Festivals and families blend seamlessly – that's the goal Deer Shed aims to demonstrate. The elements involved include a welcoming atmosphere, a plethora of activities ranging from wild swimming, copper ring-making, and cinema, to comedy, live wrestling, sound baths, and circus skills; and crucially, an unwavering commitment to high-quality music. This formula is proving successful. The independent festival, rooted in Yorkshire, is celebrating its 15th edition and continues to thrive (early bird tickets for 2026 were sold out even before this review was composed).
The three-day event presents music across four stages, with pop-ups throughout the venue. This year, the main stage is kicked off by Curtis Myles, followed by The Pill, who deliver straightforward riffs paired with lively two-person choreography and engaging audience interaction (they search the crowd for questionable hairstyles before performing 'Money Mullet'), conveying clever messages through offbeat lyrics and reverse psychology ('Woman Driver') before concluding triumphantly by lifting their guitars overhead. Next up is Nottingham's Divorce, who showcase a mix of new and older songs infused with passionate determination and poignant political messages (“it’s tough not to feel angry all the time right now”).
Meanwhile, Honesty fills the In The Dock stage tent effortlessly with pulsating bass lines, dynamic beats, and sweeping vocal melodies, followed by Antony Szmeriek, who attracts what might be the largest crowd of the weekend, ranging from small children sporting ear defenders to adults. His laid-back spoken vocals sound fantastic, and the club-like beats that drive his music add to the feel-good atmosphere as Szmeriek draws everyone in, even engaging in a bit of shoulder surfing.
A short three-minute stroll from the main stage, past a diverse selection of food stalls and a pond where kayaks navigate through lily pads, stands the Lodge stage. The Friday lineup features alt-pop artist Rifka at the start and also includes folk legend Richard Dawson. Yet, it’s Kathryn Joseph who delivers the most impactful performance, creating expansive soundscapes that keep the audience on edge, anticipating a rise in tension.
The day concludes with Wunderhorse on the main stage. They kick off with 'Midas' and 'Butterflies', and the rest of the performance brims with emotion and energy; waves of music flow, accompanied by an occasional nod to the crowd from enigmatic frontman Jacob Slater instead of verbal communication. His sparse comments during the 15-song set are greeted with cheers, making each brief remark feel special.
There are no theatrics or flashy effects. Wunderhorse relies on exceptional songs, powerful vocals, and superb guitar work. Harry Fowler adds extra riffs and runs throughout the performance, fueling the intensity; his guitar outro in 'Girl behind the Glass' showcases his skill, reminiscent of Jonny Greenwood. Following a cigarette-break punctuated 'Superman', Slater whispers to his bandmates, “let’s freak them out a bit” before launching into a big, dramatic rendition of 'July' and a raw, crunchy take on 'Rain'.
“Thanks for coming out. We’re Wunderhorse. See you somewhere down the road,” is the longest statement Slater makes – a fitting conclusion to a set that has established Wunderhorse as the champions of contemporary rock and roll.
By Saturday afternoon, the dust has settled as Honeyglaze returns to the main stage with a relaxed, upbeat set featuring buzzing bass lines, electric textures, and smooth male/female vocals complemented by clever lyrics. Jacob Alon steps up next, performing amid Pride and Palestine flags, delivering hazy yet assertive songs that reclaim aspects of Americana through steel string guitars and lazily rolling melodies, all while embracing an alt-pop sensibility. It’s a fantastic mid-afternoon set, filled with mutual appreciation.
Cancellations can be inevitable at festivals, and missing SPRINTS is truly unfortunate. However, their slot at In The Dock has been filled by local act Adult DVD, a wise substitute: they are a great live band, offering a distinct sound that sidesteps direct comparisons. They produce an impressive mix of synths and loops combined with live guitar, bass, and drums. The large tent is buzzing with positive energy as they perform popular tracks like 'Doomsday Prepper' and 'Do Something', ending in an infectious flurry of synth pulses reminiscent of Josh Wink.
Down the hill, the main stage is treated to Hamish Hawk’s deep baritone, witty demeanor, and genre-defying songs that merge alt rock with 80s influences and keenly observant lyrics. Following them is Ibibio Sound Machine, drawing in a crowd captivated by their Nigerian/London Afro-funk sounds, with audience arms swaying rhythmically in unison. It’s difficult to determine who radiates more energy—the audience or frontwoman Eno Williams.
In the larger tent, Moonchild Sanelly delights the crowd with her pulsating, cheeky sounds and engaging banter. The atmosphere is far from PG, yet neither
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Festivals and families blend seamlessly – that’s the message Deer Shed aims to convey. The elements include a welcoming atmosphere and a multitude of activities.