brown on drums, and Tommy Bowen on keyboards. Their music is dark and full of anthemic choruses combined with sombre and melancholic lyrics. Sort of a mix of The Killers, Joy Division, and U2.
They open with the Top 40 hit ‘Farewell To The Fairground’, which featured on their chart-topping debut album ‘To Lose My Life’ back in 2009. Following this, Harry says, “Thank you. This weather is quite intense. I feel like I’m standing on the front of Nelson’s ship.” They then play 2019’s ‘Hurt My Heart’ and the moody 2017 song ‘Is My Love Enough?’. The vocals on this one remind me a bit of Franz Ferdinand. Another one from 2019 is next. The popular ’Tokyo’. Referring back to the weather conditions, the lead vocalist says, “It’s nice to play a show that’s a bit different”.
It’s then time for ‘Juice’ from the London band’s latest album, ‘Night Light’. ‘Big TV’ from their 2013 Top 5 album of the same name followed, then they played their popular debut single ‘Death’ with plenty of their fans down the front joining in on the chorus. After plenty of applause, Harry remarked, “OK Victorious, we’ve got one more song for you guys this afternoon. Thank you so much for joining us. I’m going to pretend the weather is nice and remove my jacket. It’s been such a pleasure. I hope we all see you again soon. We’re going to finish with a song called ‘Bigger Than Us’.” Following the last song, the four band members approached the front of the stage and took a bow.
(Ian Holman)
HAPPY MONDAYS – Common Stage (16:30 – 17:20)
Happy Mondays were the next band to grace the Common Stage. Since I last saw them perform, their backing vocalist Rowetta has left the band and been replaced by Firouzeh (Frou) Berry. Despite the weather conditions, there’s a big crowd to see the 1980s-formed Manchester band, and as they arrive on stage, lead vocalist Shaun Ryder says, “Good afternoon, it’s f*cking windy”.
They get things started with three songs off their 1990 ‘Pills ’N’ Thrills And Bellyaches’ album. First off, is popular Top 5 hit ‘Kinky Afro’ with dancer and percussionist Bez (Mark Berry) moving from one side of the stage to the other, shaking his maracas as he continues to do throughout the set. After the show opener, Bez takes the mic and says, “I hope you all feel as good as I do”. Shaun says, “No one can feel as good as you, B. You’ve been feeling good for 60 long years, man.”
They perform ‘God’s Cop’ next, followed by the excellent ‘Loose Fit’, a song that was banned by Radio 1 due to the lines, “Gonna buy an air force base, gonna wipe out your race”, as it coincided with the Gulf War. Happy Mondays then kept the crowd moving by performing ‘Mad Cyril’ and ‘Hallelujah’ from their 1988 album ‘Bummed’. They continue with ‘24 Hour Party People’. Shaun then says, “Is that it? Are we done? It’s the middle of the afternoon, I should be watching racing. I’m not bored, I’m loving it.”
They then perform their other top 5 hit, ‘Step On’. Shaun then asks, “Is that it (again)? My setlist has gone where my hat went (it flew off during the first number).” There is a discussion between band members as Bez grabs the mic, looks out towards the audience, and says, “Can I tell you something? That’s ain’t f***ing it.” He then waffles on a bit more and then realises the rest of the band have left the stage as there was no time to play the scheduled last song, ‘Wrote For Luck’.
linktr.ee/happymondaysofficial
(Ian Holman)
KATE NASH – Castle Stage (17:05 – 17:50)
We stay at the wild and woolly Castle Stage for Kate Nash. I last saw Kate almost twenty years ago, and at the time I thought she was a bit of a pop muppet, and since that time I have paid little or no attention to her. Well, people change, and Kate most certainly has. She comes onstage all dressed in white, as are her three piece band. Opener ‘Million Of Heartbeats’ is fairly straightforward and Kate spins around onstage during it. The song is from her most recent album ‘9 Sad Symphonies’, the title of which gives fair warning of the nature of the material on it. Second song ‘Misery’, along with most of the rest of the set is also from her most recent album. Kate announces that the song is “about depression” and plunges into the crowd. She tries to get the crowd to “get down low” Her band comply but that’s about it.
