Gig Review: Beardy Folk Festival - Hopton Wafers, Shropshire. Thursday 18th to Sunday 21st June 2026 (Friday to Sunday attended)

The curtain of cloud opened on solstice morning and the walled garden was bathed in beautiful sunshine. Intermittent rays and prevalent gloom gave way to how every summer festival should be. The weather is always in the back of your mind when winding through the Shropshire lanes in mid-June. A south-west facing hill location has played tricks in the past. No drama in 2026 as Beardy Folk danced, sang and lazed to a successful staging of edition no. 9. With a milestone on the horizon, the formula is locked and polished over a tenure at Hopton Court that has surfed a few challenges. Tinkering has been the recent past and likely the immediate future. Why radically alter what works? As the dust settles, let’s reflect on how a musical landscape was sculpted across a weekend when fortune favours an inquisitive mind.

The first disclaimer is the music runs across four days, albeit only three acts greet early arrivals on Thursday evening. This limited offering was extended to all ticket holders (for a charge) this year but for many, including me, the event starts in earnest on the stroke of noon on Friday. Reflections on Lady Nade. The Rigmorallers and Roving Crows will have to be sought elsewhere along with the many side attractions including wellbeing treatments and a variety of participatory activities. When a musical mission of discovery and immersion dovetails 30+ sets across two strategically located stages, you need little else apart from the odd bar visit. Ten minutes between performances is just enough to saunter, settle at the front and brace for what turned out to be a vast number of artist premieres to me and no doubt many others.

Tunes, words and emotions poured out of this homegrown gathering. Instrument types ran into dozens, distances from the folk epicentre varied widely and audience reaction swayed between the passive and the active. Intent listening can be included in the latter, a festival trait complimented by so many artists.Whatever lay in front of the festival goer possessed a rightful place. You couldn’t envisage an artist leaving without a positive impression likewise an audience member laying down hard their earned cash in a competitive leisure market.

Rob Heron and the Tea Pad Orchestra

Patakas opened the main stage on Friday setting a tone of folk music at its traditional core, little shape shifting just good honest fare and a nod to the odd well-road tested song .This included the much interpreted ‘High Germany’. This pair of talented brothers led the way for the duo format with solos and bands of all configurations to follow. 

Returnees filter into every Beardy Folk line up, some at the top of the bill, others further down. Singer-songwriter Anna Renae fell into the latter category. The setting of the acoustic stage has changed since she last played in 2022 and provided the platform for her songs to flourish. A youthful tinge blossomed, resembling  a style with Taylor Swift influences. It’s all folk music in different coats. The gates are firmly wide open at Beardy Folk. 

There were few complaints from dedicated folk fans when Juniper took to the main stage. This fledgling six-piece was born in the vicinity of Birmingham Conservatoire and talent effortlessly flowed through flutes, whistles, violin and guitars, not forgetting the all-important percussion. A familiar name cropped up in Harry Thorpe, a Beardy veteran from his Thorpe and Morrison appearances. The future of trad -inspired music is in safe hands with players like these. 

It only took a few moments of Isabel Inkcap to reveal a voice of discovery. Instant similarity to Courtney Marie Andrews was a signal for a cracking find as she proceeded to sparkle on the acoustic stage. The finale scaled new heights with an a cappella version of ‘What Will We Do When We Have No Money’. An immovable weekend favourite setting a high bar. 

Isabel Inkcap

Jaywalkers were the only Friday artist with a fixed prior presence on my radar. This began at the inaugural Beardy Folk Festival in 2018 when the Americana roots trio from Chester royally impressed. Eight years later, they are still going strong cultivating a sound saturated with transatlantic vibes. Wit, charm and virtuosity spill out in equal portions, and a touch of bluegrass will always be welcome at folk events.

