MAID OF STONE FESTIVAL SUNDAY 20TH JULY MAIDSTONE - MOTE PARK

It’s hard to think of a more perfect band than Absolva to shake off any Sunday sleepiness with their thunderous bass rumble that vibrates through your chest. This is British heavy metal at its finest and unsurprisingly, given these lads also work as Blaze Bayley’s touring band, there’s a definite Maiden feel to some of the twin guitar work. Chris Appleton says he can’t see us very well, a result of problems with his contact lenses (if only he knew what I do for a living!), but hopefully he can hear our appreciation. ‘Freedom and Glory’ is a fast-paced thrill ride with a proper, rousing chorus that compels you to throw your fists in the air. ‘Atlas (War Between the Gods)’ is another slice of similarly epic and unashamedly old-school metal - what’s not to like? 

The weather’s taken a bit of a turn, so I’m cocooned in my camping chair with an umbrella on my legs and attractive Pack-it jacket protecting my top half. Yes I’m a bit damp, but I’m cheered by the sound of Parker Barrow emanating from the Inferno stage, a band who hail from Nashville and play authentic Southern rock, though perhaps not quite as you know it. In place of the usual, drawling front-man, we have the hollering, tambourine shaking front-woman Megan Kane who proves to be something of a force and pushes a well-worn genre in a new direction. Apparently it’s the band’s first visit to the UK, so we’ve been missing out on their riotous rock and roll until now.  

I take some time for a wander, enjoying a nose around some of the stalls that offer up up jewellery, clothes, vinyl, and, best of all, enamel pin badges (I’m a bit of a collector, you know!). The Heat Inc. sound great on the Firestarter stage, delivering energetic garage rock with punk flair, at times reminiscent of Billy Idol, or at least his snarling vocal style. What’s best about only having two stages this year and no clashes is that wherever you are and whatever you’re doing, you can still hear what’s going on, making it easier to do a bit of exploring without freaking out that you might be missing your new favourite band (or is that just me?!). 

Following a memorable performance with guitarist Sophie Lloyd yesterday, Marisa Rodriguez is back with her own band Marisa and the Moths, to the delight of an adoring crowd. Rodriguez has the kind of star quality that can’t be manufactured, and a wonderful, soaring voice that compliments the crunchy, grunge influenced heaviness of her band. Reflecting on her struggles with insecurity which feed into the lyrics of songs like ‘Skin’ and ‘Fake It Till You Make It’, it’s great to see Rodriguez translating those feelings into something positive, and encouraging others to talk about their own mental health. There’s no need for any self-doubt, Marisa and her Moths are onto something special.  

The acoustic sets in the VIP area are a lovely perk, and always very popular. Judging by the number of t-shirts and the crowd gathering well in advance of their 14:30 time slot, Empyre seem to have a particularly devoted fan base. Part of that is undoubtedly because of Henrik Steenholdt’s voice, which is both sonorous and majestic. But a great voice needs great songs, and thankfully Empyre aren’t short of those either. Cleverly reinterpreting their own material, with Did Coles switching between keyboard and guitar, the likes of ‘Drive’ and ‘Hit and Run’ feel quite moving, even when interspersed with jokes about the emerging theme! ‘Titanium’ might be an unlikely choice of cover (yes, that’s the David Guetta dance classic!) but becomes something altogether more moody and atmospheric in the hands of the Empyre. 

Sari Schorr has a voice that has to be heard to be believed, and for a short while, we can’t hear it! There’s a problem with her mic which renders her temporarily silent and her band are forced to improvise while she gets it sorted. But suddenly, we’re back in business, a cover of ‘Ready for Love’ revealing Schorr as a proper blues belter in the vein of Beth Hart. A likeable lady with the kind of warmth that many Americans seem to have in spades, it’s interesting to hear her talk about the inspiration behind certain songs, but sad that domestic abuse is apparently something she’s had to experience. You sense real pride when she mentions singing ‘Black Betty’ at Carnegie Hall, and she treats us to an incredible rendition today, transforming the familiar into something quite different, the delicate start contrasting the explosive conclusion.

After having to drop out of the festival last year, and missing out on predecessor Ramblin’ Man Fair (a casualty of Covid) These Wicked Rivers have made it to Mote Park at last. The stage is decked out with lampshades and swathes of cloth and the band themselves look resplendent in their uniform of snazzy hats and print shirts. ‘Force of Nature’ is an appropriate opening statement, as it certainly feels that the band is becoming one. With big, fuzzy riffs and John Hartwell’s rich voice there is much to appreciate. ‘Don’t Pray For Me’ is surprisingly soulful, an interesting counterpoint to the heavy grooves of ‘Black Gold’ and ‘Testify’. 

