Grimsthorpe Castle, Bourne
Thursday, 4th September 2025
Despite this festival being in its third year I was still a virgin to Nene Valley Rock Festival. So, other than seeing a line up full of interesting bands, I had no idea what to expect. I had heard nothing but positive things about the previous years but someone saying ‘It was brilliant’ doesn’t paint that much of a picture of the real thing.
Unsure of the stages, and how much of it was open air, the days leading up to it were filled with me asking Alexa what the weather forecast was for Peterborough and, each day, seemed to give me an ever altering and inconsistent predictions which vacillated between seemingly Biblical floods to tropical sunshine which meant that, faced with such typical English Summer weather options all I could do was pack for the worst but hope for the best.
Then, on the Thursday morning I, like everyone who was going there that day, surrendered myself to the elements and set off. As I was nearing the place I did drive through a downpour that I hadn’t made me think of a tropical storm that I once encountered in the Philippines but the wet rage didn’t last long and, as quickly as I drove into it, I was out of the other side of it and the sun was taunting me as if nothing had just happened. But, thanks to that sunny sight, things were looking good.
Having met friends at a nearby AirBnB we set off to the festival and, as I turned into the vast country estate and saw the host’s main building I was struck with awe. There was an impressed expletive released, but the clean version is “Wow!”. It might have been called Grimsthorpe Castle but it was neither grim nor a castle. Instead I saw, at the end of a long and undulating drive, which had probably been designed by Capability Brown, I saw a gorgeous stately home that wouldn’t been out of place in one of those Merchant-Ivory films where upper class twits from the turn of the last century do a lot of talking in posh accents while the audience waits for something to happen.
Passing the building we then went down a slight hill and were at the festival, positioned next to a lake, I couldn’t have imagined a more picturesque place for people to let their hair down, or in the case of the Proggers, wish they had hair to let down. I would have added tranquil to the description, but the glamping tents and rows of camper vans ensured that the visitors and impending music would ensure that quiet would not be part of the equation.
Arriving in plenty of time I was able to give the venue a reconnoiter before the crowds were let in and I had to admit that it seemed to have everything that I’d expect from a music festival. Beer, food stalls, beer, stalls selling interesting clothes and hippy stuff, beer, a merchandise stand and beer. Other than the music, what more could anyone want?
They might not have been the length or depth of the ones I tend to do on-line but fortunately I had arranged many, but not all, of the artist interviews in advance and I had a list of people that I was due to talk with for each day which meant that I was able to find the first interviewee before the crowds were let in and the relative calm allowed for an interesting chat with the first person on my talk wish list, the wonderful lead vocalist, guitarist, and driving force behind EBB, Erin Bennett.
Erin Bennett (EBB)
Darren Walker: Please tell us about your musical journey and how an American ended up with a band based in Scotland?
Erin Bennett: In 2005 I was working in a café in a city in Alabama, called Dothan, when the tour bus of a band called Syren broke down near to where I was working and they came in for food. We got chatting and I managed to get them a gig. I had played quite a few solo gigs, from when I was 9 years old, but the Alabama music scene was pretty dull and as I was under 21 my shows were not official, or legal. So, when we became friends, and their visas ran out I decided to cross the pond and try my luck with playing in Britain.
Darren: What were your musical inspirations?
Erin: I have varied musical tastes, and I love everything from The Carpenters, Stevie Ray Vaughan, The Beatles, Hendrix and Joplin.
Darren: And what were your musical inspirations? And the Prog side of things?
Erin: I have always loved Prog, especially Yes and King Crimson but I must admit that I had to familiarize myself with early Genesis, but I soon learnt to appreciate that too.
Darren: With EBB where do the musical ideas come from and what are the dynamics of the band?
Erin: Ideas can be collective but many of the lyrics come from me. They are frequently based on real-life experiences and are deeply personal, with the song No One’s Child being a prime example of that. A strong story which allows for a powerful interpretation when performed on stage. Once the lyrics are ready Finn McGregor (AKA Bad Dog) ‘Proggyfies’ it and develops the songs for stage. But it is a collective effort, and all the band add to the final product and there are improvisations on stage that often take me by surprise and makes us all struggle to avoid laughing while we are trying to sing or play our instruments…
Tom Morris (Argham)
Next, I happened to bump into the irrepressible Tom Morris of the band Argham. Although no interview had been arranged, I knew that he liked to talk almost as much as me and decided to ask him a few questions, and avoid his terrible jokes, before he meandered off into the crowds that had now been allowed through the gate.
Darren: Please tell me how you got into music and your sources of inspiration?
Tom: I started singing in a school choir and from there I went on to be a folk singer, where I joined Tim Connor and the Poachers, a folk-rock group based in Yorkshire. From there I was in, or formed, various bands, with differing styles. I like to play different types of music as I learn a lot and it keeps my ideas and perspectives fresh.
Darren: What are your musical genres?
