Grimsthorpe Castle, Bourne
Sunday, 7th September 2025
Sunday morning and, thanks to my age, I was beginning to feel the tiredness form the previous long and busy days of standing up at the concerts and running between stages so that I could witness as much great music as possible. But no stiff legs or sore backs would stop me or slow me down. I was having too much fun and wanted to enjoy the last day as much as I had enjoyed the previous ones.
There had been a few last-minute line-up changes and altered performance times which meant that I needed to alter my list of bands I wanted to see but that was only a minor issue, and I still had plenty to enjoy on the festival’s final day. [Darren Walker]
TEIGER
My first band of the day was Teiger (pronounced Tiger). I had seen them before, liked what I’d seen and wanted to see them again as, it is no exaggeration to say that they were brilliant. But the past performance was nothing when compared to their performance at Nene. There were approximately 200 people in the audience, which was not bad considering the time of day and having to compete with other bands that might be about to play on a different stage. They delivered music which was the ideal way for those in the crowd, that might have overindulged in the night, to wake up.
Any similes or comparisons would fall short and do them an injustice, but the melodic instrumental start manged to lull the crowd into a false sense of security before drums and bass cranked up the intensity and ensured that there were no cobwebs in people’s ears.
The second song had less of a forgiving start, with a hard and fast intro that had no intention of slowing down or showing any mercy. Talie Eigeland, the lead singer was no slouch either, with sultry ‘don’t mess with me’ undertones she demonstrated that she deserves to be listened to and venerated far more than anyone with a first name of Taylor and a surname of Swift.
As the set progressed Teiger gave the crowd smoky blues rock that I’d want to paly if I was ever having a road trip in America and I was driving down some dark desert highway in an open top car. Then they played songs that could easily have been used in a John Carpenter film soundtrack.
But it wasn’t all Talie who carried all the performance Jon Steele, on drums, was no slouch while the bass playing of Phil Eldridge- Smith was textured and was far more than any of the usual throbbing and thrusting that might penetrate the lungs and make the spine feel assaulted yet leave them unsatisfied. He knew how to play well and impress.
In another time Teiger could easily have been lost to some other musical genre but thankfully they took the path of prog and rock. So far they only have one album, which I obviously have, but I am sure many more will follow and continue to demonstrate why I like them so much. No gimmicks, no overt showing off, just talent and exceptional music.
Afterwards Talie Eigeland chatted with TPA’s Darren Walker
If that wasn’t enough, I had arranged to interview Talie, so after their set she and I went for a walk in the country house’s grounds where we could talk undisturbed and hear each other speak over the music of the festival acts.
Darren: Tell me about your musical journey?
Talie Eigeland: I was born in Britain but grew up in France before moving back. I’d always been around music, especially metal, and used to play until covid put a stop to that. But despite that I was a shy person and suffered from terrible stage fright. It was only in the last few months or so that I have managed to overcome that.
Darren: You hid it well as you always seemed to exude confidence and stage presence. What are the plans for the next album?
Talie: It is all done. David Castillo, who has worked with such bands as Opeth and Katatonia produced it and we are ready to go. However, timing is everything and we are still looking for a record label that we can trust and know will work with us to ensure that Teiger are not just another name on their list of bands and not fully appreciate what they have.
Darren: How do you write and is it collaborative or dictatorial?
Talie: Phil and I meet up and voice message the drummer to work on music. Lyrics are first as they tend to be full of emotion, then the rest of the band contribute to create a well rounded song. The lyrics are often honest and raw, full of vulnerability, which makes it interesting when set amongst a rock background. But as they are my personal experiences they are easy to misunderstand. But that is okay as listeners need to be able to enjoy the music on their own terms and add their interpretations to the lyrics. [Darren Walker]
WINTER IN EDEN
Symphonic metal isn’t a style that generally gels with me, but Winter in Eden impressed me with their set. The quality of the songs combined with their passionate performance was far more engaging than I’d expected. Singer and front woman Vicky Johnson commands the stage, but has a down to earth stage manner.
The band are confident and very capable. New song Rise is a highlight, featuring lyrics penned by Oliver Johnson, Vicky’s son. The band are clearly a family concern, and they won over not just me, but many others who obviously enjoyed their spot. [Graham Thomas]
THE TROY REDFERN BAND
Having made a great impression at last year’s festival, The Troy Redfern Band was a late but inspired addition to this year’s Nene Festival. When Atomic Rooster had to bow out unexpectedly, TRB stepped in with minimal notice, filling a mid-afternoon slot, and they did so with style and fire.
Though Troy hails from Wales, his sound and swagger could easily place him in the heart of the American Deep South. Flanked by Keira Kenworth on bass and Nicky Waters on drums, the trio unleashed a set of raw, hard-hitting blues rock that felt both timeless and urgent. Their influences spanned the genre’s earliest pioneers through its golden age in the late ’60s and early ’70s – names like Johnny Winter and Rory Gallagher came to mind as the band tore through their set.
The Troy Redfern Band doesn’t just play blues rock, they embody it. And when Troy switched to slide guitar, the mood shifted into something even more elemental. At that point, echoes of Ry Cooder, Derek Trucks, and Sonny Landreth were unmistakable. It was a performance that felt steeped in tradition yet alive with fresh energy, a fitting tribute to the genre’s enduring spirit. [Chris Simmons]
CANDACRAIG
After the brief walk in the grounds it was time to see the next band, Candacraig. They had been one of those acts where I had seen the name many times but had not spent anytime listening to them and was not sure what to expect. Comprising of former professional actors, Sharon Canning and Martin Nicholls, they have been described as neo Prog, and although Sharon and Martin often appear in this format, for the Nene festival they performed as a quintet.
