Festival Review: 2000Trees - July 2026
2000trees: last minute replacements, the heatwave to end all heatwaves, and even the threat of a runaway Haaland in the quarter final — nothing could stop the fan favourite festival from excelling.
Straight into it!
With the baking Cheltenham sun already making itself known, what better place to start the weekend in the shady Forest? Enter, Saint Senara. The local duo’s blend of gothic folk, blues-y rock and immersive storytelling suited the woodland setting perfectly, tambourine, drums and guitar combining to soundtrack one of the festival’s quieter openings. ‘Ophelia’ drifted effortlessly through the trees, Chloe and Andrew’s harmonies near entrancing in the arboric paradise around them, before the sadly-not-prophetic ‘There’s A Storm Coming’ remained purely metaphorical, though its swelling instrumental bridge hinted at the sort of frenzy it could spark with a bigger crowd. True to form, they finished with the murder ballad ‘Lost Little Marie’, the Forest Stage crowd stomping along with smiles on their faces to the Cornish folk song, even as they clung to beloved patches of shade.
From acoustic to atmospheric: Lonesome continued the day with soaring metalcore that felt tailor-made for 2000trees. Frontman Jay Kerr-Gray’s clean vocals echoed across the tent as the group tore through tracks from last year’s ’In The Hope This Finds You’, with opener ‘Save Your Words’ always a particular delight; dressed in his trademark, mystical veil of sequins — a bold choice considering the relentless heat — he seemed genuinely taken aback by the size of the crowd, laughing between songs as cheers rolled back towards the stage. Even if some of the songs blurred together stylistically, the quality never dipped; every chorus felt huge enough to close the set, particularly as the soothing cleans splintered into anguished cracks and cries to really drive home the emotion.
Meanwhile, Edinburgh pop-punks happydaze just set out to have fun. “Are you ready for a fucking belter?”, Luke Bovill asked as they group took go the stage. “Let’s fucking dance!” The set was just joy. There was no finesse, no subtlety. Pure frantic. in-your-face fun, all infectious hooks and sunny melodies. The crowd perhaps didn’t move quite as much as the songs deserved — surviving the heat clearly took priority over endless circle pits — but tracks like ‘Missing Out’ and ‘Faded’ still landed well enough to keep spirits high.
On the other side of wanting to survive the heat, the masked outfit of The Skinner Brothers took to the sun-drenched main stage with the faceless, sneering swagger that’s selling out venues left and right. Still wearing their balaclavas was a bold choice, sure, but the speed that they rattled through their set — tracks like ‘XL Bully’, ‘Mark Of The Beast’ and ‘Apex Predator’ flying on by, even throwing in a sped-up cover of ‘Seven Nation Army’ for good measure — felt like a group desperate to make the most of their main stage debut, especially as frontman Zachary Skinner climbed into the pit during the afore-mentioned ‘Mark Of The Beast’, delving into the dust his circle pit threw up to rile up his adoring fans. A brilliant set — though asking whether 2000trees were “warmed up yet?” felt maybe just a teeny bit redundant.
If there was one band seemingly built for thirty-degree sunshine, though, it was the beloved Mariachi El Bronx. Returning to the UK for the first time since 2016, the eight-piece transformed the Main Stage into one enormous fiesta as matching black outfits, trumpets, violins and accordions enveloped everyone present. “Finally Mariachi El Bronx come to 2000trees!” laughed Matt Caughthran before opener ‘Forgive Or Forget’, with ‘48 Roses’ and ‘Wildfires’ flaring past in the blazing heat.
“Our Californian skin is used to this heat but your poor, delicate English skin must be in quite the predicament”, he grinned at the hundreds of sweaty faces beaming back at him, tongue-in-cheek as security were mobbed for the pints of water being handed out; but with the likes of ‘Bandoleros’, ‘High Tide’ and ‘Norteño Lights’ keeping the atmosphere relentlessly upbeat, it was impossible not to just revel and indulge in the joyous occasion, as conga-line circle pits — or at one point one that stretched across the entire crowd, picking up stragglers like a live-action game of Snake — left everyone a happy wreck. Joyous and beautiful.