Tom: My favourite is British pastoral. I like Holst, Vaughan-Williams and am especially fond of George Butterworth. He might not be as well known as many of his contemporaries, but he is well worth a listen.
Darren: What about Prog?
Tom: To me Prog is more of a mindset rather than a genre. It evolves and is a linear progression where new ides are allowed and it can take the music in wide and various directions.
Darren: What about Argham, recording and getting gigs?
Tom: Recording can be problematic as it involves an investment of not only money but time with neither being in plentiful supply, as for gigs, being based in East Yorkshire we do play in Yorkshire and the East Midlands, but we will be playing Hackney in November. When we were invited to play there, at first, I thought it was a hoax, but it was genuine, and we will be one of the bands supporting Soft Machine.
DANCING WU LI MASTERS
Musician chats over it was time to take in the multitude of bands that were playing. First up, in the smaller marquee, Kingfisher Stage, was the Dancing Wu Li Masters. At first, like many of the acts that were to follow, I was not sure what to expect. Sometimes the band name can allude to the music that they supply but thankfully they were not some mix of high kicking fights and terpsichorean moves, either in sequins or white pyjamas. Instead, they were high energy funk rock that gave the audience a great start to the festival and, from the way that they were moving to the music they were in the groove and enjoying the whole set. If there was any anxiety about being the first to play it didn’t show and the guitarist showed that any pressure was not impacting on his skill and talent.
After they had finished performing I did manage to speak to them and ask the obvious question about the band’s name, and it seems that it relates to a book about Quantum Physics. Who would have thought that going to a music festival could be so educational. I now await a 12-minute-long Prog song about Schrodinger’s Cat.
YES PLEASE
Next up was the Yes tribute act, Yes Please. When I see the words ‘tribute act’ I usually grit my teeth, inhale and move on but, as my job was to review the wide and eclectic range of music at NVRF, I decide to shelve my prejudice and give them the benefits of my many doubts. Playing two sets, I caught the first part and must confess that I enjoyed them. Although I had never seen the original band, with the classic Anderson/Wakeman (etc) line-up, I had seen the ‘son of Yes’ version that is currently touring and using the name, they didn’t impress and made me think of stuff that was brown and smelly. However, being familiar with the earlier Yes albums I liked Jon’s voice and delivery and Yes Please gave a loyal version of how I would have imagined Yes would have played in the early 70’s. And, after all, who doesn’t enjoy a good rendition of Roundabout?
‘The Brothers Thomas’ were once again festival goers – Graham also caught Yes Please performances
Two sets of epic Yes music, played to an appreciative crowd who clearly love Yes. The whole band play with such attention to detail, every nuance is reliably reproduced with skill and passion. They concentrate heavily on The Yes Album and Fragile, with great renditions of such classics as Yours is No Disgrace, Perpetual Change, Starship Trooper, Roundabout, Heart of the Sunrise, and many more. Guitarist Oliver Day particularly shines, nailing so many difficult runs and riffs. His solo spot on The Clap is absolutely brilliant.
The band also cover a couple of the longer tracks, with Close To The Edge crowning the first set, and a wonderful Gates of Delerium in the second. Tom Edmunds is a more strident singer than Jon Anderson, but his joy in singing these songs is obvious and infectious. Marvellous stuff, and ideal for an opening evening of this great festival.
DELFINIA
Rushing back to the Kingfisher stage I was able to catch Delfinia. Another band that I had listened to on YouTube and liked what I heard, but I have seen enough bands to know that playing live is the true acid test. A UK based Ukrainian power metal band fronted by Daria and Konstantin Naumenko, they seemed to be an ideal ‘leather and lace’ combination of vocals. Daria had a voice like a flower but there was nothing delicate about her strong delivery and, looking like a young Paul Rodgers, Konstantin gave off an Iron Maiden vibe.
Plenty of pomp and swagger without overshadowing the musical content. In hindsight I wish that I had bought one of their albums as they hit the right note for me and exceeded expectations.
EBB
The next act was EBB. Having reviewed them before I will not repeat myself with the previous well-used platitudes. They were, as ever, magnificent and, despite having seen them many times before, they still managed to pop in new and unexpected twists in the performance to keep it fresh and new. All I will say is ‘bug costume’ and if that doesn’t whet your appetite then you were either there or have no curiosity.
Graham Thomas’ report on EBB’s performance…
It perhaps gets a bit predictable when I say that EBB keep getting better and better, but they proved it yet again. A dazzling performance featuring as yet unrecorded music from the much anticipated Mirror album, plus a few well loved older songs. EBB positively refuse to rest on their laurels, and seem to constantly evolve their stage set and repertoire, much to the delight of the crowd. The band are now so self assured and well rehearsed, they just don’t put a foot wrong. The accompanying videos enhance rather than distract, and everyone gives 100% to the moment.
