Grimsthorpe Castle, Bourne
Friday, 4 September 2026
The torrential downpour that had made its unwelcome presence loudly known in the early hours of the morning might have felt like it belonged in the Bible but it soon passed and by the time we arrived at the venue the morning sun was already smiling down and the ground was, mercifully, still firm underfoot.
Missing the first few minutes of the opening act I was confused as there was a duo on stage that certainly didn’t look like the band I was expecting. Apparently Alphaline had been delayed due to Sat Nav betraying them, so instead, two touring members from Paulie Boy Blues, who were due to perform later in the day, had bravely volunteered to perform so that the morning crowd could get their first musical hit of the of the day.
![Paulie Boy Blues [Duo] at NVRF (Nene Valley Rock Festival - Day Two 2026](https://theprogressiveaspect.net/wp-content/uploads/2026/10/Paulie-Boy-Blues_Duo.jpg)
Along with touring with Paulie, they were also in a Bristol band called Murdoch and the Mortals and the duo of Murdoch and X didn’t disappoint. Simple harmonica and guitar but the blues and jazz tunes, such as St James Infirmary were an unexpected pleasure, although their history of that song was woefully wrong but that was a minor detail. They were like an enjoyable, and smaller, version of Mumford and Sons.
So that I can utilise my time and experience as many bands as possible, I had printed sheets listing the bands for each of the days with my selected acts highlighted in green. I might not have been able to see all the bands in full, but I did my best. It was thanks to this ever-present crib sheet that I was reminded that I then needed to rush up to the Kingfisher stage, in the other marquee, so that I could see Forgotten Gods. Despite already having a couple of their albums, they were a group that I had not previously had the chance to see. This meant that expectations were high and, as expected, I wasn’t disappointed. They started off with moody and magnificent keyboards that led into prog at its best, and would have left any progger in a state of bliss.
There were plenty of guitar solos backed by a tight rhythm section, and all delivered with beaming smiles that showed that, like the audience, they were having fun. In addition, there was their tribute to the late, great, Neil Peart, called Everybody’s Hero. As there were plenty of people in the crowd wearing their Prog for Peart t-shirts it was well received and appreciated.
Forgotten Gods proved that blinding lights, pyrotechnics and fancy back screens are not needed when the music is that good.
Once again I had more exercise, walking to the Swan stage to see a blues act that I had been assured was a ‘must see’ act called Paulie Boy Blues.
A blues guitarist who lived up to the hype and exceeded it by a country mile. An American who was the real deal and played as if he had been fed the blues as a baby and grown up with it so that it glowed with every note he played. Although just saying ‘playing’ would be doing him a disservice as he made his guitar sing like a sex starved siren. With a drummer who looked like a teenage Cliff Richard and the two musicians who had already performed the opening set they staked an early claim to being the band of the day.
Still others to come but they were a tough act to follow. In cases of guitarists, using descriptions that include references to Jimi Hendrix can be lazy and at times tenuous so please excuse my lapsing into such a familiar trope as, in this case, it is justified and in many ways he exceeds Hendrix as there were no long, time consuming, twiddling that shows off skill but does nothing to add to the show. Paulie was yet another act that I will want to see again and hopefully he will tour the UK next year. Also, as a side point, I got to talk with him afterwards and he was a truly nice, down to earth and approachable guy who seemed to be overwhelmed by the wonderful reception that he’d received from the crowd.
Graham Thomas was I believe suitably impressed… (DW)
The first act I caught on Friday was a young American blues guitarist going by the moniker Paulie Boy Blues, and his natural impassioned playing was a great way to start the day. He covered blues classics by the likes of Freddie King, Robert Johnson and Hendrix, and did a fine job.
His band were well drilled, and included a good blues harp player, and their authentic take on the music which formed the foundations of modern rock was refreshing to hear. (GT)
I had my step counter on my phone and the count was increased yet again, thanks to a dash back up to the other marquee so that I could catch Sonic Tapestry.
I was hardly breathless form the rush to see them perform but their performance came close to leaving me in that state. Exacerbated by the heat of the day which was making the room feel like a crowded sweat box. They performed prog at a consistent fast pace and despite them being hardly spring chickens they had the energy of teenagers who were determined to give their all to entertain. The heat of the room and their set left them drenched in sweat. Sadly, the tight schedules, demanded by the festival, meant that the set seemed to be over far too soon and I was left wanting more.