Bleech 9:3, on the other hand, felt a slightly more sombre affair. Emerging to a haunting rendition of ‘Danny Boy’ blaring over the speakers, the shoegaze-grunge quartet slowly built walls of distortion around The Cave, with ‘Jacky’, ‘No Surprise’ and ‘Lowboy’ blending shimmering guitars with heavy, grunge-inflected riffs. There was little crowd interaction beyond the occasional deadpan observation that “it is very hot”, instead letting the music do the talking — although, strangely, the crowd felt muted. At least until the closing duo of ‘Tourniquet’ and especially ‘Ceiling’, anyway, the crowd bursting alight with sing-alongs, circle pits, surfers and screams alike. A strangely intimate set for a band set to explode.
Perfectly poised to take advantage of the (very) slowly cooling temperature, it was time for Bad Nerves. The Essex five-piece barely paused for breath as ‘Baby Drummer’, ‘Don’t Stop’, ‘Electric 88’ and ‘Plastic Rebel’ flew past in a whirlwind of frantic, Ramones-esque punk, the band’s songs arriving so quickly that the set seemed to disappear almost as soon as it began.
Reflecting on their previous appearance in one of the festival’s smaller tents, Bobby Nerves then spent a good few minutes just gushing over the festival in general; shouting out Tigercub for being one of the first bands to ever take them on tour, who’d just played, and proceeding to obsess over the line-up as a whole. The songs, then, felt almost belated, even the recently ‘Network’ or fan favourite ‘Can’t Be Mine’ mere afterthoughts for the band expressing their adoration of the festival. That didn’t stop the crowd, though, as crowdsurfers galore rocketed to the hard-working security, the band enjoying their long-earned moments in the sun.
Speaking of hard-working security, though, anyone not posted in The Axiom must have been counting their blessings, probably even more so than those posted at Outbreak for the Bring Me The Horizon Shows. Just a few hours after leading a conga line as Mariachi El Bronx, Matt Caughthran was back. “I don’t know what kind of festival you think this is,” he barked. “But today, in this tent, it’s business. No play.”
Yay, chaos!
‘White Shadow’ and ‘Shitty Future’ barely had the chance to begin before crowdsurfers started piling over the barrier, pints flew through the air, water pistols soaked the pit and someone dressed as Tigger somehow survived long enough to be launched overhead. Caughthran admitted he’d butchered the lyrics to the opening song thanks to pulling double duty, but who cared? From the carnage in the crowd, lyrics were likely the last thing on anyone’s mind. And that was just the start of it. People climbed the central support poles. The sound was briefly cut during the ironically named ‘False Alarm’, security threatening to shut the show down if anyone climbed again. Somebody immediately climbed again anyway — or, even more blatantly sneering at the ultimatum, instead climbed the pillar on stage, tearing themselves from security’s grip after crowd-surfing over the barrier and then jumping back into the crowd from a good few feet up. Rather than panic, Caughthran simply shrugged, joked that there was no safe way back down, and carried on. Or, more accurately: “they said if you climb that thing again, they’ll shut it down. I’ll be honest, we don’t give a fuck, if it happens it happens.” Essentially - fuck shit up, go crazy, who gives a shit.
By ‘Knifeman’, ‘Six Days A Week’ and ‘History’s Stranglers’, it had toned down a little, as if the two sides had backed down from mutual oblivion. Instead, the entire tent seemed to be moving as one.“This isn’t our tent,” Caughthran grinned. “This shit belongs to you.” The wildest thing? They weren’t even headlining the stage.
Away from the madness, The Virginmarys quietly delivered one of the performances of the day, over in the Forest, to a crowd that felt far too small. Ally Dickaty and Danny Dolan somehow made just guitar and drums sound enormous, ‘You’re A Killer’, ‘Just A Ride’ and ‘Into Dust’ building into towering walls of beautiful blues-infused, Macclesfield-drawled rock; even as the sound tipped into distortion, seemingly turned up way too much for the speakers to handle, it was fantastic.
‘Motherless Land’ shifted from fragile introspection into Dave Grohl-esque screams, ‘White Knuckle Riding’ simmered with restrained menace before exploding, ‘Look Out For My Brother’ added a welcome blues swagger later on… it felt criminal that only a couple of hundred people witnessed it. On another stage, with cleaner sound, this could easily have been one of Thursday’s defining sets.