Having never heard This House We Built before and with no idea what to expect, I’m pretty much an immediate fan. The band don’t mess about when it comes to making an impression, bursting onto the stage with such infectious enthusiasm that resistance is futile. With his low slung bass and quirky white shades (duplicates of which are thrown into the audience during the set!) Wayne Dowkes White is certainly an unmissable presence, but it’s obvious that all four of these men are very good at what they do. Playing taut melodic rock with unique, funky flair, a cover of ‘You’re the Voice’ gets us all singing, and their own material catches on pretty quickly too. ‘Nobody’s Fool’ has the kind of chorus that I love, a harmony laden ear-worm that really hits the spot. It’s heartening to see frontman Scott Wardell so pleased with the reaction, a man who says he’s been doing this since he was 15 years old. 

As Stone Broken hurtle towards their imminent hiatus, the continued fondness for the band is undeniable. Apparently capable of penning super catchy, radio friendly rock bangers with more ease than really seems fair, their set is loaded with them. There’s a lovely warmth about the group, not particularly rock and roll, but an endearing sense that they're not so different from the rest of us. Frontman Rich jokes that he and drummer Robyn are “the cool aunt and uncle” as their niece and nephew watch on from the crowd. I think that label is probably justified, as would the hundreds singing along to ‘Wait for You’, a proper heartfelt anthem that sums up why Stone Broken are beloved by so many. Let’s hope they don’t stay away for too long. 

Recently voted best emerging UK blues band, Blue Nation jokingly dispute that they even qualify as a blues band! Whatever they qualify as, they’re very good indeed, and deserving of any plaudits they receive. A power trio with real emphasis on the power, they admit to stealing much from Zeppelin (like that’s a bad thing!), but really seem to be solidifying their own identity. I’m very taken with ‘Hand Me Down’, with its fantastic “I don’t pay you to talk, I pay you to listen” refrain and tasty riff that keeps coming back for more. 

With their enviable catalogue of hits, Sweet bring the party to Maid of Stone. A band who appear a bit incongruous on the line-up posters, a diversion from the so called ‘NWOCR’ acts, their set is pure nostalgic joy and suggests that more of these heritage groups would be welcomed. Though guitarist Andy Scott is the last of the original line-up, the band arguably sound better than ever, revitalised for a new generation. With singer Paul Manzi up front, and some fantastic harmonies from bassist Lee Small, it’s pretty much a flawless display. And it’s hard to beat the atmosphere in the crowd as we sing along to ‘Teenage Rampage’, ‘Fox on the Run’ and a jubilant ‘Ballroom Blitz’. 

Empyre are back for their second slot of the day, a headline appearance on the Firestarter stage. Newcomers are probably a bit baffled by the inevitable boos but I know they come from a place of love! Unfortunately, I don’t get to watch quite as intently as I’d like, the result of bumping into a few new friends, but it’s impossible to miss the impact of ‘Waking Light’ or ‘Relentless’ as Steenholdt’s voice rings out over the park.  

In the headline slot on the Inferno stage this evening, it’s a proper legend in the form of the Blonde Bomber, Michael Schenker. Better yet, the set is a celebration of his years with UFO and comprises every song from ‘Strangers in the Night’ - pretty much the dream for any fan. And, with Erik Grönwall lending his vocal talents, the songs sound fantastic. Thankfully, Grönwall is also a commanding point of focus as I’m surprised to discover Schenker himself is not the most charismatic performer, remaining largely rooted in the same spot throughout, occasionally leaning into the mic for a quick “thank you”. Admittedly, he doesn't really need to do anything else, the sight of Schenker with his iconic Flying V is enough to get most of us excited, and his incredible guitar playing prowess speaks volumes. Like Sweet before them, it’s another set that benefits from familiarity, comprised of songs that are ingrained in the fabric of classic rock, from ‘Only You Can Rock Me’ to ‘Doctor Doctor’ and ‘Lights Out’ to ‘Rock Bottom’. 

Every year I come to Maid of Stone with an open mind, and every year I leave with at least three or four new favourite bands. For me the festival continues to strike the right balance, exposing me to new acts whilst giving me some of what I know. Tickets for 2026 are on sale now - put your trust in the impeccable taste of the organisers and get yours here: