This year was the 20th Birthday of Kendal Calling 2025. Each year that has passed has seen the event go from strength to strength and this year was no exception. A sell out crowd of over 45,000 attendees over the course of 4 days and guaranteed the vast majority went home with a big smile and the hope of returning next year. The weather gods smiled, departure day apart! Multiple stages ranging from the impressive Main Stage, set in its natural amphitheatre, giving probably the best views for thousands at any UK festival, the large Parklands and Coming Out, down to more intimate Woodlands and BBC Introducing/Roots stages and a few more in between.
So when it came to choosing which artists to go see, the once predominately indie festival now has something for just about everyone, spoilt for choice comes to mind, top headliners were The Courteeners, Fatboy Slim and The Prodigy, with Kaiser Chiefs on the Thursday night. If you add in the likes of The Last Dinner Party, Travis, The Wombats, Sophie Ellis Baxter you knew we were In for a good time. That’s not mentioning the other 100 plus artists performing.
As well as catching up with some personal favourites, for me half the fun of a festival is discovering new musical talent you have not come across before. Some finds for me this year include The Wednesday Flowers, a young all girl group, with a nice indie/grunge vibe, the emotive Talia Rae, atmospheric Robyn Errico, alt.pop from Isabel Maria and sultry voiced Lois, a quartet of talented singer songwriters destined for bigger things, the bands Long Island, High Fade, Dutch Criminal Record and They Say Jump. Add to this some more established artists I managed to catch up with included Nina Nesbitt, Nieve Ella, Siobhan Winifred, Chloe Slater, Lowes, Dub Pistols and the Lottery Winners. It was great to see even the artists on earlier in the day and on the smaller stages still brought in decent sized appreciative audiences and I personally didn’t come across one bad performance out of more than twenty I took in, the vast majority being top notch.
Whilst there can always be room for improvement, address the queues to get on site on the Thursday, the very long hikes from camping and parking and some acts needed a bigger stage are more logistical than anything else. The whole production, sound quality, lighting, amazing visuals and fireworks, the people, the vibe, the energy all come together to deliver one off the best Festival experiences you can have.
I was fortunate enough to be able to photograph the festival as well, so do check out some shots on the Music News Social Media sites.
Tickets go on sale for Kendal Calling 2026 on Thursday 7th August 2025, another sold out event would not surprise me.
MUSIC PREMIERES
“I’m looking for an answer in between the lines/ Lying to yourself if you think we’re fine,” Sabrina Carpenter sings while seated gracefully on a toilet.
It is the opening night of her “Short n’ Sweet” tour at what she proudly described as “five fucking sold-out shows at Madison Square Garden.” The toilet appears within the bathroom section of her expansive stage design, which resembles a cross between a 1970s television set and a Barbie-inspired dream house from the same decade.
More importantly, Carpenter performs a heartfelt ballad, one of her signature songs blending humor and honesty in her storytelling about relationships. The track, “Sharpest Tool,” reflects on being in love with someone lacking awareness, serving as a thematic successor to her recent hit “Please Please Please.”
The toilet itself is an elegant prop with a heart-shaped lid, while the “bathroom” area is surrounded by sheer screens that display close-up video projections of her performance. Few major female pop artists today would likely deliver a serious song in such a setting. It highlights Carpenter’s willingness to approach familiar ideas with originality and confidence.
With her classic American glamour, Carpenter maintains a striking image while writing songs that address relationships and intimacy with unfiltered honesty. Those themes are presented within polished, radio-ready pop production that still holds musical depth. The pre-show playlist included ABBA’s 1979 track “If It Wasn’t for the Nights” and Diana Ross’ 1980 hit “I’m Coming Out,” acknowledging both her stylistic influences and her strong LGBTQ following.
Her audience consists largely of young girls who may not yet relate directly to the personal experiences behind her lyrics but view her as a relatable, older-sister figure. Many of their parents, especially mothers accompanying them, also appeared to be fans. One of the night’s more unexpected moments came when Carpenter led thousands of middle-school-aged fans in singing the explicit lyric “I’m so fucking horny!” during “Juno.”
The show, mostly following the same structure as her previous tour, featured the full production scale of a modern arena concert. The visual theme of vintage television carried through as Carpenter performed across multiple areas of the set, including a balcony, staircase, walk-in closet, and in front of a vanity and fireplace, supported by 11 dancers and a live four-piece band.
She changed outfits four times throughout the concert, each one sparkling and styled to highlight her signature stage presence. The setlist focused mainly on her latest albums, “Short n’ Sweet” and “Man’s Best Friend,” while including several tracks from her 2022 record “Emails I Can’t Send,” which marked her transition into a mature artistic phase. The show opened with “Taste,” included highlights such as “Manchild,” “Feather,” and “Bed Chem,” and concluded with “Espresso” during a colorful confetti finale.
Between songs, the screens played comedic 1970s-inspired mock commercials, including a parody tool advertisement using the line “The Sharpest Tool, trusted by carpenters everywhere.” The presentation also featured a fabricated “Technical Difficulties” interruption and an excerpt from a Leonard Cohen interview in which he compared writing poetry to “shining the shoes of one’s soul.” The concept was imaginative and visually engaging, though much of the nostalgia predates her audience’s generation. Still, it reflected Carpenter’s ability to merge vintage aesthetics with contemporary performance.
The most memorable parts of the concert came from her natural connection with the crowd. Familiar interactive moments filled the show, including audience singalongs, call-and-response sections, and a “surprise song” feature in which Carpenter spun a bottle to select a number, leading to a live debut of “Go-Go Juice” from her new album. She also spoke candidly with the audience, remarking that she had “been one of you” during her years living in New York, before adding, “Actually, I’ve tried to be one of you.”
Her awareness of the audience’s enthusiasm was evident throughout. She acknowledged fans directly, often gesturing toward specific sections and offering warm appreciation. Near the end, she took time to praise their creativity, saying, “I want to take a second to commend all of the amazing outfits I see.” She expressed gratitude for the crowd’s effort and enthusiasm, recognizing the fans who mirrored her signature style with platform heels, glitter, and lipstick marks on their shoulders.
From artists such as Cher, Donna Summer, and Deborah Harry to Madonna, Beyoncé, and others, many women in pop music have explored the boundaries of expression and sexuality in their art. Sabrina Carpenter continues that tradition with confidence, balancing playfulness and self-awareness while maintaining authenticity and respect for her audience.