Erin Bennett is self assured and a major talent, but the whole group gel together so well, it’s a joy to watch. I cannot think of another band on the circuit who are so improved over such a short time frame. Two or three years ago they were completely unknown, and now they are knocking on the door, challenging more established acts. Twice Trevor, our wonderful MC, encouraged the band to play longer as they were so enthusiastically received. The classic Mary Jane simply had to be played, and everyone around me was singing along with gusto! An extraordinary set from an exceptional band.
JOHN VERITY
John Verity speaks…
Although I had made prior arrangements to interview John Verity, the act of speaking to him was problematic. Having to unload gear I was worried that it was not going to happen but thankfully he had factored in some time in his schedule so that we could talk, but thanks to the background noise of other bands performing the location was not obvious. But that was soon resolved when he suggested that we sit in his car and talk without being disturbed. Rather than it being a question-and-answer session he was like a well-rehearsed speaker who had been in such situations before and, as if it was a stream of consciousness, he told me the high, and low, lights of his life and career. In the early 60’s he had no career desires other than to be a musician. He passed his 11+ exams and got into grammar school, but he had no interest in such formal education. Thanks to the disinterest, at the end of each half term he would go down a class level and ended up leaving school at 14 so that he could pursue a musical career and, being a Yorkshireman, he managed to find plenty of work, performing every night in Leeds. This even involved playing in cinemas during film intervals.
By 1966 he classified himself as being a professional and ended up backing Dave Berry. Then, in 1969 he found himself playing 7 nights a week in a rock club called the ‘Jokers Wild’ in the Bahamas. Thanks to the American tourist turnover there was a regular new audience every week which kept it fresh and enjoyable.
Eventually he was approached by two men who were promoters and owned a PA company. They wanted him to go to America and be managed by them. Being charmed by them, he took up their offer and found himself opening for such acts as Hendrix, Janis Joplin and Mountain. However, eventually, he discovered that the two men were using him as a front for drug dealing. On finding out about it he discussed it with the rest of his band, and they agreed to tell them that they would still play but they wanted nothing to do with the drugs. Then, despite the agreement, he found that the other band members had left overnight. That is when he formed the first iteration of the John Verity Band but was forced to leave the USA when his visa ran out.
Back in Britain he found himself supporting Argent and when Russ Ballard left, he suggested John as his replacement.
Then punk happened and like many great bands at the time Argent ended making him move into record production. It was in this role that he produced such diverse acts as Motorhead, Ringo Starr and Sweet’s Brian Connolly. It was then that he built his own studio and went back on the road. And that is when he got to the present and it was time for him to get ready to go on stage.
John Verity performs… and what of the set!
Despite being 76 you would never have known it from his performance. The voice was still strong, with presence and talent. I have always thought that John was an underrated musician with his playing sharp and it would have put many modern guitarists to shame. Between the songs were the stories behind them which showed the audience what I already knew, he is not also a great musician but an entertaining and fascinating raconteur. There were a mixture of his own songs, thumping covers of Cocaine, Hoochie Coochie Man and Hendrix’s version of The Star-Spangled Banner.
Then, of course, there were the Argent classics that had the audience singing along as if they were part of the band. Hold Your Head Up and God Gave Rock and Roll to You. A truly nice guy giving the audience what they wanted. Musical nostalgia delivered in the best rock traditions. A great way to end the night.
Graham Thomas’ report: Nipping back to the Kingfisher stage, I managed to catch a good portion of John Verity’s set, and I’m glad I did. I knew he could sing and play guitar, but I hadn’t appreciated what a superb player he is. He was equally at home whether playing blues standards, his own blues based material, or playing old favourites from his Argent days, and that voice is better than ever.
The Argent period was represented with strong versions of Hold Your Head Up and God Gave Rock’n’roll Roll To You, both of which had the crowd singing along enthusiastically. Finally, John recounted a story of being offered a festival spot back in 1969, which he turned down, believing it to be poorly organised. It turned out to be Woodstock! This preamble led to an electrifying Purple Haze to round off an entertaining set.
DARE
Day one draws to a close with Dare, who bring their slick show and top musicianship to Grimsthorpe and are well received. Darren Wharton is on top form, and proves himself quite a showman. His infectious enthusiasm generates plenty of positivity, and although the band are a bit AOR for me personally, plenty of folk love it.
Guitarist Vinny Burns impresses in particular with some slick and imaginative playing. I must admit I recognised a few songs, like the catchy We Don’t Need A Reason, and the closing song Abandon, and really rather enjoyed them.
Worthy headliners for an opening day of the festival. [Graham Thomas]
[We are only able to include a fraction of the photos taken by Chris Simmons at NVRF 2025. If any of the bands would like high-resolution (high-res) images you can get in touch with Chris: HERE]
LINKS
Nene Valley Rock Festival [NVRF] – Website | Facebook Group | Trevor NVRF | Trevor NVRF YouTube