Kate stays in the audience and plays ‘Mouthwash’ from her debut album ‘Made Of Bricks’. Kate and the audience bounce around to it and the atmosphere is far more jolly, for now. Kate’s back onstage talking about her Irish heritage, and announces that she’s going to play the tin whistle. She makes a very impassioned speech about Ireland and Irish culture before covering Sinead O’Connor’s ‘Famine’. This song is a tad tricky, for whilst Ireland did undoubtedly suffer a catastrophic famine and received little or no help from the British government, and tenants received none from their landlords before being evicted, there is still no evidence of food being removed from Ireland under armed guard. Thirty plus years after Sinead O’Connor recorded this song, its allegations still remain to be proven. Kate doesn’t play tin whistle in the end, but her bassist does before moving onto flute. She’s a bit clever.
Kate says that she’s a feminist, criticises JK Rowling for her attitude towards trans people, before playing ‘GERM’, which was released as a single. GERM stands for “Girl you’re an Exclusionary Reactionary Misogynist”. Kate Nash is every bit as political as the Lambrini Girls! Indeed, they may well even agree with this song. To say that I’m gobsmacked about the transition that Kate has undergone since I saw her last doesn’t begin to describe my reaction! This is certainly not what the audience were expecting, and some of them leave. I must admit that I think this is great stuff! In my opinion music should be more than mere entertainment. If musicians have a message, then let’s hear it. We don’t have to agree with it, but at least it might encourage discussion.
‘Wasteman’, Kate tells us, is “for my girls”. It’s about having a partner or a husband who is essentially wasting your life. This is the last song with any kind of message as the set ends with “a pop song”: ‘Foundations’, which was a number 2 UK single in 2007. It features an ace guitar solo and a cataclysmic drum ending. Kate takes a bow with her band and walks off to Sinead O’Connor’s ‘Nothing Compares 2 U’. This may be over-egging the omelette somewhat, but I feel that I’ve witnessed the rebirth of an artist today. There has been a maturity and a great deal of bravery to Kate’s performance. It would have been so easy to play a crowd-pleasing greatest hits set, but Kate chose not to do that, and to play more difficult material instead. All Kate’s upcoming dates seem to be in Ireland at the moment. If you get the opportunity to see her, take it.
(Mark Kelly)
DOVES – Castle Stage (18:35 – 19:20)
Next up is one of my favourite bands: Doves. They are still playing without singer and guitarist Jimi Goodwin, although he still works with them in the studio, and understandably they now have a significantly expanded onstage lineup. This includes Martin Rebelski on keyboards, Nathan Sudders on bass and Jake Evans on guitar. The band take the stage, check their instruments and try their mics, only the mics aren’t working. After two or three minutes it becomes clear that this isn’t a problem that is going to be solved quickly, so they leave the stage.
Problem solved, the band return and start their set fifteen minutes late. This is very frustrating as they’ll have to play a truncated set. Still, they pile into ‘Words’ from ‘The Last Broadcast’ which includes one of my favourite guitar licks. I’m actually singing it as I type. It’s a shame that you can’t hear it. The problems haven’t stopped yet though. Guitarist and vocalist Jez Williams’ mic stand and iPad are “all f*cked up”. That’s soon sorted out though. As always ‘Pounding’ is awesome. The drum part to this always looks like a workout, but drummer Andy Williams is well on top of it. ‘There Goes The Fear’ undeniably an all time classic, and ends today with everybody on percussion. The set closes prematurely with ‘Black And White Town’. What we’ve heard today is a taster rather than a set, but we have to be thankful for what we’ve heard. Doves play Glasgow Barrowland and Blackpool Olympia later this month. I think I’m going to have to try to get up there.
(Mark Kelly)
FREAK SLUG – Under The Trees (18:45 – 19:20)
After a break, I made my way over to Under The Trees in good time to see Freak Slug, the stage name for indie-rock singer-songwriter Xenya Genovese, who is Manchester-based. Blending shoegaze, grunge, and alt-rock with trip-hop grooves and electro-pop hooks, Xenya and her band (Nico Thompson – lead guitar, Caitlin Mounteer – drums, and Alex Martin – bass guitar) performed a seven-song set starting with ‘Be Your Girl’ from her debut 2025 album, ‘I Blow Out Big Candles (But With A Cherry On Top)’. For this opener, the vocals seem a bit lost in the mix. Xenya says, “Yo, how you f****ing feeling? Portsmouth.” There’s not a big response from the crowd, although there are a few cheers.
For the remainder of the set, the vocals appear a lot clearer. The remainder of the set is made up of songs from the soon-to-be-released second album, ‘Amulet’. Firstly, there’s the melodic ‘If I Could’. Surprisingly, this receives muted applause, but the crowd give a better response to ‘Wishing Bone’ and ‘Serpent’ while ‘Black Eyes’ is the standout track for me with its late 80s/early 90s sounding crunchy guitars and beautifully sung lyrics. It gets some good applause, and Xenya says, “Thank you. We’re playing a lot of songs for the first time today. New ones, I mean.” ‘Penny Drops’ is another good guitar-driven song, while the final song they play is ‘Girl, Intentions’. A pleasantly sounding set, and I look forward to hearing the new album when it’s released on 18th September.
(Ian Holman)
PRIMAL SCREAM – Castle Stage (20:05 – 20:55)
Next, I head off to Castle Stage to see Primal Scream. Formed in Glasgow back in 1982, they originally had an indie-pop sound but then changed their style to include psychedelic rock, garage rock, and dance music. Their famous 1991 album ‘Screamadelica’ mixed rock and acid house music and won the first Mercury Music Prize, elevating their popularity.
For tonight’s eight-song set on the festival’s second biggest stage, lead vocalist Bobby Gillespie (dressed in a white suit) and his five band members start things off with one of the tracks from ‘Screamadelica’, ‘Don’t Fight It, Feel It’. The large crowd dances, claps, and sings along. 1994’s groovy rock track ‘Jailbird’ is the next to be played. Bobby then complains about the setlist before they move swiftly on to ’Nitty Gritty’ from the 2006 ‘Riot City Blues’ album. It’s back to ‘Screamadelica’ for the 1990 Top 20 single ‘Loaded’. Bobby says, “This is for everyone who has taken drugs for psychic defence.” As the song gets going, Bobby adds, “Make some noise, Portsmouth.”
Next, it’s the driving techno, industrial noise, and electronic rock of ‘Swastika Eyes’ from the 2000s ‘XTRMNTR’ album. Bobby’s jacket comes off for the third and final song they perform from ‘Screamadelica’. It’s the popular album opener ‘Movin’ On Up’. For the penultimate song of the set, it’s the energetic rock and roll song ‘Country Girl’. They finish in great style with their highest-placed single ‘Rocks’. Bobby says, “Thank you and good night, Portsmouth. Storm the Bastille … and I mean that in the revolutionary sense.”
linktr.ee/primalscreamofficial
(Ian Holman)
THE BLACK KEYS – Common Stage (21:20 – 22:50)
I trek across to the Common Stage for tonight’s headliners The Black Keys. This is another band with a much expanded live lineup, around the core duo of Dan Auerbach on guitar and vocals and Pat Carney on drums. In addition to Dan and Pat there’s guitarist Barrie Cadogan, bassist Andy Gabbard, keyboard player Ray Jacildo and percussionist Chris St Hilaire.
One thing that’s always been noticeable about The Black Keys is that there’s very little fuss about their performance. They just get on with it and get the job done, and that’s precisely what they do tonight. Whilst this is not a best of set per se, a lot of their best and most well known material is present and correct, together with some deep cuts and two or three covers. Surprisingly there is absolutely nothing from their current album ‘Peaches!’ which was released in May.
I’m astonished to realise that opener ‘I Got Mine’ from ‘Attack & Release’ is knocking on twenty years old! I vividly remember buying it when it came out. ‘Gold On The Ceiling’ probably acts as a bit of a marker for those in the audience who are not too familiar with The Black Keys’ back catalogue. The six piece onstage very much feels like a band rather than Dan and Pat and some other guys. Keyboardist Ray Jacildo has a skull (which I trust isn’t real) on his keyboard, whilst guitarist Barrie Cadogan gets a reasonable share of the lead playing. ‘Fever’ has a gloriously sinewy bass line courtesy of Andy Gabbard whilst Richard Berry and the Pharaohs cover ‘Have Love Will Travel’ has a fabulously meaty riff. The Black Keys may not be the most visually dynamic live band in the world, but the sound that they make is absolutely incredible.
