With spectacular headline shows from Charli XCX, Fontaines D.C., RAYE and Chase & Status, the 2026 edition of Reading Festival was one for the history books.
An iconic staple of the UK festival calendar, the bumper bank-holiday weekender Reading Festival has long marked the end of summer, bringing generations of music fans together for an unruly baptism of rain, mud, confetti, fireworks, and some of the biggest names in music. In a year without Glastonbury, the now Pepsi-flavoured festival pulled out all the stops with an electric lineup showcasing some of the most exciting acts of the moment. From the beginning of a new era for Charli XCX on Friday to a showstopper from RAYE on Saturday, and a phenomenal festival-closing return from Chase & Status, Reading ensured the summer went out with a bang.
Friday
Opening The Grid on Friday was the first secret set of the weekend, announced just 24 hours before Jamie T took to the stage. He was warmly welcomed for his self-proclaimed “33 minute and 10 second” set, acknowledging his late addition to the festival by joking: “We made the bill then…” What followed was a whistle-stop journey through the breadth of his folk rock catalogue. Another early standout was Bleech 9:3 at The Ballroom, where festivalgoers were already moshing early in the afternoon to heavy-hitting tracks such as Cannonball and Figure 8. The band have undoubtedly enjoyed their biggest summer to date, and judging by the reception they recieved at Reading, it feels almost inevitable that they will be climbing further up festival bills in the very near future.
Speaking of bands enjoying a massive summer, look no further than Keo, the group you’ve almost certainly been told will be your next favourite band. Taking to The Grid early in the afternoon without a studio album to their name was a testament to just how much their following has grown over the past year, after a summer spent performing at some of the country’s biggest festivals and venues. They drew an incredible crowd, with festivalgoers belting out nearly every word to Thorn, I Lied, Amber, and That’s Me. It’s little wonder they have already been tipped as future Reading and Leeds headliners.
The Gallery welcomed the weekend’s second secret set on Friday Afternoon, as Royal Blood returned to a festival where they have created plenty of fond memories over the years. It was a booking that took everyone back to the rock-dominated days of Reading Festival, with the crowd moshing along to Come On Over, the iconic Figure It Out, and latest single, Ten Over Ten, as the duo approach a new era later this year. It was refreshing to see a band capable of bringing that classic rock festival energy back on the scene, and more importantly, back to Reading.
The Reading lineup has always attracted several generations of music fans, and many younger festivalgoers soon flocked to The Grid to catch YouTuber-turned-musician James Marriott, who arrived onstage with an effortlessly cool confidence. “Let’s play some bangers!” he shouted before treating Reading to Grape, Toothache, and his personal favourite to perform live, California Rain. Even a torrential downpour couldn’t dampen the occasion as Marriott strutted up and down the catwalk, delivering the perfect showcase of what he can do when given a microphone. Posters around the site promoted his huge upcoming show at the O2 Academy Brixton, and judging by the reaction on Friday afternoon, it seems almost certain to sell out quickly.
For those seeking something more firmly rooted in pop music, Slovak sensation Adéla used The Gallery to deliver a performance worthy of any established pop star. Combining her vocals with ballet-inspired choreography, her performance at times carried the polished, theatrical energy of Addison Rae, a testament to Adéla’s rapid rise following the viral success of Ain’t in LA. Beneath an ocean of raised phones, the crowd drowned out her vocals as they sang every word back to her. It was perhaps surprising, then, that the song appeared midway through her set, with some festivalgoers beginning to leave the tent after hearing the one track they had seemingly come to see.
Friday afternoon brought the first major clash of the festival, with Declan McKenna, Overpass and Skye Newman all overlapping on their respective stages, leaving festivalgoers with the ultimate decision. Over at The Ballroom, upcoming indie heroes Overpass had packed out the tent in impressive fashion, with the atmosphere only intensifying when Nieve Ella joined them during Fall In Love for a special rendition that had never been performed before. It was a crossover that would send any indie fan crazy, with Ella’s vocals blending seamlessly with lead singer Max Newbold.
Meanwhile at The Grid, Declan McKenna marked his long-awaited return to the live scene after a year away working on new music. His set was packed with McKenna classics, from Listen to Your Friends and Beautiful Faces to Champagne and Make Me Your Queen – exactly the sort of setlist needed to remind Reading of the sheer breadth of his catalogue. The festival united for Brazil, easily a staple of any indie playlist, before British Bombs capped his time onstage to a chaotic, politically charged conclusion. It was a fitting reminder of what had been missing, and simply so good to have him back.
As Geese took over The Gallery, sheltering hundreds from the rain, Skepta braved the conditions at The Grid, bringing his modern grime outfit to life in front of a sea of ponchos, coats, and umbrellas. Despite the weather, the crowd bounced along to everything from Shutdown to the live debut of Pandora’s Box, embracing the conditions rather than letting them dampen the atmosphere. Victory Lap proved a standout as he brought his set to a close, with Skepta offering a timely reminder that the weather doesn’t always have to get in the way of a great performance. Meanwhile, Florence Road took hold of The Ballroom, continuing to win the hearts of everyone packed into the tent as the growing Irish indie sensations brought the curtain down on a massive summer.
The rain settled just in time for the weekend’s first headliner, the BRIT Award-winning popstar Charli XCX. BRAT summer may be long gone, but as her recent release Music, Fashion, Film ushers in a new era of production, the megastar brought this next chapter to Reading for the very first time, and did so in considerable style.
Emerging on a towering, pyramid-like structure resembling a stack of giant amplifiers, Charli launched into Rock Music and Wink Wink, and within seconds, Reading was alight once again. This new production allowed the music to do much of the talking, with one of her few addresses to the crowd coming as she introduced the viral “classic” Apple. An outfit change later, she had reached the passionate Track 10, before newer tracks like Dying For You and House took centre stage in captivating fashion. Reading was completely immersed in Charli XCX’s world, with this new era already proving it will inevitably define the next stage of her career. One poignant takeaway came through the lyric: “If you take away the music, then what has she got?“, reaffirming not only the hold music has over Charli herself, but the profound impact it continues to have on her life and artistry.
Another outfit change later, and a string of BRAT-era favourites took hold of Reading. 365, 360 and Von Dutch threw everyone back to that culturally-defining summer, before Guess delivered a breathtaking burst of dancefloor delirium. The performance was genre-bending and, at times, pure madness, but exactly the brilliant kind that keeps you hooked. Closing with SS26 and No One Lasts Forever, the latter offering a fitting message as she waved goodbye to her ‘partygirl’ BRAT era, Charli XCX had launched her new era perfectly. This new, artsy production was polished and slick, yet still retained the vintage unpredictability that makes her one of the best in the business.
If festivalgoers thought they’d already experienced all the emotions, they had a second headliner ready to take things up a notch, as Reading shifted from a pop-rock performance to GRAMMY-nominated rock collective Fontaines D.C. They were headlining for the first time in their career, and boy, did they deserve it.
Since the enduring success of Romance, the Dublin five-piece have experienced a rise like no other, cementing themselves as one of the most talked-about and must-see groups in music. Despite technical difficulties delaying the start of their set, they refused to let the setback dampen the occasion, throwing Reading headfirst into Boys in the Better Land and Here’s the Thing. Their production was equally intriguing. The staging began low and enclosed, evoking an intimate underground basement before gradually expanding throughout the performance, eventually engulfing the rest of the stage and its towering screens. Starting low, as if it were an intimate underground basement, which, over the course of their performance, eventually grew larger and engulfed the remainder of the stage and screens. Recent single Marianne proved a huge hit and had fans already confidently singing along, despite having been released for only a matter of weeks.
Reading was left in awe by hits including Roman Holiday, Bug, and In the Modern World, delivered by Grian Chatten, whose poise and charisma as he moved up and down the catwalk proved commanding. Favourite followed, providing one of the night’s most wholesome moments as friends climbed onto shoulders, embraced, and belted out the words to a track that has come to define friendships and relationships alike. Six Shot Morning offered one final preview of the upcoming record Dopamine Chamber, before Reading united for the tense, cinematic Starburster, wrapping up Friday in spectacular fashion.
Saturday
The day began with Absolutely opening The Grid, her wholesome and soulful tunes connecting effortlessly with the growing crowd beneath her. As one of RAYE’s sisters, there was an added sense of occasion to her appearance, with the singer herself spotted beside the stage supporting Absolutely just hours before her own huge headline slot that would close Saturday at the festival. There were clear similarities in their mannerisms and vocal styles, while an exquisite cover of ABBA’s “Chiquitita” had everyone singing along.
Despite the rain moving in, that early momentum remained as Slayyyter commandingly entered The Grid for her UK festival debut. The singer enjoyed a breakthrough earlier this year following her Coachella performance, aided by the viral success of Dance across social media. Despite being one of the newer names in the pop scene, she owned her Reading performance with sheer confidence and quality. Meanwhile, Radio Free Alice had taken over The Ballroom, bringing their distinctly Australian brand of indie rock to Berkshire. There was something to whet the appetite for all music lovers on Saturday afternoon.
