THE BIG FEASTIVAL 2026: POSH, PROUD AND PROPERLY GOOD FUN

⭐⭐⭐⭐⭐ Rating: 5 out of 5. FESTIVAL REVIEW | THE BIG FEASTIVAL | ALEX JAMES' FARM, KINGHAM, OXFORDSHIRE | 28th – 30th August 2026 by Kevin and James O'Sullivan There are festivals where you arrive with a tent, sleeping bag, warm lager and the resigned acceptance that you probably aren't going to see a shower for three days. Then there is Big Feastival, where the toilets have warm running water, proper toiletries, and, if you choose the right package, a Dyson hairdryer. It is fair to say that Big Feastival has a reputation. 'Posh partying' and 'middle-class moshing' are descriptions that have followed the festival around for years, and when you look around Alex James' Cotswolds farm, it's not difficult to understand why. This is a festival where Michelin-starred chefs appear alongside major music acts, while families wander around without the slightly feral edge that you may find at other festivals. However, after three days at Big Feastival, I think the 'posh' label misses the point somewhat, because beneath all the polish there is a genuinely enjoyable festival which has clearly worked out what it wants to be. FROM BLUR TO BIG FEASTIVAL The obvious place to start is Alex James. The former Blur bassist teamed up with Jamie Oliver to create Big Feastival in 2011. The festival began on Clapham Common before moving to James' farm near Kingham in the Cotswolds. And it's since grown into an established fixture, combining music, food, comedy and family entertainment. Many of the crowd have been coming since the early years, and there are families here whose children have effectively grown up with Feastival. That is perhaps one of the strongest endorsements a festival can have. The location certainly helps. James' farm is an idyllic setting, surrounded by the sort of Cotswolds countryside normally associated with country houses and people who can tell you exactly which village makes the best sourdough. Food is equally central to the festival's identity. At many music festivals, food is something you grab quickly because there is another band you want to see. Here, it is part of the experience, with leading chefs and food experiences running alongside the music. Then there are the facilities. Ordinarily, you might approach a festival toilet with a mixture of fear and hope, but these were clean and surprisingly homely. You're consistently offered a welcome little escape from the noise and chaos outside. FRIDAY Friday is the quieter of the three days, but the line-up certainly didn't feel like it. Fiona-Lee opened proceedings, asking whether there was anyone else from up north before launching into her set, and she proved to be a strong opener. Jerub followed and was one of those discoveries which make festivals worthwhile. He had been due to play Big Church Festival over the same weekend, an appearance sadly cut short after a death from the severe weather, but at Feastival he had the chance to show what he could do. He's both and hugely talented. His songs about 'life, love and everything in between' connected immediately, with 'Finding My Feet' a particular highlight. One to definitely look out for. The Ordinary Boys were a pleasant surprise; their blend of punk and Britpop influences sounded right at home in the festival setting. I would happily catch them again. Meanwhile, Meek brought a completely different energy to the stage, strutting and kicking her way around as if she already owned it. There was plenty of attitude and plenty of fun before a quick visit to the comedy stage, where Harriet Kemsley provided some laughs. Antony Szmierek was another artist I hadn't previously seen, but he was another highlight. Moving around the stage, recognising faces in the crowd, and wearing an infectious smile, he connected easily with the audience and left me wanting to hear more. White Lies were a different proposition altogether. I'd followed them musically for years, so seeing them live had been on the list, and the crowd at the barrier clearly didn't need an introduction. They knew every word, with Harry McVeigh's distinctive vocals giving the band that instantly recognisable White Lies sound. Perrie drew another huge reaction from the crowd, especially at the barrier, where every word was sung back to her. Whatever your view of her time in Little Mix, there is no questioning the strength of her voice. Live, she certainly demonstrated why she has always been regarded as one of the band's standout vocalists, particularly as she launched into tracks from her incredibly well-received solo career. Then came Basement Jaxx. Through a circular opening in a sloping stage, Felix Buxton and Simon Ratcliffe emerged alongside dancers, drummers and a cast of extravagantly dressed performers. Towering over it all was an enormous angelic figure, completing a show that felt closer to a carnival than a conventional DJ set. It was bold and gloriously bonkers. Fiona Lee Jerub Jerub Ordinary Boys Ordinary Boys Meek Meek Meek Antony Szmierek Antony Szmierek Antony Szmierek White Lies White Lies White Lies White Lies Harriet Kemsley Perrie Perrie Perrie Perrie Perrie Perrie Basement Jaxx Basement Jaxx Basement Jaxx Basement Jaxx Basement Jaxx Basement jAXX Basement jAXX Basement jAXX SATURDAY The grey clouds which had hovered menacingly over Friday finally unleashed their venom on Saturday. Fortuitously, the weather never reached the sort of levels seen at some of the other festivals taking place across the weekend. Justin Fletcher, better known to generations of children as Mr Tumble from CBeebies, opened the day to a packed main stage of parents, children and a decent handful of teenagers who had grown up watching him, likely there 'ironically'. 'Wheels on the Bus' and the 'Hokey Pokey' were met with enthusiasm, while songs such as 'Party People' and 'Best Friends' kept the younger members of the audience bouncing. Confetti cannons, children on parents' shoulders, and waterproofs in virtually every colour imaginable filled the air. It was entirely wholesome and exactly the sort of family entertainment that Big Feastival does so well. With Fletcher appearing genuinely overwhelmed, he thanked the audience for supporting him throughout his 27-year career. Unfortunately for She's In Parties, the weather chose that exact moment to turn. As Mr Tumble left the stage, the heavens opened, and the festival seemed to empty almost instantly. She's In Parties were left facing a remarkably sparse main stage, with Katie Dillon's keyboard and other instruments covered in plastic to protect them from the rain. Their set included 'Warm Up', 'Same Old Story', 'L Word', and 'R.E.M', but the conditions clearly didn't help – Dillon was understandably concerned about her equipment getting soaked. Bradley Simpson had an even tougher job. The former Vamps frontman had received one of the biggest cheers when the day's line-up was announced, but as he took the stage, there were perhaps a dozen people left in front of it. The rain had won. Those who stayed, however, were rewarded with an intimate performance. Hooded heads and umbrellas bounced along as Simpson worked through 'Daisies' and 'Picasso', with fellow Vamps member Connor Ball among the rain-soaked faithful watching on. There were plenty of die-hard fans refusing to give in, and Mimi Webb even made a surprise appearance during Simpson's acoustic set later at the Campervan Live Lounge. As the rain finally stopped, Ms Dynamite walked out and asked whether there were any old-school garage fans in the house. There were, and within minutes the crowd was moving again. Her message of freedom, self-expression and standing together in a field felt particularly appropriate after the afternoon everyone had endured. She did exactly what was needed: she got people dancing again. A short interlude brought a Dolly Parton and Kenny Rogers tribute before Alex James appeared onstage to introduce a band he apparently books every year, The Cuban Brothers. The sunshine arrived at exactly the right moment, and the band took it as an omen. The set delivered energy, comedy, and dancing before leading the crowd into a conga as they tried to beat last year's record. Lead singer Miguelito was clearly not overly concerned about maintaining his dignity, gradually removing clothes during the performance until he was left in nothing but his Y-fronts. Fortunately, the set wasn't another ten minutes! Tors followed with an accomplished performance and another reminder that Feastival's line-up isn't just about the biggest names on the poster. Six particularly enthusiastic fans at the front knew every word and appeared to have rehearsed synchronised dancing and hand movements for every song. They were having a brilliant time, and so was everyone watching them. Mimi Webb then took to the main stage and once again had a sizeable following at the barrier before Rudimental arrived as the sun began to disappear. The lights came on, the big numbers started, and the crowd exploded into life. This was the Saturday night party, which made The Streets' appearance as headliners all the more difficult to understand. Justin Fletcher Justin Fletcher She's in Parties Bradley Simpson Ms Dynamite Ms Dynamite Ms Dynamite Dolly Tribute The Cuban Brothers The Cuban Brothers The Cuban Brothers Tors Tors Tors Mimi Webb Mimi Webb Mimi Webb Mimi Webb Mimi Webb Rudimental Rudimental Streets Streets THE STREETS This was, for me, the one major disappointment of the weekend. After Rudimental had lifted the atmosphere, the crowd appeared ready for another big party set, but The Streets seemed to bring that atmosphere crashing down. Perhaps they appealed to a more niche section of the audience, but from where I was standing, the choice of headliner felt strange. Plenty of evidence around us showed that the set wasn't connecting as expected. We saw many people leave very early, and several people I spoke to on Sunday noticed the same thing. The photography experience was equally odd. For the first three songs, lighting was limited, and the band members remained largely static towards the back of the stage, partly hidden behind what appeared to be a bus-stop-style structure. Once photographers had to leave the pit, the band suddenly came forward and the lighting improved considerably. Perhaps it was simply the wrong band for that particular slot, but after Rudimental had created such a party atmosphere, The Streets failed to build on it. They were the only main-stage act of the weekend that left me disappointed. SUNDAY By