The festival has form in re-inviting artists who had to unfortunately pull out at short notice. Following on from The Magic Numbers and Michele Stodart in 2025, it was Maddie Morris who repaid the faith afforded with an acoustic stage performance designed to stretch and entertain. Identity is at the heart of the act and the spacious tent was all at one heartily singing ‘Solidarity Together’ to a familiar tune. Singalongs are a folk festival given and Beardy doesn’t disappoint. Maddie Morris cut a significant mark in the legacy of inclusion and provided the gag of the weekend when describing their attire as either a ‘cool lesbian or a dad on holiday.’

The spacious main stage is a haven for a well-equipped band and a six-piece with North East roots by the name of Pons Aelius took advantage of a welcoming gathering to deliver a sound cacophony of banjo, flute, pipes, bouzouki, bodhran and accordion. This impressive melange roused all around as the afternoon slipped into early evening.

Evidence suggested, you could make a case for Martin Harley as the standout musician across the weekend. He takes the guitar to mystical places threading influences from around the world. The acoustic tent was packed for this awesome performance accompanied by relevant chat (though not too much when time is tight) and a surprise guest who was set to woo us later. But for now Elles Bailey was just starstruck to be invited to sing on stage with one of her heroes. 

Maddie Morris

In recent times the profile of Ian Prowse has resurged with plenty of gigs up and down the land. It was appropriate that during a World Cup partially staged in Mexico, several Pele t-shirts were spotted as the crowd in front of the main stage grew. Not in praise of the 1970s hero but the 1990s band that put Ian Prowse on the map. Another striking name in Amsterdam is the band now and a fun time was had singing along to songs known to some for years or others just picking them up on the hoof. Where you previously stood on the Ian Prowse awareness spectrum was immaterial during an hour-long set celebrating a lengthy career with full gusto and Scouse appeal. 

There is always the odd Beardy curve ball setting an act apart. Mik Artistik’s Ego Trip has become a regular booking. The humour is lapped up by a generous crowd and there was evidence of many being on the same wavelength. Though not everybody! Pre-headline comedy has became a theme on the acoustic stage, a feature set to be replicated on Saturday.

Festivals are wonderful places to bond with music that you knew was out there but never quite reached. Beardy Folk 2026 will go into the annals as the moment I connected with the music of Elles Bailey. It was certainly more country soul and blues roots than folk as the sun set in the walled garden, but the booking was a tremendous success. A high quality band backed a supreme lead vocalist blessed with a stylish demeanour who gave a performance for the ages. The buzz of discovery remained long after the 11:15 curfew and a realisation that the gods of connection worked out in the end.

Same time, same place, different day. Saturday began in a similar vein to Friday with the main stage opening to a celebration of folk in its purest form. Lauren South is a stalwart of the club scene and used a trio format to play her music to a growing crowd. Her usual sidekick Keith Donnelly added humour to fine guitar playing and the in-demand John Parker joined on upright bass. The set sparked into life when Lauren switched to violin and like the day before, the tone was set.

New talent outside the usual realm is a feature of this festival and Motel Sundown met the remit with a refreshing acoustic stage performance tilted towards country-Americana with West Coast harmonies. Voices and guitars were in unison as a splendid laid back set rolled out to early arrivals. Naomi Campbell, one of the three band members, has also branched out as a solo artist as witnessed at last year’s Long Road Festival. For now she is a core part of the band whose new song ‘Deloraine’ remained lodged in the brain as the rest of Saturday played out. 

Motel Sundown

Edwina Hayes wouldn’t argue about miles on the clock and makes hay on forging a lengthy career working the gig circuit hard. Clubs and small venues embrace her, and Beardy was a stark reminder how her honey voice can captivate a large festival field. She was on fine form on the main stage calling out personal requests and conveying endearing anecdotes. Only two covers featured in this set, highlighting a fine songwriter when that aspect is applied. She normally interprets other songs well.

Folk trio Hebble also interpreted songs with panache and played a memorable set on the acoustic stage reaching out to those who are not naturally drawn to the traditional style. Sitting on a hay bale feet away from a bodhran in full flow proved an enticing experience watching the rhythm emerge. 