And again Graham Thomas was again suitably impressed… (DW)
After seeing their set at Fusion, I was keen not to miss Sonic Tapestry, and they did not disappoint. They featured several cuts from their newly remastered ten year old debut album, Aftermath (now Aftermath X), which I have to say sounds huge, and live, these songs really impressed. John Byrne drives the band forward enthusiastically on drums and vocals, and Steve Forster shines on bass, flute and vocals. The whole band gel so well, and were particularly impressive on new song Reflections.
They finished their set with the epic Into The Sun, and the long queue at their merch table afterwards tells you how popular they were. (GT)
Then, with a few minutes to spare, I was able to chat with a few of the crowd and visit the stall selling fascinating antiques and another selling CDs (both well worth a visit if my reviews have persuaded you to go next year). But that diversion was fleeting as it was soon time for Lesoir to take the stage.
Hailing from the Netherlands the sextet delivered well crafted prog with enthusiasm and skill that was enhanced by the lead vocalist, Maartje Meessen, who had a beautiful voice which, at times, had the delicacy of trembling sparrow and at others the power of an opera singer who could be heard at the back of the marquee, even without the aid of a mic. They made me think of The Skys, if they had a female vocalist. (DW)
Lesoir are a hugely impressive band, but today wasn’t their day. Intermittent but persistent sound problems interrupted the flow of their set, and ultimately cut it short, which was a real shame. They did enough though to convince many that they were worth catching again, and they return to our shores late this year. Maartje Meessen is the visual and musical focus, her strong vocals oozing confidence, and her keyboard and flute playing skills adding colour and depth.
Their songs are uplifting, and their individual take on prog is refreshing. I rather hope they get the chance to play an uninterrupted full set next time. (GT)
After a while it becomes difficult to see a band and give them unique reviews, after all a rock band might blow me off my feet but when all is said and done, a rock band plays rock and even if they play well it is hard to find anything new to say about them so my review of Cry For Mercy might be brief but that should not detract from how good they were or how much I enjoyed their set. At times the trio made me think of Thin Lizzy but there is certainly nothing wrong with that. They gave full-on, no-nonsense rock and I loved it. (DW)
Chris Simmons headed over to the Kingfisher stage to just in time to catch The Dead Can Wait.
Returning after their successful performance last year, Reading based TDCW delivered a high energy set of hard hitting, metal infused, classic rock riffage. Fronted by vocalist Ashley Stone, who often hit those top notes normally reserved for Rob Halford, led from the front.
The twin guitar line-up of Mike Hare and Steve McLoughlin ensured crunching versions of No One Knows Your Name, Paranoia, and of course, The Dead Can Wait – all featuring blistering solos from both players. And of course there’s the rhythm section of Andy Rowe on bass and drummer Chris York (from melodic rockers The Room) holding it all together.
A great set and one that went down with the late afternoon crowd. (CS)
A band who I had heard a lot about, seen their tours and performances announced on Facebook, but had not previously got around to seeing. Pearl Handled Revolver were worth the wait.
Tight pulsing music with keyboards that were like an out-of-control car speeding down a hill. Thanks to the heat of the day the lead singer, who was giving it his all, was soon looking exhausted but, undaunted, he carried on as if his life depended upon it. A mid-west American vibe and they were well worth my wait to see them.
TPA’s Graham Thomas had seen the band before and picks up their performance… (DW)
A band who just don’t know how to play a duff show! The intuitive creative spark that they all share when on stage is staggering, and Pearl Handled Revolver proved yet again that a festival stage is where they belong. Even the temporary loss of their drummer didn’t slow them down, as it turns out that bass guitarist Lucas Rinaldo is a wizard on the drum kit!
The bass parts were filled in by keyboard king Simon Rinaldo, and that leaves Lee Vernon and Andy Parish to do their thing on vocals/harmonica and guitar respectively. Potential disaster is turned into total triumph with apparent ease.