Sunday morning, Feastival had recovered and was back to doing what it does best. Bash and the Seagull Project opened proceedings with family fun and silliness. They continued the charity's remarkable work, bringing laughter to children worldwide. Their presence reminded everyone that the festival is about much more than the music. Nubiyan Twist brought summery jazz beats to the main stage before we headed over to The Horne Section at the Outpost stage, where Alex Horne and his brass band were greeted by a sizeable Sunday afternoon crowd. The band's claim to being 'the funniest band in the UK' might be difficult to prove, but they certainly made a good case, with audience participation, ridiculous wordplay and some gentle inter-band bullying. One band member was apparently in the National Front… Sorry, The National Trust! Another was into S&M… Sorry, M&S! It was gloriously stupid and very funny. Seagull Project Seagull Project Matblack Matblack Red Rum Red Rum Red Rum Red Rum Red Rum Red Rum Coral Coral Coral Coral Coral Coral Matt Horne Freya Ridings Freya Ridings Freya Ridings Freya Ridings Freya Ridings Freya Ridings Freya Ridings Simon Rogan Simon Pegg Doves Doves Doves Doves FOOD, MUSIC AND EVERYTHING IN BETWEEN One of the things that makes Feastival different is that you can spend a significant part of the weekend talking about food without feeling as though you've somehow wandered away from the festival. Simon Rogan was fascinating as he discussed his background and approach to food, meanwhile Matblak offered another compelling story about hardship, hard work and the good fortune that helped him progress through the industry. Both were reminders that success rarely comes overnight. Talent matters, but sometimes you need someone to give you an opportunity. Then it was back to the music. Red Rum Club delivered the sort of confident performance you would expect from an accomplished Liverpool band with a dedicated following. Meanwhile, Simon Pegg was DJing at the Cheese Hub to a packed crowd, because apparently that's a thing at Big Feastival. Freya Ridings followed on the main stage. She is often compared to Florence Welch, although I personally prefer Ridings, and 'Castles' was a highlight before she left the stage to a huge reception. The Coral and Doves then completed the build-up towards the final headliner. Doves were a particular highlight for me, not least because of hearing 'Kingdom of Rust'. It's one of my all-time favourite songs; seeing it live was one of those festival moments that make all the walking around with camera equipment worthwhile. After that, it was time for Bastille. BASTILLE With a rainbow drum kit, light bars stretching across the stage, and Dan Smith sitting at the piano with his head in his hands, an impressive backdrop was created. The opening was acoustic and soulful before the band launched into Things We Lost in the Fire'. Smith joked that he was the worst dancer in the world and existed simply to set the bar low enough for everyone else. It was a typically engaging moment from a frontman who knows how to connect with a festival crowd. Later, the lights were shut off after an incident in the audience, with Smith drawing attention to himself while security dealt with the situation. It was handled calmly and professionally, and the performance continued. Smith also played a recording of his voice from earlier in the week, when a cold had badly affected his ability to sing. Of course, there was a slight technical hitch. The biggest band, the final night. The technology decided it had had enough. Once over, 'Happier' helped restore normal service, although sadly there was no big ol' marshmallow head, before Smith eventually made his way along the barrier to thank the crowd for their patience and for being 'so fucking brilliant'. Then came 'Pompeii', a great end to an amazing weekend. THE VERDICT So, is Big Feastival posh? Yes, obviously. This is a festival where you can listen to Michelin-starred chefs discussing food, buy artisan produce, enjoy premium hospitality and use a toilet equipped with a Dyson hairdryer. There is no point pretending otherwise. Though perhaps the more important question is whether it matters. It doesn't. Big Feastival knows exactly what it is. It is a polished, family-friendly festival in the Cotswolds where food is treated as much as music, the facilities are excellent, and the line-up appeals to music fans of every generation. The biggest compliment is how many people return. Some have been coming since the first years. Their children have grown up here. Friends meet here every summer. It has become part of their calendar, not just another festival on a list. After three days of discovering new artists, watching old favourites, eating very good food, hiding from torrential rain, dancing with Ms Dynamite, watching The Cuban Brothers' conga and eventually singing Pompeii in the rain with Bastille, it is easy to understand why. Big Feastival may be posh; it may be middle-class. It may even be middle-class moshing, but it is also bloody good fun. Perhaps that is the only reputation that really matters. Good news! The Big Feastival will return to Alex James' farm in the Cotswolds in 2027 between 27th – 29th August. Weekend tickets are on sale now. Related