Perhaps the most emotional set of the weekend came from Echo Town on the main stage. Serious illness had turned the duo into a solo act but Ric Harrison played his heart out compensating the missing percussion from his brother Rob. The sound was a loud display of forceful roots played on a scratchy guitar and something that looked like a didgeridoo. An engrossed crowd enthusiastically willed him on. 

It wouldn’t be a folk festival without a shanty performance, and in true Beardy spirit things were turned slightly on their head with the nine strong vocal line up of She Shanties sharing their voices on the acoustic stage. Crowd participation rapidly grew as this all-female collection from the North East headed south to have a grand time and sing their heart out. Where you stand on shanties didn’t matter as you quickly joined in on songs you’d never heard before.

Elles Bailey

There is precedence for giving a platform to straight up four piece rock ’n’ roll bands to strut their pose as long as they’re good, engaging and true to the spirit of roots-inspired original music. True Strays from Bristol precisely fitted the mould and brought a high octane sound to new ears. The strength of their main stage set was to up the ante in the second part, piquing the interest of casual observers and rewarding the anticipation of those hooked in from the off. Beardy Folk was the stage today but expect this band to ignite Americana and roots rock festivals in the future. 

Frequently, the festival throws up special moments of sheer class and distinguished command. Both applied to Rioghnach Connolly who appeared on the acoustic stage with husband Ellis Davies. Fiery, Irish and verbally forceful segued into adorable vocal pieces aided by flutes, stories and wit. A rich and lengthy career in various formats now sees an award winning name in lights and an ability to deliver an in-the-moment experience. 

For a lavish serving of poetic folk punk, look no further than Nick Parker who played the penultimate main stage set on Saturday with his band The False Alarm. It was an avalanche of words, pacy pieces, acute musings and everyday poetic prowess. All wrapped in rock ’n’ roll sentiment aided by fiddle upping the folk ante. If you didn’t know much about this artist prior to the 7:50 slot, all was revealed a hour later.

Curveball comedy popped up again on Saturday, this time embedded in the folk community. David Eagle is best known as part of award winning trio The Young Uns, who famously graced Beardy in the grim weather year of 2022. Now he is cutting his cloth as a stand up comedian, heavily previewed from his amusing interludes on the music stage. The best accolade you could give him was sitting listening to an exceptionally funny comedian not someone hoisted by folk credentials. His sight impairment is ripped for satire, yet he owns the disability and attaches a different dimension by exposing it to comedy.

Energetic Scottish folk bands with pipes, fiddles and a rampant tartan beat are a staple on any folk scene and Beardy has dipped into the pool several times to close Saturday on the main stage. This year the services of long established and highly respected Peatbog Faeries were secured and they duly signed off a rewarding day with your usual boisterous fare. No talking, no songs, just an hour and a quarter of instrumental music leaving a packed audience dancing the night away. It was to be a short night as June 21st, and the solstice, beckoned. 

Peatbog Faeries

Sunday morning in Hopton Wafers: day 4 for some, day 3 for most, day 2 for weekenders affected by term time. The start time is brought forward to 11:00 to allow a revamped end. The honour to opening went to Shropshire’s own Jessie Reid, although Shrewsbury is no longer her base but will always be home. Her finger picking unique guitar style is gaining traction on the folk circuit and the songs are coming together to form an engaging act. The festival season brings the best out of her as she appears to thrive when in full flow. Currently playing songs from a new album ensures that the flow is attracting interest and the set on the acoustic stage raised the level of appreciation.

Following Jessie Reid was another festival returnee. It was five years ago when Finn Collinson last made the long journey to this corner of Shropshire from Norfolk to play a set of whistle tunes. This time the band accompanying him needed little introduction with the in-demand duo of percussionist Evan Carson and guitarist Archie Churchill-Moss making the equally long journey from a gig the night before in Suffolk. Expect this duo to make many appearances at Beardy (they played with Sam Kelly and The Lost Boys and Honey and the Bear last year) and for now they added an extended dimension to this expertly curated instrumental set.