As of Thursday, it had been less than two years since Don Broco last headlined 2000trees, closing out the Saturday in 2024. It had also been less than a week since they were meant to be done for the Summer, the last minute festival slot arrange basically minutes after they walked of stage of their Finsbury Park set supporting Biffy Clyro, filling in as last minute replacements for Alkaline Trio, who pulled out of their EU shows due to health concerns. But does any of that really matter? You can never really Broco enough. The Bedford boys are back, baby, and this time it was with a new album.
‘Cellophane’ exploded into life, Damiani’s trademark, cartoonish, full-body stomps matched only by Simon Delaney’s towering riffs. ‘Pretty’ brought the first of many walls of death, Rob playing pre-emptive peacemaker as he reminded everyone to pick each other up if they fell. ‘Nightmare Tripping’ was disgustingly heavy, the mulleted madman having embraced being a metal vocalist since the band’s last appearance at the festival, screaming jubilantly. The UK live debut of ‘Somersaults’, ‘Come Out To LA’, ‘Disappear’, ‘Bruce Willis’, ‘Uber’, ‘Fingernails’… the (relatively) old and the new, all happily sang along and moshed to. The beloved cowbell anthem of ‘Everybody’ — though I personally still miss the cowboy dancing on stage from that pre-covid era — and the acerbic ‘Uber’, the incendiary climaxes of ‘Gumshield’, the hydration break edging of ‘True Believers’ — Don Broco might not be the best band on the line-up, that’s up to personal judgement, but there are rarely ever contenders for anyone more fun. And, as ‘T-Shirt Song’ saw a kaleidoscope of sweaty, multicoloured tops kick up a breeze, or the new closer — blasphemy!! — of ‘Hype Man’ gave the crowd one last hurrah, you couldn’t have asked for better.
After embarrassingly being sent head over heels and rolling an ankle, Friday started a little later than was hoped. Still, you can do a lot worse than Glass Bridges. With the top of the Marshall tent allegedly hitting 50C the day before — a fact that was easy enough to believe — the Friday was already in full, sweltering swing, and the band took full advantage with their set at the first “big” festival they’d ever played, giddy with excitement. Spending the time to both play and preface their tracks to let newcomers better get what they’re about — ‘Wish’, about yearning, or ‘Pray’, “about every facet of the human experience”, taken from upcoming EP 'In Reverence to All That We Are' — the set felt as intimate as the setting dictated, and the always powerful vocals of Simona Cutifani buffeted the tent and the adoring fans contained within. A great start.
Bristol’s gloriously chaotic blend of punk, hardcore and noise-rock — à la Knives — were next up, turning the aforementioned Marshall tent into even more of a sweatbox. Opening with the ironically titled ‘The Dagger’, a good third of the band were topless in seconds, frontman Jay Schottlander in particular cosplaying a human puddle; but, if anything, the quick onset of heat exhaustion only added to the unhinged, carefully curated chaos unfurling on stage. ‘PHD’ and ‘I Hope You Get It’ were as fun as ever, the latter seeing Jay hold the mic stand inverted as though trying to pierce himself a near window in the canvas, the former merely the start of Tegan O’Connor’s blaring saxophone escapades, adding to the beautifully discordant wall of sound crashing into the tent; a final ‘Rhinestone Cowboy’ the crowd landing somewhere between gleeful mayhem and breathless exhaustion, only served to underline the hottest set of the weekend.
Over in The Cave, it was time for mini-supergroup Reclus.É to take the stage. Formed by tummyache’s Soren Bryce and the iconic Radio DJ Daniel P. Carter, they’re a hard band to predict — but, for the few dozen waiting patiently in the tent, they were likely one of the most unique sets of the weekend. Fresh from sets at Outbreak Fest and their appearances supporting the legendary Maynard James Keenan’s A Perfect Circle the month prior, 2000trees was still incredibly early days for the band, who drifted effortlessly between delicate, Dolores O’Riordan-esque melodies and throat-shredding screams, Soren apologising early on with a smile: “I’m sorry I’m not an angry man screaming.” The invitation for “queers in the mosh” never quite materialised into a pit however, the crowd instead content to wallow in the tent’s cross breeze and soak up the atmosphere as the likes of the unreleased Fire With Fire, the more restrained Roads and the brutal A Muted TV showcased a band just getting warmed up.