They seemed to have been inspired by Led Zeppelin and Pink Floyd with hints of Kate Bush, Rush and Marillion and they didn’t let any of those legendary acts down. However, what might have been one of the memorable parts of the set was not the music as Sharon’s tight bodice costume made bouncing up and down on stage problematic and she had to keep adjusting her dress to ensure that the audience didn’t see more than they were meant to. Thankfully she saw the funny side of it and even joked about it with the crowd. But, when it came to the music, she showed that she had a stunning voice and whether taking the mic herself or duetting with Martin, they were entertaining. Along with this was more to it than that. There was plenty of cheeky laughter and banter with the audience that showed that they were having fun and that was infectious.
Amongst their own songs they sang a cover of John Lennon’s New York City which was moving, sad and had a Carpenter’s feel to it. But, like so many great bands, the set seemed to be far too short, and I was left shouting for more but, sadly, in music festivals, timings are critical so that was all I got. But thankfully I will be seeing them live again later in the year. [Darren Walker]
HAZE
Haze appeared in the early evening resplendent in their costumes to an adoring crowd, having been promoted to the main stage at last. After so many years it was good to see them getting some recognition for their craft, and they played a hugely entertaining set. The McMahon brothers were in their element, playing several tracks from the most recent (but no longer ‘new’) Water’s Edge album. Waters Rising is a touching song, full of relevance in a world of environmental problems. The classic Outlandish Knight featuring Catrin Ashton on double necked penny whistle was another highlight!
Drinking With The Devil is fun, with the brothers switching to devilish headgear. They made up for Atomic Rooster unavoidably having to pull out, by jamming a version of Devil’s Answer which went down well. The set closes with the epic Redemption, featuring Paul on lead guitar. He really is an underrated guitarist, but undoubtedly shines on this song.
It’s another great performance from a band who keep it in the family, and the wider Haze family and friends appreciated it tonight. [Graham Thomas]
HEKZ
After a prominently prog band-based day, HeKz provided a more rock orientated set, delivering infectious music which was good old-fashioned head down, hair shaking tunes, albeit with more than a hint of theatre and drama.
Matt Young, commanding both bass and vocals, seized the spotlight from the outset, leading with confidence and charisma. Flanking him, guitarist Tolis Zavaliaris and violinist Lucia La Rezza crafted a soaring melodic top-line, their interplay adding depth and drama to the arrangements. Behind them, James Wise anchored the rhythm section with spirited drumming and infectious energy, even breaking out into a brief, punchy solo.
Selections from their latest album Terra Nova featured prominently – Mayday and The Tower especially stood out, offering each member a chance to shine through engaging, melodic solo passages. Lucia’s violin, in particular, lent a baroque elegance to the quieter moments, evoking shades of Vivaldi. At times, the band felt like Judas Priest reimagined with Jean-Luc Ponty in the line-up, a fusion of metal muscle and classical finesse.
Caught up in the performance, I found myself too absorbed to take many notes. It was thoroughly enjoyable, yet all too brief. Time constraints left me yearning for more and wishing I could experience it all over again. [Darren Walker]
THE SKYS
Finally, after a long but enjoyable weekend of seeing bands who were familiar and not so familiar, it was now time to see The Skys. They are my favourite Lithuanian prog band and, having seen them before I was looking forward to seeing them again. What a set! Great music that made the long wait well worth it and made me want to ensure that my collection of their CDs was complete.
What modern Prog band has not been inspired by Pink Floyd? But despite the obvious pieces that wouldn’t been out of place on Darkside of the Moon or Wish You Were Here, they managed to sound original and in no way derivative. Not an easy task when playing guitar-based Prog. Soaring music that had the audience rapt and, when the set came to an end, it appeared that, to a man, and woman, they all were left wanting more. [Darren Walker]
ULI JON ROTH
The growing stature of the Nene Valley Rock Festival was underscored this year by an impressive roster of headliners, none more significant than the legendary Uli Jon Roth, whose appearance marked his only UK show of 2025. For me, it was a full-circle moment: Uli Roth (as he was known then) was the subject of the very first concert photos I ever took, way back in 1982.
Taking the stage to thunderous applause, Uli, donning his trademark headband and wielding the iconic Sky Guitar, delivered a set that spanned his own compositions, Scorpions classics, and of course tributes to Hendrix. As ever, he was flanked by a stellar band. The rhythm foundation was laid by Richard Kirk on drums and Niklas Turmann on bass and vocals, the latter shining on a powerful rendition of Scorpions’ In Trance. The line-up featured two keyboard players across the set, Akasha Dawn Roth, and apologies for not catching the name of the other keyboardist, but both their presences were woven deeply into the fabric of the sound.
David Klosinski proved an ideal counterpart on guitar, matching Uli’s fire with his own blistering solos. Yet it was in the harmony sections, particularly the twin guitar interplay on All Along the Watchtower, where the magic truly crystallized.
Adding further depth was longtime collaborator and guest vocalist Liz Vandall, who is currently working with Uli on his upcoming orchestral project, Requiem for an Angel.
What a brilliant conclusion to end this year’s event. Can’t wait till next year… [Chris Simmons]
[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