Cornish duo True Foxes were next up on the acoustic stage brimming with affectionate charm, anecdotal humour and delectable voices. They epitomise the resourceful act, working the circuit hard and exploring opportunities that crop up. Cousins Chloe and Amie came well-quipped bar CDs (they had sold out to be fair) and won over many new faces with a fun set.

For forty-five minutes on Sunday afternoon, the main stage was the domain of George Boomsma to strut his stuff and embrace the backing of a full band - electric lead guitar, bass and drums. This added an extra zest to songs courting interest far and wide for an artist originally from Northallerton but now Midlands-based and widely known for his work with Katherine Priddy. A storming end to the set was slightly mistimed but when room for one more why not ditch the band and serenade the field with ‘Whispering Grass’. 

True Strays

On the back of inviting media luminary Bob Harris last year, this time an audience with Mark Radcliffe was arranged. He had visited the festival a couple of times in a playing capacity and an entertaining hour of chat, songs, gags and dogs was enjoyed by all. 

The soundcheck of Mr Tea and the Minions slightly impacted the quieter moments of the Mark Radcliffe chat. However it all ended well as this eclectic Bristol outfit played a bright and quirky set at full pace for its duration. It could be described as folk music on the fringes with the fiddle featuring highly. They unequivocally won the most striking attire of the weekend award. 

A familiar name took to the acoustic stage as the afternoon entered its final hour. Belinda O’Hooley has been at the forefront of the folk scene for many years accruing huge acclaim as one half of the popular duo O’Hooley and Tidow. Family manoeuvres have sidelined the duo, although Heidi Tidow was not going to stay seated when her wife was on stage. At the end of Belinda’s engaging set, including an exceptional spoken piece to open with, it was O’Hooley and Tidow in tandem with no prizes for guessing the closing number. The audience needed little encouragement to heartily join in on ‘Gentleman Jack’.

Mr Tea and the Minnions

The end was quickly approaching but not before another genre twist in the appearance of Rob Heron and Tea Pad Orchestra on the main stage. This time we were taken back to the 50s heyday of swing, jazz and coast to coast country radio with a bunch of old time devotees from various points across the north of England. The rising temperature was doubling the discomfort for an ailing voice but Rob Heron stoically fought through and it barely impaired the enjoyment of a festival favourite cutting his cloth in fine style. 

Sherburn Bartley Sanders brought things back to basics on the acoustic stage as a staunchly traditional trio celebrating the breadth and depth of song through violin, guitar and concertina. Humour was at the core alongside a finale embracing the next generation of folk. You sensed a natural affinity with festival tents and folk clubs in the company of likeminded fans of the scene. A reminder that Beardy Folk meets the requirements of many in their presentation. 

Finally, it was time to bring the Festival to its conclusion. A ceilidh courtesy of Notorious JIG was due in the revamped acoustic tent but not before festival favourites Noble Jacks had a whole field dancing under the most beautiful mid-summer sky. This well-known animated Brighton band have drawn many comparisons over the years but are perhaps at their best just simply entertaining folks out for a good time. There was no holding back on fiddle, orchestrated dance moves, the odd popular cover (‘The Devil Went Down to Georgia’) and a determination that everybody was going to leave the festival on a high note. It was job done and a great booking to pave the way for the tenth anniversary next year.

Noble Jacks

The strength of Beardy Folk is the range of artists sourced and how they are meticulously scheduled across the weekend. You seamlessly move from one set to the next enjoying a fresh diverse experience enriching the occasion with each booking warranting their inclusion. The formula works and the template is intact. An identity has been created and music fans buy into the ethos. It is grateful that Beardy Folk found me and I found it. Fingers crossed that these feelings and words resume in 2027.