Few vocalists have left a fingerprint on post-hardcore and emo quite like Anthony Green. Between Circa Survive, Saosin, LS Dunes and countless solo releases, his influence stretches across an entire generation of alternative music; a semi-acoustic set in the Forest, then, was a no-brainer. Originally due to support Alkaline Trio on their just-cancelled UK dates, 2000trees instead helped top off a round of intimate solo dates… and then an appearance at Wembley Stadium with My Chemical Romance, because why the hell not?
“Let’s fuck shit up,” he grinned, diving into his more introspective, stripped back solo works. While moments of his ever-so-slightly unhinged yelling still inevitably surfaced, the set was built around his delicate, almost falsetto like croon under the trees’ canopies. A heartfelt cover of Porno For Pyros’ Pets and the Saosin classic Seven Years sat comfortably with ‘Dear Child (I’ve Been Trying To Reach You)’ and ‘Like Magick/Fucks Me Up’; and, while not the busiest set on the stage, it was certainly one of the most special.
Technical issues delayed Militarie Gun’s arrival on the Main Stage, continuing a frustrating trend throughout the day, but once Los Angeles’ finest got going they wasted little time making up for it. Elevated from The Cave after Lambrini Girls withdrew from the festival while Phoebe Lunny underwent surgery for serious injuries suffered during a stage dive earlier this year, the band seemed hungry to prove they’d earned the spot; Ian Shelton’s barked vocals sat atop infectious, upbeat punk instrumentals as ‘God Owes Me Money’, ‘Fill Me Up With Paint’ and ‘Very High’ bounced effortlessly across the field. A cover of Dazy’s ‘Pressure Cooker’ fit seamlessly into the set before the aforementioned Anthony Green joined the band for ‘Thought You Were Waving’, adding an extra layer of excitement to an already energetic performance that the crowd couldn’t have loved more.
Meanwhile, though, Australian’s finest Banks Arcade was playing The Cave. Heavy bass, relentless strobes and Joshua O’Donnell’s haunting clean vocals made perfect use of the enclosed space as the sinister ‘Change’ and the just-released ‘DON’T MISS’ helped provide chiropractors’ futures in perpetuity; ‘Sick’ and ‘Roulette’, meanwhile, ended the set with quickly-filled chasms of mosh pits. “Keep supporting live music,” O’Donnell reminded everyone. “That’s what all this shit is about.”
Eight years is a long time between festival appearances. Since Mallory Knox last played 2000trees in 2018 there’s been a split, a reunion, an album, an anniversary tour, and (as of about two hours before taking the stage), a new member of the family — quite the bit to catch up on then! Jumping into ‘Ghost In The Mirror, the Cambridge favourites seemed content to try and do just that. ‘Beggars’ and ‘Getaway’, the circle-pit inspiring ‘Wake Up’, the emotional ‘Shout At The Moon’, the ever-infectious ‘Lighthouse’; even without the fan favourite ‘Oceans’, a short, member-down set couldn’t have offered more.
Some reunions feel inevitable. Arcane Roots’, eight years later, somehow still feel miraculous. Having called it quits in 2018, the trio ‘returned’ last year, a few teasers and feelers reaching out from the ether, before releasing new music in January. Then came the festival announcements, 2000trees and ArcTangents, and a duo of warm-up shows. It was suddenly feeling real. And, judging by the sea of sold-out, limited-edition 2000trees shirts sold out before the festival had even opened its doors proper on the Thursday, there was a fair bit of excitement.
The ominous introduction to ‘A Wave Across The Sea’ crept in beneath crimson grid lighting, Andrew Groves delicately spinning his auditory web like they’d never left; and, when the time came, effortlessly switching between ethereal falsetto and earth-shaking roars, it was if they hadn’t. ‘Matter’ flowed seamlessly into ‘Off The Floor’; ‘Leaving’ and ‘Indigo’ — all the classics, except maybe ‘Sacred Shapes’. Jack Wrench predictably remained outrageous throughout, smashing his drums with abandon, while Daryl Atkins added a smidge of a lighter touch with his kit — yes, a second drum kit. You love to see it.
By the time the truly feral mosh pits broke out for closer ‘If Nothing Breaks, Nothing Moves’, adoring fans making up for the eight years they’d missed, you’ve got to wonder what took them so long.