“Reading, how you feeling!?” shouted Maisie Peters as she danced onto The Grid, getting the crowd moving in no time to her latest collection of diary-entry-like pop tunes. Her vulnerable, conversational approach to songwriting is what continues to draw so many people into her world, particularly during Lost the Breakup and Body Better. Paired with a playful presence, Peters paced every corner of the stage in a polka-dot dress, completely at home in front of the Reading audience. A small lounge setup surrounded her, including a vase of daisies, offering a subtle nod to the theme of her latest release, Florescence. With a huge O2 Arena headline show on the horizon next year, her Reading slot proved just how capable she is of commanding stages of this scale. A tribute to Dolly Parton, featuring a cover of Here You Come Again, was another thoughtful touch that resonated with the crowd. Her growth as an artist has been fascinating to watch, and there are absolutely no signs of her slowing down anytime soon.
Another artist showing zero signs of slowing down is Sombr, who, following his performance at Reading, will undoubtedly be tipped as a future festival headliner. Arriving backstage by ambulance before completing a rather unconventional warm-up sequence alongside Slayyyter, the American pop star launched Reading straight into We never dated. “There are a lot of people in front of me!” he exclaimed, visibly overwhelmed by the sight of the thousands who had gathered to watch him. Those same thousands were left in awe of the six-foot superstar, with Homewrecker and Undressed prompting what may have been the loudest sing-alongs of the festival so far. His show allowed his natural showmanship to shine through, effortlessly connecting with both the crowd before him and those watching at home on BBC iPlayer.
Perhaps the truest message of the festival echoed The Grid: “We’re a group of people brought together by the world’s most universal language, and that is music.” He nailed it. That connection with the crowd reached another level during Back to Friends, as Sombr ran along every stretch of the barriers before oozing class as he closed with 12 to 12. You don’t often get the privilege of witnessing a soon-to-be megastar before they reach the top of the bill. At Reading, however, thousands had the chance to witness Sombr, in what may well be one of the last times they see him perform before the headliners.
Reading Festival was soon treated to one of the heavyweights of the UK rap scene, as Dave packed out every corner of The Grid stage. Dave is far from your typical rapper; his production feels authentic and personal, designed to bring out the best of his delivery, and it’s clear why he remains so highly acclaimed.
Opening with Verdansk, festivalgoers were in full voice from the off, before James Blake joined onstage for Both Sides of a Smile, sending Reading wild. The range of instrumentation throughout his set was equally breathtaking, moving between acoustic arrangements and the beats synonymous with modern rap, while ensuring every moment remained distinctively Dave. Chants for “Oh, Thiago Silva” echoed between songs, while Dave expressed his gratitude for reaching this point in his career. “I never take this for granted“, he told the crowd. Having first performed at Reading in 2017, returning nine years later at the very top of the bill was clearly a milestone worth remembering. Kano joined for 3 P’s Freestyle and Chapter 16, before the emotionally intense Boy Who Played the Harp was given a moment to shine. Reading soon erupted again for Sprinter as Central Cee emerged for one of those festival link-ups that simply had to be witnessed in person, further elevated by flames shooting into the sky.
One of the biggest hits of the past year, Raindance, closed the first headline set of the night, as fireworks popped overhead and confetti filled the air, rounding off one of the weekend’s biggest performances. Dave made it clear he’s no ordinary rapper, reaffirming his status as one of the most gifted live performers.
Saturday wasn’t over yet, and in stark contrast to much of what festivalgoers had witnessed so far, RAYE washed a refreshing wave of pop, soul, jazz and everything in between over The Grid. Long gone are the days when Escapism was the most anticipated song of the set. Once the track audiences eagerly awaited, her breakout hit instead served as her opener, setting an incredibly high bar from the very beginning.
Her cinematic 2026 record THIS MUSIC MAY CONTAIN HOPE formed the backbone of the performance, with newer material including Beware… The South London Lover Boy, Skin & Bones, and the live debut of The WhatsApp Shakespeare received a warm welcome from Reading. Complete with a full orchestra and a stunning array of brass accompaniment, RAYE ensured that every song became a performance in its own right, with Click Clack Symphony and I Know You’re Hurting shining a particular spotlight on the collective surrounding her. “Make some noise if you’re 16 and you’ve just finished your GCSEs,” she told Reading, prompting an enormous cheer. Perhaps the brilliance of RAYE lies in her ability to connect with every generation, regardless of whether they’re fans, and Reading was a prime example of that. Her set became a genuine celebration for teenagers in the crowd, while the more personal moments between songs saw her offer motivational guidance on perseverance and determination, drawing on her own journey to a Reading headline slot.