I always marvel at how bands with a relatively large number of musicians can be so very tight, but that’s certainly the case with The Black Keys, and damn do they rock! The feedback soaked intro to ‘Next Girl’ and Barrie’s guitar solo on the same song are just two of an evening’s worth of examples. ‘Heavy Soul’ features a storming harmonica solo from Ray Jacildo, whilst ‘Howlin’ For You’ features an ace slide solo from Dan. It’s not just what you hear either. For ‘Lo/Hi’ there’s a fantastic psychedelic backdrop that could almost be the handiwork of Liquid Len (ask yer Grandad, or Dave Brock perhaps).
‘Weight Of Love’ has a deceptively sweet keyboard intro, before Dan comes in with a howl of feedback to take the song somewhere else entirely. A place that provides a suitable framework for the dual lead playing of Dan and Barrie. It’s truly awesome.
One cover that I wasn’t expecting to hear was The Stooges’ ‘I Wanna Be Your Dog’!. It’s everything you would expect it to be with incandescent solos from both Dan and Barrie. ‘Little Black Submarines’ is very redolent of Neil Young. It starts with Dan on fingerpicked acoustic before he switches to an electric and things get much heavier. The set inevitably ends with ‘Lonely Boy’, a song that I for one can never get tired of. This has been a set that oozes quality. The Black Keys aren’t as rock ‘n’ roll as Primal Scream, but they do make an hour and a half go past very quickly. It’s perhaps an overused word, but they really were awesome.
(Mark Kelly)
BASTILLE – Castle Stage (21:40 – 22:50)
I remained at Castle Stage to see London-formed headliners Bastille. It’s very cramped down to the left of the stage where I am standing as the stage is being set up. There is a large electronic screen at the rear of the stage with another one placed in front of it. In between and towards the sides of these are a host of lights. The seven-strong touring band arrive on stage 18 minutes later than scheduled due to technical issues.
For the opening song, ‘Things We Lost In The Fire’, all band members remain seated towards the back of the stage for the opening verse. They then take up their positions around the stage as the song continues. Lead vocalist Dan Smith then approaches the front of the stage and says, “Victorious, how are you doing? You alright? We’re called Bastille. Thank you so much for coming to watch us tonight. Have you had a good day? Sorry, we’re a bit late. That wasn’t our fault.” They then perform ’Shut Off The Lights’. Dan encourages the audience to sing along and dance to ‘Good Grief’. There’s a lot of clapping going on and the bass is so heavy that the ground is shaking.
Watching Bastille perform is like watching a stage musical, not my normal choice of viewing but they are good at what they do. I imagine their performances are well rehearsed as it’s quite an experience. For the fourth song of the set, the lower of the two electronic screens reveals a series of television sets and they play a part in the song ‘Send Them Off!’. The next song they perform is ‘Blame’. Then they perform the slower track ‘Oblivion’ with Dan now sitting at a piano towards the rear of the stage. This song finishes with snippets of ‘World Gone Mad’ as well as ‘Jolene’ and ‘I Will Always Love You’ in tribute to Dolly Parton who passed away earlier in the week.
Next, it’s ‘Doom Days’. Then, a large wooden unit is wheeled out onto the stage with the words “Other People’s Heartache” written on it in large lettering. Behind this, I’m assuming there is some kind of mixing unit as well as a keyboard. Band members then go through a well-worked medley of songs. These include ‘Adagio For Strings’, ‘No Angels’, ‘Requiem For Blue Jeans’, ‘Don’t Let Go (Love)’, ‘Dreams’, and ‘What Would You Do?’ Following this, the wooden unit is wheeled off, and the set continues with a large drum placed at the front of the stage. During the next song, ‘Of The Night’, Dan asks the audience to get down so everyone can all jump up at the same time as the song lifts.
The next song is a bouncy, unrecorded new one called ‘In The Light Of The Morning’, and it seems to go down well with the crowd. Next, it’s the Marshmello & Bastille recorded song ‘Happier’. For this one, Dan jumps over the front barrier and is in with the crowd. There’s vocal crowd participation for the next song ‘Save My Soul’. Dan then appreciates the crowd for coming out, the stage crew, and the additional touring members of the band and asks “For those of you that know this song, please help us out and hopefully we will see you soon”. They then perform their most popular song, ‘Pompeii’. Dan thanks the crowd one last time before departing the stage with the rest of the band.
(Ian Holman)
Victorious Festival will return next year! The date for your diary is 27th to 29th August 2027. Tickets are on sale now and can be purchased from HERE.
