Truck Festival rolled back into Oxfordshire this weekend, drawing crowds back to Hill Farm for another four days of incredible live music and relentless festival spirit.
Now a well-established staple of the UK’s summer music calendar, Truck once again showcased an incredible lineup spanning indie rock, pop, and alternative genres. Truckers turned out in force for the 29th year of the beloved event.
“On a week where the BBC Introducing Stage at Reading & Leeds has been axed, it is so important we have stages like this in the country,” declared O’Phantom as they opened the Truck Stage with an anthemic late-afternoon set, after the gates swung open to welcome Truckers back to Hill Farm once again. Fans flooded the site decked out in everything from band merchandise to classic British festival attire. As the opening acts got underway, festivalgoers soaked up the sights and sounds of the arena, embracing the unmistakable atmosphere of Truck Festival for the first time this year.
Early performances from Marie Franc and Etta Marcus on the Truck Stage set the tone for the weekend, before Everything Everything took over as the sun began to set across the arena. The five-piece had fans gripped from the opening note, as a wave of nostalgia washed over the arena. Their guitar-driven set was packed with favourites including Pizza Boy, Pepsi, and No Reptiles. Every chorus was met with a sea of bouncing Truckers, proving their catalogue remains as timeless as ever and providing the perfect soundtrack to a warm Thursday evening at Truck.
Over in the This Feeling tent, The Cases wasted no time in raising the energy levels. Speaking to Erazer ahead of their performance, the quartet said: “It’s our first time playing Truck, and I’ve heard it’s one of the best festivals, so we’re buzzing. Playing live is an out-of-body experience, really. You can’t explain it, and the adrenaline dump afterwards is surreal. We give everything to do it all the time.“
As dusk settled over Hill Farm, CMAT, joined by her self-proclaimed ‘Sexy CMAT Band,’ raised the curtain on Thursday’s headline slot, with a dazzling dose of country-pop. The Irish sensation arrived with effortless confidence, dancing onto the stage before encouraging the crowd to take part in a communal chorus of “Honk Honk” in honour of the festival being named ‘Truck’. Her set was packed with fan-favourites, many lifted from her award-winning sophomore record EURO-COUNTRY, including Jamie Oliver Petrol Station, Running/Planning and Take A Sexy Picture of Me, each greeted by a chorus of voices from a crowd that didn’t stop showing their appreciation for the singer. “Last time we played Truck, our set lasted 2 minutes! But that’s because they booked us before I became famous!” she joked, visibly taken aback by the size of the audience after taking a glance over the sea of faces from behind her sunglasses.
Truck Festival has built its reputation on championing emerging artists, and while CMAT’s headline booking may have raised a few eyebrows when it was first announced, Thursday night proved exactly why she deserved the slot. “We never usually headline festivals; we’re not used to it,” the country star admitted, before proudly declaring herself the ‘most powerful Irish woman in Truck’; a banterous remark that was met with huge cheers. It was a performance that encapsulated everything fans have come to love about CMAT; taking fan requests and flirting with those down the front, casually sipping wine while her band kept the crowd entertained, and leading thousands through the irresistible two-step during I Wanna Be a Cowboy. Closing with Stay For Something, she delivered one final unforgettable moment, galloping off the stage and into the crowd in a finale that was characteristically CMAT. Festivalgoers were sent into the night brimming with enthusiasm for what Friday had to offer.
Truckers were greeted by near-perfect weather as they awoke on Hill Farm on Friday morning, creating the ideal setting for another day of standout performances and nonstop music.
Friday afternoon at the festival buzzed with performances from some of the UK’s most exciting emerging artists across multiple stages. Daisy Peacock brought her heartfelt indie-pop to the This Feeling tent, while The North, The Slow Country and Getdown Services kept the Market Stage packed with mosh-pit-enthused rock performances. Meanwhile, Girl in the Year Above showcased their soaring anthems on the Truck Stage, as festivalgoers embraced the diverse lineup and anticipation steadily built for the evening’s headline acts. For Eighty Eight Miles, stepping onto the Truck Stage marked a monumental milestone after years of grafting away in the This Feeling Tent.
“Stay hydrated, we aren’t made for this!” joked Divorce, acknowledging the sweltering conditions that had festivalgoers searching for pockets of shade between sets. The soaring temperatures did little to dampen the atmosphere, as crowds gathered in their thousands for one of country music’s brightest rising stars on the Truck Stage. Soon after, Scottish soul sensation Brooke Combe brought a welcome wave of smooth R&B and soul to Hill Farm, effortlessly lifting spirits and getting the crowd moving from the very first note. Over on the Market Stage, The Lilacs ensured the energy never dipped, with the Wigan outfit drawing a packed tent and opening up mosh pits once again in one of the biggest receptions of the afternoon.
As evening settled over Hill Farm, the energy across the arena showed no signs of fading. There were smiles all round, and once again Truck proved exactly why it remains one of the highlights of the British festival calendar. Friday night’s Truck Stage action promised a nostalgic trip through indie-rock history, with three iconic acts serving up a soundtrack that spanned generations.
First up were The Cribs, who tore through a set packed with favourites like Men’s Needs and Be Safe alongside newer material such as Brothers Won’t Break, which was warmly received by the crowd. Reflecting on the band’s longstanding relationship with the festival, they asked: “Was anyone at Truck 2004 when we played at the Cowshed?” A handful of cheers from long-time festivalgoers answered the question, underlining the band’s enduring connection with Truck.
Rock & roll veterans Primal Scream soon took over, and the momentum only continued to build. Bobby Gillespie exuded effortless cool throughout a set that showcased the band’s timeless appeal, while the soaring guitars and relentless grooves kept the crowd moving from start to finish. Huge singalongs greeted Movin’ On Up, Country Girl, and the explosive Rocks, sending the arena into raptures. It was a masterclass in letting the music speak for itself, with every song landing exactly as it should. With their set wrapped, Truckers turned their attention to the night’s headlining act.
Eleven years after their last appearance at Hill Farm, indie favourites The Maccabees made a jubilant return to headline Friday night, armed with a formidable catalogue of throwback bangers that captivated fans of all ages. Emerging at half-past-nine, they wasted no time launching into Love You Better, before Can You Give It and Something Like Happiness had the arena in full voice. For a band whose journey has included a split in 2016 and a long-awaited reunion eight years later, their performance felt like a celebration of everything that had brought them back together. If Friday night proved anything, it was that The Maccabees haven’t missed a beat.
Orlando Weeks was in imperious form, delivering every lyric with warmth and conviction, while guitarist Felix White brought an infectious energy, repeatedly urging the crowd to raise the volume between songs. The band’s signature spiky, textured guitar lines sounded breathtakingly brilliant, weaving seamlessly through soaring melodies and explosive choruses that felt tailor-made for a Truck headline set.
After a brief encore, The Maccabees returned to close the night with the timeless Pelican. As fans climbed onto shoulders and voices united, the atmosphere reached its peak, bringing an unforgettable Friday to a fitting conclusion. It was a masterclass in nostalgia without ever feeling dated, leaving festivalgoers spilling into the night, already eager for what Saturday had in store.
Saturday kicked off in high spirits as crowds gathered at The Truck Stage for the beloved annual performance by the Oxford Symphony Orchestra. Their sweeping, cinematic arrangements turned the arena into an unlikely dance floor, inspiring everything from mosh pits and crowd surfing to spontaneous ballet dancing, and setting the tone for the day ahead.
The arena came alive once again as Florence Road, or as their billing proudly suggests, your ‘next favourite band’, took over the Truck Stage to a resounding reception. Having played The Nest last year, their rapidly growing audience and string of successful releases made their progression to the Truck Stage feel both inevitable and thoroughly deserved.
The Lottery Winners followed with a performance brimming with energy, humour and personality. Frontman Thom Rylance was a magnetic presence throughout, entertaining the crowd with playful exchanges with both festivalgoers and his bandmates, while repeatedly and hilariously referring to Truck as Glastonbury. “We’re going to headline this festival in the next 5 years!” he declared, a bold statement of intent from the Manchester outfit, but one that feels increasingly within reach given their recent trajectory, including their first-ever stadium headline show just months earlier.
The Market Stage became the centre of attention as Bleech 9:3 delivered a raucous set with mosh pits and the now-familiar festival chaos erupted across the tent. Their energy carried through into Arkayla a few hours later, with the Manchester quartet blowing the roof of the tent in a performance cementing their status as one of the festival’s most exciting emerging acts. Already fast climbing onto the radar of festivalgoers, it would be no surprise to see them higher up the bill next time. Speaking to Erazer ahead of their set, the band said: “This has been the first summer we’ve played this many festivals, and it’s been a dream.” Later, Radio Free Alice, Australia’s latest post-punk export, provided another reminder of the wealth of emerging talent on this year’s bill. Their early-evening takeover of the Market Stage proved a perfect match for thousands of buzzing festivalgoers, with the Melbourne outfit’s sharp, gritty hits turning the tent into a standout destination.
It was another scorcher in the Oxfordshire countryside as thousands gathered at the Truck Stage for The Vaccines, who are celebrating 15 years since the release of their debut album What Did You Expect From the Vaccines? They wasted no time reminding Truckers why their live reputation remains so formidable, opening with a string of throwback anthems including Post Break-Up Sex, All in White and the rousing If You Wanna. Newer favourites Heartbreak Kid, Headphones Baby and All My Friends Are Falling In Love kept the Truck Stage at full volume, proving their catalogue has plenty to offer beyond early classics.
Not long after, Kaiser Chiefs stormed onto the Truck Stage, with lead singer Ricky Wilson prowling all corners of the stage with his trademark energy. It was a classic Kaiser Chiefs set, with Ruby and I Predict a Riot providing two of the night’s biggest moments. Both songs have become staples of British music, and hearing thousands of voices belting the words highlighted exactly why they remain such enduring festival favourites.
Festivalgoers soon descended over to The Market Stage, eager to secure a spot for The Royston Club, whose rapid rise now feels firmly established. Chants of “Royston!” echoed around the packed tent between almost every song, while the atmosphere reached extraordinary levels as the crowd belted back every word. Mosh pits circled to Shivers, The Patch Where Nothing Grows and 52, before the entire tent united for the now-infamous Cariad. The number provided one of the weekend’s loudest and most unforgettable moments, with thousands of voices joining together in euphoria. It felt like a headline set before the headliners had even taken to the stage, and there is little reason to doubt that these boys could occupy that position in the years ahead. The Wrexham outfit have all the ingredients needed to continue climbing the festival ladder, and after a performance of this magnitude, their eventual ascent to the top of the bill feels inevitable.
At this point, Two Door Cinema Club are firmly established as indie icons, and their return to Truck, three years after their last appearance, felt like a homecoming. This time, the Northern Irish trio arrived celebrating 15 years of their debut album, Tourist History, fresh from a run of huge shows including London’s Crystal Palace Park. It was fitting that the opening track from Tourist History, Cigarettes in the Theatre, was also their choice as an opener at Truck. From the first notes of I Can Talk, the masses erupted into delirium. By now, Truck feels like a home away from home, and lead singer Alex Trimble looked every bit at ease on the Truck Stage, effortlessly commanding the stage with his signature cool, collected confidence.
The momentum showed no signs of dropping as Truck danced along to Come Back Home, the timeless FIFA anthem Something Good Can Work, and the simplistic Do You Want It?. Rather than simply serving as a celebration of their debut, the set offered something for everyone, weaving in some of the band’s biggest hits and beloved tracks from across their extensive catalogue, ensuring everyone got swept up in the atmosphere. This Is The Life sparked a mass response, with its title feeling almost prophetic as thousands of fans sang their hearts out in the middle of the field, surrounded by friends after a full day of music. Recent hit Lucky sat comfortably alongside the electro-pop textures of Handshake and Sleep Alone, both off 2012’s Beacon, serving the perfect balance for those throwing themselves into the mosh pits and those simply soaking up the scene.
The anticipation for that feel-good summer classic was building, but first came the euphoric chaos of Undercover Martyn before Sun whisked Truckers away on a final summer retreat. Then came the moment everyone had been waiting for. What You Know was met with arguably the most insane atmosphere of the weekend so far. A staple of every indie playlist and the soundtrack to countless summers, the track saw Truckers give absolutely everything. Thousands of voices almost drowned out Trimble for the entire song. It was the perfect finale, and utterly unforgettable. As festival headline sets go, they don’t get much better than Two Door Cinema Club on a Saturday night.
All too soon, it was Sunday, marking the final day of Truck 2026, and one last chance for festivalgoers to take in the atmosphere. Thousands gathered early for the annual ‘wake & shake’ session led by fitness icon Mr Motivator, marking the start of another packed day of live music.
Early highlights included 2026 Road to Victorious winner Matt Hennessey, who took over The Nest stage early in the afternoon with a set of funky guitar-driven hits, while Theatre and Gans had Truckers warmed up on Market Stage ahead of the day’s biggest acts across the arena.
Despite being the final day, Truck Festival remained every bit lively, animated and energetic, with festivalgoers determined to make the most of one last dose of live music. Liverpool indie-rockers Keyside injected another surge of energy into The Nest mid-afternoon, before Vanessa Carlton had the Truck Stage singing along to her ageless catalogue, the infamous A Thousand Miles proving a particular highlight.
Speaking to Erazer after their performance, Keyside reflected on the unique experience of playing to festival crowds: “When it comes to festivals, and you see all these new crowds you’ve never seen before, we always get a moment where everything slows down, and we look around and think: wow, these people are really watching us.“
The Truck Stage remained the centre of attention as hip-hop duo Rizzle Kicks stormed onto the stage, having Truckers jumping from the very first beat. Masters of crowd interaction, the pair delivered a set packed with nostalgic anthems including When I Was a Youngster and Follow Excitement, throwing everyone back to the simpler times. The brass accompaniment, a trademark element of their sound, added another dimension to the performance, particularly during the climactic Down With the Trumpets, one of the afternoon’s most vigorous moments. It was quite the sight.
The K’s are another band firmly making their mark, arriving at Truck Festival just over a year after releasing their UK No. 1 album Pretty On the Internet. Widely acclaimed upon release, the record helped propel the Warrington outfit rapidly up the festival pecking order, and their Truck performance offered further evidence of why. “Viva La K’s!” one devoted fan chanted from the crowd. It was difficult to disagree. Their dynamic set moved effortlessly from The Bends (Here We Go Again) to Hometown, before a crowd-wide frenzy for Sarajevo. Lead vocalist Jamie Boyle threw himself into every vocal, while regularly supplying the devoted audience with his guitar picks. Speaking to Erazer ahead of their set, drummer Nathan Peers credited that fan relationship as a key part of their rise: “Our fanbase has really helped. We’ve found the main thing is getting out and doing shows, and that’s where we’ve made that connection with people. The fanbase is always there to support us, and we’re really lucky.“
The breadth of emerging talent across this year’s lineup was truly staggering, making the task of choosing who to see an almost impossible one. Nowhere was that more evident in one of the weekend’s biggest clashes: Westside Cowboy and Keo, two of the most exciting forces in the UK’s flourishing indie scene, going head-to-head, and leaving Truckers with an impossible decision to make. Whichever way they chose, both The Nest and Market Stage were packed to the brim.
Over at The Nest, Westside Cowboy drew an enormous crowd, with fans spilling across the field and making it almost impossible to get anywhere near the stage. Once again proving themselves worthy of the ‘your next favourite band’ label, the Manchester band look destined for much bigger stages in the near future. Meanwhile, Keo‘s remarkable year continued at the Market Stage, with Truckers turning out in their masses to belt out tunes like Thorn and I Lied Amber. Their rapid ascent is reminiscent of The Royston Club’s trajectory at this point last year, and a future headline slot feels less like a question of if and more a matter of when.
“This is nice innit, bit of live music, bit of camping with your mates“, announced The Libertines, as they arrived onstage as the first of Sunday’s co-headliners. Their hour-and-15-minute set proved a delight for the thousands gathered, with fans spanning generations turning out to see one of Britain’s most influential rock bands. Pete Doherty, Carl Barat and John Hassell bounced off one another, both vocally and through their undeniable onstage chemistry, capturing that enjoyment that has defined the band for over two decades.
Vanessa Carlton joined the band for Night of the Hunter, while one young fan was welcomed up onstage to play guitar during What a Waster, a moment met with blissful support from the crowd. Nothing quite compared to the sunset singalong for Don’t Look Back Into the Sun; thousands of voices rose together for one of the weekend’s most poignant moments, a memory sure to live long in the hearts of Truck’s indie faithful.
The Truck Stage demographic soon shifted gears, as younger fans rushed back from Circa Waves to secure their spot for the final act of the night: The Wombats. By now, the band were practically Truck royalty, having last headlined on Thursday night in 2023 and made regular appearances at the festival over the past decade. Despite it being Sunday night, the Truck Stage was rammed once again as the trio emerged and immediately launched into Moving to New York, sending the crowd into a frenzy of mosh pits and mayhem.
From Techno Fan and Cheetah Tongue to Kill the Director, the set was packed with the kind of indie anthems that have made The Wombats such enduring festival favourites. “If you haven’t been to a Wombats show before, we talk a lot about Lemons“, joked drummer Dan Haggis, perfectly foreshadowing Pink Lemonade and Lemon to a Knife Fight, two wonderfully bizarre titles that might sound completely nonsensical to anyone unfamiliar with the band’s catalogue.”I think that’s the first time we’ve had a mosh pit to Pink Lemonade“, a stunned Matt Murphy remarked, before two more mosh-pit ready anthems in Method to the Madness and Ready for the High. Pure bedlam.
Turn offered a brief, hopeful and emotional moment before the encore delivered two of the band’s biggest hits. Everyone was up on shoulders for Greek Tragedy, before every last ounce of energy was poured into Let’s Dance to Joy Division. With actual Wombats dancing across the stage, and fireworks exploding overhead, The Wombats brought the curtain down in spectacular fashion. There could hardly have been a more fitting way to bring Truck 2026 to a close. As the band’s own song suggests, it won’t get better than this.
Truck Festival was over for another year, having once again delivered a breathtaking weekend of world-class live music and exciting emerging talent. From established indie icons and nostalgic throwbacks to breakthrough acts destined for bigger stages, the festival once again offered something for everyone, reaffirming its place as a favourite on the UK’s music calendar. Truck continues to strengthen its status as one of the country’s best-loved festivals, and attention now turns to 2027 and Truck’s landmark 30th anniversary.
Truck Festival returns in 2027, taking place between the 22nd-25th July. Super Early Bird Tickets are on sale this Friday (31st July) at 10 am, with General Sale Tickets available from 11 am. To gain presale access and the first chance to get tickets at the best price, sign up now at https://truckfestival.com/2027-super-early-bird-sign-up/