One of Wales’ most beloved rock bands, now with added Lucas! Replacing a pretty iconic vocalist after two decades is no easy task, but then not every band has Lucas Woodland on speed dial. Entering his third year fronting one of Wales’ most beloved post-hardcore bands, his infectious, exuberant enthusiasm somehow made the decades-old tracks feel as fresh as ever; for a band that hasn’t released new music since 2015, having someone like the Holding Absence frontman as a voice to rely on is perfect, particularly given he himself has always been such a fan. Tearing through classic after classic, then, felt eerily natural and easy to adore. ‘Hours’ got the most love of course, the lesser known ‘Drive’ or ‘The End Of Nothing’ being added to the more obvious inclusions of ‘History’ or ‘Roses For The Dead’, but everyone got a little bit of loving — as long as you stopped listening in 2011, anyway. Other than that, though, there weren’t really many surprises. Ryan Richards took the spotlight with his roared, unclean vocals on ‘Front Row Seats To The End Of The World’; Lucas had his first performance of ‘She Drove Me To Daytime Television’ after explicitly learning the track for the festival; Neck Deep’s Ben Barlow popped out for a cheeky Juneau, waving goodbye with a jaunty “see you tomorrow”. But even the predictable was oddly beautiful. You can’t not feel something during the crowd-led refrain of ‘History’, the despondent, defeated plea in ‘Escape Artists Never Die’, the dire warning of ‘Monsters’. Even if the band have just spent the past fifteen years honing their same setlist to perfection, it’s still damn emotional.
“We don’t know how long we’ll keep doing this”, Lucas intoned “but that’s the fun. We play like every time might be our last.” Hopefully that won’t be the case anytime soon.
Who doesn’t love acoustic sessions? The Mark and Me podcasts each year have become a highlight of 2000trees, as a band’s provided the opportunity for a short interview to go with an acoustic set; and, following on from Frank Turner and Coheed and Cambria in previous years, it was time for The Xcerts. Let’s rattle through some of what was said. Favourite venues? King Tut’s, Birmingham’s Hare & Hounds and Exeter’s Cavern. Favourite bands to tour with? Dinosaur Pile-Up, Twin Atlantic and You Me At Six — plus an honourable mention for Fatherson, who they’d never toured with but are “beautiful boys”.
Fresh from releasing their new album ‘i think i want to go home now’ the previous day and performing it in full for Banquet Records, the trio mixed stories with stripped-back renditions of tracks including ‘pretty ugly’ ahead of their Cave slot in the evening. As a start of a day goes, you can’t get much better.
If there was an award for the most criminally under-attended set of the weekend, the Liverpudlian East Exchange have a fair dinkum chance to win it. Playing to a shamefully small crowd, the band were phenomenal. Vocalist Sonny K’s reverb-soaked croon exploded into anguished screams throughout ‘unspoken.’, ‘torn.’ and ‘fall.’, while ‘bleed.’ continued the trend of one-word song titles. Wearing two layers in the sweltering heat, the frontman could only laugh: “What a bad idea that was, eh? Looks cool though.” ‘lily.’ offered a brief breather before the darker ‘ghost.’, while ‘Lucies Obsession’ (as per the setlist!) rounded off one of the best sets of the weekend, even as it irrevocably ruined the song title pattern.
Vinnie Caruana’s Forest set couldn’t have contrasted more with what would come later that evening. The Long Island songwriter, juggling solo duties with the full-band I Am The Avalanche appearance, swapped distortion for heartfelt acoustic songs and hilarious, rambling stories. Part discography-exploration and part thought-vomit, the set drove through covers of both his two bands and solo stuff, meandering off-road with bizarre, oddly concerning stories and background contexts — I’d like to coin the name ‘The Squeaky Butcher’ for the inevitable Netflix true crime documentaries — as the likes of ‘To Be Dead and In Love’, ‘Hey’ or ‘Is This Really Happening?’ graced the glade. A lovely preface to the chaotic cave set promised later on.
Baltimore indie emo outfit Have Mercy are pretty damn beautiful, for anyone who has yet to have the pleasure. Their melodic melancholy, washing through the Axiom tent, was as painful as it was heartfelt. ‘Coexist’, ‘Two Years’, ‘Cigarettes and Old Perfume’ and ‘Let’s Talk About Your Hair’ all found enthusiastic singalongs, while the band also finally delivered on the inevitable festival pun: “I counted yesterday, there were actually 2,220 trees.” Still, an improvement on the maybe ten or so times Cheltenham heard it last year! We’re getting there guys.
A day after rocking out on the Axiom, Arcane Roots returned… well, to their roots. The roots of the trees, that is, for their eagerly awaited acoustic set. “The most expensive acoustic set” ever done, Groves joked, looking back at the expansive set up. But, for a band that usually relied on “smoke and ninjas and daggers in the dark”, expansive light shows at atmosphere always a given, trading it for birdsong, breeze, and sunshine must have felt oddly cathartic. A slew of old favourites — ‘Belief’ and ‘Rouen’, ‘Held Like Kites’ and ‘Resolve’ — had the crowd gloriously singing along, even as ‘Curtains’ and ‘Leaving’ were cut for time. “I feel like there’s a before this and an after this,” Groves reflected, breaking into closer ‘You Are’. You Are not wrong there.
If Vinnie’s solo set was all warmth, self-deprecation, and potential police confessionals, I Am The Avalanche’s hour was all volume and velocity. Gone were the gentle stories; in came guitar solos, crowd surfers and thrown pints of beer. Opening with ‘The Horror Show’ and ‘Laughing and Bleeding’, the New Yorkers wasted no time turning the tent into organised chaos. Vinnie joked that only one song was shared between his solo and full-band sets—“you have to vote which version’s better”—before launching into ‘I MISS CALIFORNIA AND EVERY DOG I’VE EVER MET’, while the emotional ‘True Legends Never Die’, dedicated to anyone the audience had ever lost, gave the crowd a much needed outlet for their passions. By the end, the Cave resembled exactly what the band’s name promised: an avalanche gathering momentum until everything in its path was swept into chaos.
Jumping over to the end of Marmozets, the soaring ‘Captivate You’ was enough to remind everyone just how sorely the Yorkshire band had been missed. Becca Bottomley remains one of British rock’s finest vocalists, switching effortlessly between delicate melodies and earth-shaking, near klaxon-sounding screams throughout ‘Like Last Night’, ‘Why Do You Hate Me?’ and ‘Major System Error’, the crowd loving every second, and the performance itself was characteristically explosive.
Few bands embrace dissonance quite like Glassjaw. As mist drifted across the Main Stage, ‘Pretty Lush’ detonated the pit, clouds of dust launched into the air while Daryl Palumbo staggered, lurched and barked his way around the stage like a man permanently on the verge of losing control. “I need your help! This is Siberian Kiss,” he demanded before unleashing another barrage of garbled, Tasmanian Devil-esque screams — seemingly the only cartoon family not already on display, as Tigger and the Cookie Monster fought for aerial supremacy over the crowd, Palumbo swaying hypnotically beside Chad Hasty’s ferocious drumming. It was bizarre, messy and frequently veered in and out of tune, but nobody present cared. For existing fans, it was exactly the glorious fever dream they’d come to see.
(Also) one of Wales’ most beloved rock bands! Neck Deep’s 2000trees headline felt somewhat inevitable after the past few years. Four years after co-headlining Slam Dunk and a decade on from their previous Trees appearance, the Wrexham favourites finally had the festival’s biggest stage to themselves— and they looked completely at home. Ben Barlow joked they would “rattle through the set so everyone can get the football on”, though a mix of cheering and booing denoted a crowd torn in loyalties, and they really did rattle through it. Across a career-spanning set touching every album, ‘Can’t Kick Up The Roots’, ‘Where Do We Go When We Go’, ‘Dumbstruck Dumbfuck’ and ‘Lowlife’ kept the field bouncing, while ‘Crushing Grief’ made a welcome return for long-time fans. Ben wasn’t entirely convinced by the early mosh pits, ordering the men out to create a women-only pit for ‘She’s A God’, before ordering Farage to “suck a dick.” Sadly not in the festival’s budget, but given the crap he does on Cameo, it’s probably just a matter of price.
There were shoutouts to fellow festival highlights including Funeral for a Friend, Happydaze and Have Mercy, along with constant reminders of just how much the band clearly love 2000trees. They may only have played one show all year, but there was no sense of rust. Instead, it felt like a celebration of everything they’ve become, from scrappy pop-punk upstarts to genuine festival headliners.
‘A Part Of Me’ prompted one of the day’s loudest singalongs, while ‘In Bloom’ brought the weekend to a euphoric close. As the final chorus echoed across Upcote Farm, it was hard to imagine a more fitting band to send 2000trees 2026 home smiling.
Words by James O’Sullivan
Photography by James Kirkland