The band weave their magic, building improvised sections that thrill the crowd. That tangible visceral thrill then feeds back to the musicians, spurring them to even greater heights. Crowd favourites like Belly of the Beast, Woman Made A Man Out Of Me, and If The Devil Casts His Net are greeted like long lost friends, and Pearl Handled Revolver can do no wrong. Without a doubt one of the best sets of the festival. (GT)
Next up… EBB
Come on people, anyone who has read previous reviews of their concerts and albums will know that I am a massive fan of them and anything I could say about them has been said. I’d have to make up new superlatives to capture their stage performance. As always, they dragged the crowd into the stories within the songs whilst retaining the same insane unpredictability that ensure that no two performances ever seemed to be the same. Biased? Me? Hell yes, but with a band that good I have a right to be. (DW)
Any lesser band might baulk at following Pearl Handled Revolver, but EBB exude confidence as they hit the stage, and with good reason. They are of course a completely different proposition, with their unique brand of proggy theatrics, interesting visual elements, entertaining asides, but above all, Erin’s songs which are absorbing and memorable. They seem to have as much fun onstage as we do being entertained by this amazing troupe. The set draws heavily from latest album The Mirror, kicking off with Reason, and it’s immediately clear the band are fired up for this gig.
What follows is a masterclass in dynamics, tension and release, and theatrical involvement. Bad Dog and Anna Fraser anchor the madness on bass and drums respectively, while Erin Bennett commands the centre stage. Suna Dasi and Nikki Francis add the keyboard colour so essential to their sound, and Kitty Biscuits dances, blows bubbles, and sings.
It might sound slightly chaotic, but everything happens for a reason and remains more or less under control. No One’s Child is a great song with haunting accompanying visuals, and The Mirror is another taut slice of drama.
As the set draws towards its end all too soon with the epic Cost and Consequence, anyone new to EBB has been won over with a thoroughly entertaining performance. Sadly, time constraints means there is no time for Mary Jane, but the band have given their all. Needless to say, they will be returning next year! (GT)
The Claire Hamill Band were another band that I have had on my bucket list for a long time.
I had heard good reports of their performances on stage, but I wanted to see if they matched up to the quality of their records. I was not disappointed, in fact they were far better live than on their albums, which takes some doing. Finely crafted songs delivered with energy, accompanied with entertaining and fun backgrounds stories to some of them.
Claire was mesmerizing and even got a few of the audience (me and a friend) to drop our naturally shy inhibitions and dance along. The band didn’t disappoint and, on meeting her after her set, I can confirm that she is a truly lovely lady too. (DW)
Sometimes multi-stage music festivals have acts that clash, so choices must be made, and it came to a time when I had to make a decision, see Spriggan Mist or see Corky Laing’s Mountain. As I have seen the Spriggans many times and always praised their shows in my reviews I knew that they would forgive me, eventually, for giving them a miss, and making Mountain my penultimate act of the day. After all they were a legend that I had to see.
Mountain might not have exactly filled the charts, but their back catalogue is one that most people could name straight off. Their two biggest successes, Nantucket Sleighride and Mississippi Queen, have become legendary and would be recognised by most people ‘of a certain age’ (AKA old), even if they couldn’t name the band.
And of course both songs featured at NVRF. Corky took the opportunity to give a detailed back drop to Nantucket Sleighride after which the band launched into an extended version of the song, not in the realms of those on The Road Goes Ever On or Twin Peaks, but still, time for the trio to stretch out.
The clear sky and the coming of night might have turned the evening cold, but the band were hot and it was obvious that they were having fun on stage. Shared banter between the members and jokes with the audience. The band delivered great versions of Jack Bruce’s Theme From Imaginary Western, a couple of covers, along with Mountain classics Never In My Life, Don’t Look Around and of course, Mississippi Queen. All kept flowing care of Corky’s drumming.
Exceptional and one to remember for a long time. (DW)
Finally, it was time for the headline act, FM, another band who have been going strong and currently celebrating the 40th anniversary of their first album, Indiscreet.
Great guys playing good old fashioned ‘80’s rock that still manages to sound fresh and new, despite the passing of the years. As always, a band worth seeing. (DW)
I caught the first twenty minutes or so of FM’s headline appearance, and I have to say that they were very impressive. I was surprised just how many songs I recognised, and the stage show was super slick, the musicianship unquestionably top notch. However, the day had caught up with me, and to be honest, they are a bit AOR for my taste, so I retired early, leaving an appreciative crowd to enjoy the rest of FM’s performance. (GT)
A day came to an end, and I was exhausted, but I was still buzzing long after I’d left the venue. A tough call to name the best act of the day so I will cheat and say that it was a race that was too tight to call and leave it at that. I was wide awake and looking forward to day three and all that promised. (DW)
[We are only able to include a fraction of the photos taken by Chris Simmons at NVRF 2026. 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 | Facebook Page | Trevor NVRF | Trevor NVRF YouTube
