Festival Review: Forwards Festival - Bristol, August 2026
Photo Credit: @still_sin
Celebrating its fifth anniversary, a showery edition of FORWARDS Festival was anchored by global R&B icon Tems, soulful rap titan Little Simz, and the epic theatrics of Self Esteem.
For those unfamiliar with FORWARDS Festival in Bristol, the South West's biggest bank holiday weekender has become known as a unique alternative event that champions social impact, sustainability, and political engagement. With stages powered by green hydrogen and informational tents focused on educating people about local and global issues in live forums, it’s a far cry from the maximalist consumerism that propels the biggest events in the UK.
Saturday proved to be brighter than anticipated - and not just because of the unexpected sunny spells - as the magic of Maribou State enchanted crowds with ambient electro bliss. Guest vocalist Talulah Ruby prowled the stage in a blue sequined shawl, resembling Little Red Riding Hood if she'd lost half her robe rushing to make her debut FORWARDS appearance. The duo’s twitchy live percussion bridged the gap between homespun DJing and organic instrumentation, best shown on 'Nervous Tics', which spurred fans to dance whimsically. Following their recent announcement of an upcoming hiatus, favourites like 'Midas' and 'Steal' served as a lasting reminder of why they remain the ultimate golden-hour festival band.
Ushering the audience back to the West Stage, Joy Crookes broke through the clouds with her warm neo-soul ballads. Many know her from the sweeping romance of 'Feet Don't Fail Me Now', which shot to prominence after featuring on the FIFA soundtrack, but there is far more on offer beyond her most popular track. The two-step haze of new, unreleased track 'Chop Chop Honey' weaved her saccharine vocals into rich basslines, giving us an exclusive glimpse into her upcoming record Juniper. "I've had a wonderful time, I hope you have too!" she beamed before flouncing into 'When You Were Mine'. A slice of earthy Motown with blaring brass and a Brixton shimmer, it was an irresistible high point of the day.
Photo Credit: @giugliotto
When the time arrived to preach at the church of Self Esteem, she appeared surrounded by disciples in dystopian nun costumes reminiscent of The Handmaid's Tale. A spoken-word interlude dramatically introduced ‘I Do and I Don’t Care’ as she shakily sang, “If I’m so empowered, why am I such a coward?” Soon, it became clear the biblical outfits were an elaborate ruse when she bluntly announced, "This song is about the 69 sex position being shit," before flashing sex positions across the screen in bold red letters. Ditching the nun robes for black sportswear, the ensemble launched into the star jumps and routines that prop up the physical empowerment of ‘Prioritise Pleasure’.
Her distinct theatrical flair transformed songs into epic behemoths emblazoned with compelling statements. '69' touted the self-explanatory affirmation that "Consent serves both of us!", while 'I'm Fine' commented on the underlying threat of violence women face daily. Yet as serious as the subject matter got, she effortlessly blended in tongue-in-cheek humour to lighten the mood. During ‘Logic, Bitch!’ she used a banana as a telephone while singing about letting go of a relationship, and she cleverly flipped self-worth anthem ‘Cheers to Me’ into an impassioned plea for fans to learn a TikTok dance so she could buy Janet and Andy a caravan. Exiting via a conga line alongside her backup dancers to Shirley Bassey's ‘This Is My Life’, the Rotherham singer made an ironclad case for future headliner status.
Cool indifference is the Wet Leg mantra, and it served them exceptionally well. The nonsensical ‘catch these fists’ was fuelled by bratty rage and a strobe-lit smokescreen. The post-punk duo avoided small talk, letting their relentless rock numbers do the talking. The knowing wink of ‘Wet Dream’ had thousands singing "touching yourself, touching yourself" ahead of the chorus. Expressionless delivery is tough to pull off, but ‘Chaise Longue’ proved to be the rare exception, complete with a Mean Girls reference and audience chants of "Excuse me… WHAT?" before the guitar kicked in.
At the peak of Saturday's bill, global R&B star Tems stood as an unbothered queen in her prime. Shunning the hyperactive tropes of typical headliners, her regal performance was unhurried as she flipped between intimate downtempo ballads and high-octane Afrobeat anthems. The loudest collective gasp was saved for ‘Love Me Jeje’, which prompted the biggest sing-along of the night. The sun-drenched textures of ‘Me & U’ made for a striking contrast under the waning moonlight, a soul slow burner that hooked the audience in.
Photo Credit: @still_sin
Ever the wholesome diva, she set time aside for crowd interaction at the front row. Stepping into the pit, she dedicated an improvised tune to fans Maleeka and Malani, complimenting their beauty. Later, she darted up and down the barrier searching for someone to help her sing ‘Found’. Once the Nigerian vocalist located someone who knew the words to serenade her, she marched back onto the stage, teasingly remarking, “Y’all don’t know my song!” The serene majesty of ‘Free Mind’ closed out the show—a gospel crescendo that captivated 30,000 people. As a vocal powerhouse exuding an unpretentious warmth, Tems was perhaps the most delightfully human headliner yet.
Ethereal hyperpop set the mood for Sunday, with a hazy start from Oklou. From flute jams to wobbly basslines, her stark variety of organic textures peppered an intriguing set that served only to elevate her mysterious aura. Using a lighting rig as a swing during 'Take Me by the Hand', dreamy minimalism took hold. In 'harvest sky', floaty melancholia was undercut by subtle Eurodance euphoria, entrancing the afternoon masses.
Although Princess Nokia started with technical difficulties, she regained poise for an abrasive and exciting show. Cinema visuals made direct references throughout: 'Drop Dead Gorgeous' displayed the Megan Fox cult film Jennifer’s Body, while a Mean Girls montage accompanied 'I Like Him'. On form with her baddie image, 'Gossip Girl' incited chants of "she's so damn bitchy and trashy", keeping in with the Y2K TV and movie pop culture aesthetic.
Scuzzy punk six-piece Viagra Boys steered the audience through their religious odyssey on the East Stage, where the gospel preaches paranoia, cheap beer, and a burning hatred of toxic masculinity. No common male archetype is safe; 'Sports' dispassionately listed cigarettes, basketball, and short shorts as things men cling to, while 'Punk Rock Loser' took aim at emotionally unavailable indie music snobs. Surprise guest Amy Taylor joined for their collaboration 'In Spite of Ourselves', a welcome addition ahead of her slot later in the day.
Sporting a red sequin bikini and scarlet hotpants, Amy Taylor's arrival was heralded by boundless energy as she leapt across the stage. In an age where festival slots can favour endless rehearsing and laser-like precision, Amyl & the Sniffers are the unvarnished antidote. Australian pub-rock blown up on the silver screen reigned supreme, winning everyone over easily with ‘U Should Not Be Doing That’ and ‘Doing in My Head’.
Photo Credit: @still_sin
"This one’s for my ladies!" she trilled before firing into ‘Me and the Girls’. As its feminist manifesto calling for free abortions and getting drunk at the airport unfurled, cheers indicated FORWARDS Festival was fully on board. Taylor treated the live show like a HIIT class, constantly lapping the mic and jumping in the air. Increasingly rowdy and winsomely primal, the Melbourne rockers remain one of the most exciting bands to watch on the live circuit.
After three days of exceptional closing acts, nobody has deserved the dizzying rise to headliner status more than Little Simz. A true force of nature driven by evocative lyricism and vivid storytelling, early highlight ‘Thief’ straddles Bond-theme bass grooves with crashing cymbals to hammer home a devastating betrayal by a business partner. “I is that girl, I am an electric black girl,” she rapped in ‘Enough’, aided by kitchen-sink percussion and 70s-funk rhythms.
Confidence is something that seems to come naturally to the North London rapper, whether she is singing or interacting with the crowd. Dedicated to the ladies, she stepped down to the front row, spending the majority of ‘Woman’ greeting her female fans across the barrier. Another fond address was reserved for her critics on the blistering ‘Young’, delivering tongue-in-cheek flexes on her rapid rise with lines like “I might be overseas” and “I speak a lot of French”, prompting a loud shout of “OUI OUI OUI!” from the crowd.
"You’re amazing Forwards Fest, we are amazing!" she shouted triumphantly mid-song. Her community spirit isn’t just apparent in how she interacts with fans, but in her homage to growing up in Islington, ‘101 FM’. The track paints a rich tapestry of her youth, backed by visuals of local shop Little Simzi’s and a slow vertical pan up council flats flying world flags. Yet beneath memories of playing PS2 and listening to Dizzee Rascal, there lies a longing for success beyond her borough. Tonight proved that dream is a reality earned in spades - with a victorious sign-off of ‘Gorilla’ cementing Little Simz as a generational talent who has redefined UK hip-hop.
If FORWARDS Festival 2026 taught us anything across its 5th anniversary weekend, it's that the future of festival headliners belongs to uncompromising women. From Self Esteem’s empowering theatre and Amy Taylor’s physical, HIIT-class punk energy to Tems’ regal, barrier-stepping warmth and Little Simz’s electric, victory-lap headline authority, the lineup was defined by artists who refuse to dilute their vision. Unfiltered, politically engaged, and undeniably triumphant, FORWARDS gave the 2026 festival season the glorious sign-off it deserved.
Words by Oliver Evans
