MAID OF STONE FESTIVAL 2026 MOTE PARK MAIDSTONE SUNDAY 19TH JULY

Excited for another day of live music, but a little sad that the end is drawing near, there’s a creeping realisation that soon I’ll have to wait another year for glorious days like these. But for now, the sun is still shining above Mote Park (who’d have thought it?!), and there’s plenty of Maid of Stone Festival left to appreciate. 

Velvet Rush came alarmingly close to calling off their appearance this morning, the result of British Airway losing their gear. Thank goodness a solution has been found, because these Germans put on one of the most enjoyable shows of the weekend. An irresistible blast of no-nonsense AC/DC riffs and gang style choruses with Sandra Lian’s powerful voice front and centre, it’s just what’s needed to shake off any sleepiness. I suspect Lian’s daring catsuit probably does the trick for some too - a partially see-through number with some clever panelling to hide the naughty bits. But it’s songs like ‘Heart of Stone’ and ‘Euphonia’ that stay with me, straightforward stormers that get the crowd bouncing early. 

I’ve been told I have to go and see Queen Horizon open the Firestarter stage, and it’s always nice to see a local band getting a chance to shine. I imagine the Kent group are a bit of an acquired taste, throwing away convention with a cellist and a vocalist who sounds more ‘girly’ than the average hard rock screamer, but they’ve lured a decent crowd, and deliver their alternative rock with real passion. 

What strikes me first about Tuk Smith and the Restless Hearts is how alike the band look! It’s as if someone used Tuk as a template and created his band mates in his image, which, in fairness, is a pretty cool one. Coming across like a harder rocking Tom Petty with more of a snarl to his voice, Tuk Smith oozes rock and roll swagger from every pore. He confesses that he “should have been in therapy [his] whole life but chose to write songs instead” which is good news for us, because he’s really very good at it, conveying stories through his music. I’m very taken with the unapologetic Thin Lizzy rip-off ‘Girls on the East Side of Town’, an absolute sucker for that gorgeous twin guitar sound. 

I opt for Parker Barrow on the VIP Acoustic Stage over Square Wild, and I’m certainly not the only one. Fans are lining up along the fence to catch a glimpse of Megan Kane and Co. The band made a great impression with their electric set at last year’s festival, and it seems many of us are keen to hear more. Kane has a truly beautiful voice which is arguably even better like this, stripped back yet still full of power. 

Heavy Pettin might have been quiet for a while, but it would seem that they’ve picked up where they left off with last year's comeback album ‘Rock Generation’. The title track opens their set today, and you could be forgiven for mistaking it for an 80s classic; an old-school, fists in the air anthem. All the hits from their heyday are present and correct, and though there’s nothing particularly unique about songs like ‘Rock Ain’t Dead’ and ‘Love Times Love’, they’re a great nostalgia hit for some, and still good fun for anyone who wasn’t there first time around. 

I’m very impressed with Silveroller, who take the 70s template and bring it into 2026. Frontman Jonnie looks like a lost member of the Faces, but has an unusual voice for rock, warmer and more soulful than most. It’s a special day for the band, who sign their first record contract live on stage, enlisting us as witnesses (I’ve got a feeling the real contract might have been signed elsewhere, but it’s nice to feel involved!). ‘Black Crow’ has a wonderful, retro sound, swirling keyboards paired with a grooving riff. It seems Silveroller do epic balladry pretty well too, ‘Come On, Come In’ making a strong case for one of my favourite songs of the day, lovely vocal harmonies and Joey Smith’s masterful guitar interludes really hitting the spot. 

For most of us, Hannah Wicklund is probably an unfamiliar name, which is baffling from the moment she picks up her guitar and delivers her own brand of heavy electric blues. Not only an incredible guitarist, Wicklund has a uniquely beautiful voice, a soulful holler at times reminiscent of Janis Joplin which proves an apt comparison given her spectacular cover of ‘Piece of my Heart’. The addition of a flautist threatens to take things into prog territory (no bad thing in my book!) but actually just brings more colour to a musical palette that is already one of the more interesting of the weekend. Often favouring a distinctive whooshing guitar sound that brings to mind a plane taking flight, Wicklund certainly seems like an artist in the ascent. 

Whatever it is, Anchor Lane have got it. Upping the heaviness significantly, the Glasgow trio give a remarkably self-assured performance. All attitude and crunching riffs, they seem to have updated their sound since last time I saw them. Less rooted in classic rock, the likes of ‘Choke’ and ‘Stutter’ feel more modern, more punchy, and ideal for a festival crowd.