Her self-proclaimed ‘nightclub section’ soon tapped into RAYE’s house roots. Woven amongst Secrets and You Don’t Know Me was the euphoric Life Boat, which gave way for a moment of letting loose and forgetting the outside world. Her sisters, Amma and Absolutely, were welcomed onstage for a rousing rendition of Joy before the song everyone had been waiting for arrived. It’s a staple of everyone’s playlist by now, as WHERE IS MY HUSBAND! brought a super Saturday to a close, with Reading in full voice for one of the biggest songs of the past year. If there was one message to take from her performance, it was RAYE’s simple reassurance: “It’s going to be alright.” Her set felt like one giant hug, offering comfort and encouragement while simultaneously standing as one of the most unapologetically joyful sets of the weekend.
Sunday
Sunday’s entertainment began over at The Canopy, a smaller tent dedicated to showcasing some of the very best up-and-coming artists. One of those was Alex Spencer, who made his Reading Festival debut in style. With a small but devoted following gathered at the front, including one fan chanting, “Gowan Spenny!“, and an insane backflip to close his set, his indie tunes provided the perfect way to warm up for the day ahead.
The breadth of talent on offer this early into Sunday was immense. Holly Humberstone took over The Gallery, while Westside Cowboy, owned The Ballroom in another impressive outing from the rising ‘Britainicana’ outfit. Fresh from the release of their debut album, It Goes On, the band have quickly become one of the most talked-about groups on the scene. Following a huge summer spent packing out festival tents across the UK, including Reading, it feels as though the only way is up. Meanwhile, The Grid welcomed musician-turned-YouTuber Arthur Hill, whose brand of indie pop resonated particularly well with the teenage fans in attendance. Performing unreleased song Orange Wine, alongside a self-proclaimed ‘disco section’ that had the crowd dancing, Hill delivered a strong vocal display and another enjoyable Sunday afternoon performance.
The weekend’s third secret set was soon unveiled, with BRIT Award-winning singer-songwriter Lola Young making a welcome return to Reading Festival. Her appearance continued her return to the live spotlight following a difficult period that saw her cancel numerous shows last year, while she had also been forced to withdraw from Reading due to scheduling conflicts. This time around, however, Young appeared to take to the stage with renewed confidence and energy. She had the crowd firmly in her grasp throughout a string of her biggest hits, including Post Sex Clarity and Not Like That Anymore, before the big one everyone had been waiting for, Messy. Since its release two years ago, the reaction to the defining song was unsurprisingly enormous.
The positive momentum carried through to Loyle Carner, who swaggered onto The Grid sporting a bright yellow R9 Brazil jersey. Opening with All I Need, the South London rapper demonstrated why he’s regarded as such a gifted songwriter, with his introspective approach to hip-hop and spoken-word delivery often giving him the qualities of a modern-day poet. He was visibly overjoyed to be onstage, even holding one of the cameras as if he were vlogging the entire experience himself. Yesterday had Reading singing back every word, before he dedicated Homerton to the NHS, prompting a resounding reception. The raw emotion Carner poured into his music was evident to all. He dedicated lyin’ and A Lasting Place to his son, while sharing his love for Still with the Reading audience. Few artists felt more deserving of a Reading Festival main stage slot than Loyle Carner.
One of the most anticipated appearances of the weekend came courtesy of Role Model, whose country-infused pop-rock has taken the world by storm over the past year. Four years after performing on one of Reading’s smaller stages, his return came following one massive hit, a new album that largely redefined his music, and a host of celebrity guest appearances that have become synonymous with his live shows. Fresh from the release of Chuck Timely & The Hourglass, the record formed the backbone of his set. Kicking off with High Hopes 3000, Tucker worked through a collection of tracks including Writing’s On the Wall and Love I You, with an infectious optimism that never ceased.
His connection with the crowd was playfully brilliant, joking that he would play Sally, When the Wine Runs Out 600 times, to which fans responded every time by hoisting signs that claimed their names were Sally. He also expressed his apparent love for a tent that didn’t even exist, declaring: “I love the Vodafone tent!” Safe to say, Vodafone may have found itself a new favourite customer. When Sally, When the Wine Runs Out finally kicked in, the atmosphere reached another level. Despite ditching the celebrity guest moment that sent the song and himself stratospheric, the performance remained one of the standouts of the weekend. It’s clear why his music has developed such a hold over audiences in such a short space of time; he’ll certainly be sticking around for quite some time yet.
The end of Reading Festival was fast approaching, but not before the night’s two heavyweights took to The Grid. “On the last night of this festival, just know I am with you,” Florence Welch told the crowd, opening with Everybody Scream, the self-titled track from 2025’s release. Known for her cathartic, ethereal performances, Reading marked the final show of her Everybody Scream tour, and what a way to close the curtain.
Shake It Out had Reading in full voice, before Spectrum had the entire stage bouncing. The choreography was next level, with four dancers reflecting the thoughts and feelings behind every lyric, while the connection between Welch and her audience remained at the heart of the performance. Fans were up on shoulders for Rabbit Heart (Raise It Up) before You Got the Love oozed the sense of togetherness that defines a Florence & The Machine show. IDLES guitarist Mark Bowen joined Welch during One of the Greats, striding across the stage with effortless class, before torchlights illuminated The Grid during Buckle. Preceded by a story about how silly it is waiting for a text back, something the younger members of the crowd were sure to relate to, it was another deeply personal moment in an already emotional show.
Cue the rain. While many desperately reached for ponchos and coats, the rainfall gave way to something particularly magical: Dog Days Are Over, with the rain itself becoming an unpaid actor in one of the most perfectly timed moments of all time. You couldn’t have written the script any better. There wasn’t a phone in sight, just thousands living completely in the moment, dancing in the rain to a timeless classic. “Why film this song when you can experience this song?” Welch delivered a message to the crowd that could never have felt more true. The rain continued to worsen, but Reading’s spirits were far from dampened. Florence & The Machine had given the festival the perfect soundtrack to embrace it.
As the stage was rigged for one final time, the rain continued to pour, sending some festivalgoers running for cover while others braved the weekend’s worst conditions to hold on to their spots. Those who remained were rewarded with a phenomenal final performance from drum and bass legends Chase & Status, who transformed Reading into the UK’s biggest rave. Delivering the perfect balance of nostalgia and modern hits, the duo ensured the festival went out with an almighty bang.
“If you’ve been with us since the beginning, old fans and new fans, we appreciate you!” they told Reading after setting the tone early with the rolling Rage, Disgruntled, and Liquor & Cigarettes, which saw Arrdee join the duo onstage to a rapturous reception. The special guests didn’t stop there. NADIAH arrived for Count On Me, Tom Grennan joined them for All Goes Wrong, and Clementine Douglas emerged for Mixed Emotions, creating another moment of pure D&B euphoria at The Grid. Baddadan delivered one of the biggest atmospheres of the entire weekend, as thousands moshed along to the now-established nightclub staple, while the flames continued to shoot into the sky during Backbone, the Stormzy collaboration that has taken the world by storm since its release. Their Reading appearance came just days after the announcement of their upcoming album, Generic Everything, due in October, meaning the opportunity to debut new material almost wrote itself. Gone Too Far, featuring Debbie, offered fans a taste of what was to come while throwing them back to the sound of early Chase & Status.
The production itself was equally striking. Each side of the stage had been transformed into a riot-stricken street, complete with burnt-out vehicles and a graffiti-covered bus stop. The gritty, gangster-inspired aesthetic proved a perfect match for their driving build-ups and intense drops, creating a world that felt just as chaotic as the music itself. Blind Faith with Liam Bailey, always one of the biggest moments of a Chase & Status set, brought the night towards its euphoric conclusion as confetti showered The Grid and one final wave of fireworks erupted overhead.
It was Chase & Status at their finest: loud, energetic, and unapologetically wild. There could hardly have been a more fitting way to bring Reading Festival to a close, as thousands of ravers came together for one final, massive party.
With six headliners, three secret sets, and a showcase of some of the best music of the summer, Reading Festival‘s new era could hardly have started any better. Neither the rain nor the mud proved a match for festivalgoers, and it was once again clear why Reading remains a heavyweight of the UK festival calendar. The pressure is now firmly on to deliver once again in 2027, particularly with its leading competitor, Glastonbury, set to return to the calendar. If this year was anything to go by, however, Reading Festival has more than enough reason to feel confident about its future.
Reading & Leeds will return on Thursday, 26th to Sunday, 29th August 2027. Presale tickets for Reading & Leeds 2027 will be available on Friday, 4th September at 10 am BST. General sale begins on Friday, 11th September at 10 am BST. Fans are encouraged to register now to gain first access to 2027 tickets. Register now at www.readingandleedsfestival.com.