Who could not feel a bit sentimental going to watch a Wildhearts gig just now? Ginger, the enigmatic and most likeable frontman of the band is suffering from lymphoma, he is not looking for much by way of treatment and has decided instead to write a new album and keep on touring. Seeing the Wildhearts on the bill this weekend was a highlight booking for me. 

On they wandered just after 5 o’clock looking just like the rag tag bunch of Geordies that they are. Band, ‘Failure is the Mother of Success’ blasts us into 45 minutes of pure, optimistic joy. 

At the end of the first number Ginger mentioned getting the most out of his PA. His wee comment, I think, worked a treat. For a good part of the weekend, I though the mix was a bit flat on the main stage with neither vocals not solos standing out as clearly as they might. That little nudge saw a marked improvement in the sound.

‘Mazel Tov Cocktail’ and ‘Mountain Radio Silence’ are top tunes. For me though, the song of the weekend, and there were many played, was when Ginger broke into the ‘Theme from Cheers’; where everybody knows your name was blasted out by a crowd where everybody knows the words. I had a wee tear about then. Ginger has given me so many happy memories over the years and I was just so pleased to be able to see him play at this festival. I hope I’ll see him many times more, but if I don’t, well, he very much added to my pile of great Wildhearts memories. 

Love for Ginger.

Aethoria are a relatively new band, having only existed for around a year, but they’ve been building a significant following online and have attracted a large crowd today. It’s easy to see why, the allure of bruising breakdowns and heavy metal oomph never going out of style. Mecia-jade Holden is petite, pretty and packed with power, a winning combination that certainly gives Aethoria an edge. Holden mentions this is the band’s biggest show to date, but I suspect others will follow. 

The first time I saw Ricky Warwick drive this particular train was in 1989 when The Almighty opened for the Ramones in Glasgow. They were loud, unremitting and not lacking in confidence; they could also play a tune or two and knocked the socks off the Barrowland’s crowd that night. Nothing seems to have changed much over the last 37 years. When Ricky and Co took the stage on this sunny Sunday afternoon, they were as blistering as they have ever been.

‘Power’, ‘Jonestown Mind’ and ‘The Unreal Thing’ set down a marker for the next hour.

There were big signs up at the performers side of the stage, “No Swearing” they said. Either Ricky didn’t read them or, more than likely, he just didn’t care. ‘Takin’ Hold’, ‘Wrench’ and ‘Full Force Lovin’ Machine’ were highlights of the mid set. 

I thought, from that point on, the set tightened and the rest of the performance was lifted just a bit and it was fantastic for that. ‘Devil’s Toy’ and ‘Destroyed’ were bangers and ‘Free ‘n’ Easy’ brought down the curtain on a terrific show.

I have said before, that if you were to draw a caricature of a rocker, you would draw Ricky Warwick. He has the swagger, looks and tattoos that come with the title and he does not disappoint on stage. This was truly a headliners set and, given the diversity of Sunday’s bill, for many it was the highlight performance of the day and perhaps the weekend.

Almost forty years on, they are still ‘All-effin’ - Loud, All-‘effin’- Mighty.

Headlining the Firestarter stage, Chez Kane provides an unashamed throwback to the 80s - all keyboards, flashy guitar solos and cheesy choruses. It’s a formula that works, with many embracing a style of music that could have been confined to the past. There seems to be some difficulty with the sound which initially renders the guitars largely inaudible, leaving us hearing mostly bass and keyboards, but it improves as the set goes on, things picking up in time for the comically titled ‘Love Tornado’ and ‘Night of Passion’! Though possibly not for everyone, it's hard to dispute that Chez brings a sense of fun; just what you need at the end of an incredible weekend of music. 

It is left to prog rock legends Uriah Heep to bring this year’s Maid of Stone to a close. And they do so in spectacular fashion - check out our review of their headlining set here:

If you've been to Maid of Stone, you'll know what a fantastic festival it is. If you haven't given it a whirl yet, I urge you to do so next year. Striking the right balance between familiar names and emerging talent, there's an emphasis on helping new artists to flourish. The atmosphere is relaxed, the food fantastic (get me back to Pastafest immediately!) and with a modest capacity, it's always relatively easy to get down the front for your favourites.

I can't wait to see what the organisers have got in store for 2027, but I know I'll be there regardless. Early bird tickets are on sale now, get yours here: