Built on a fierce love for grassroots music, Valefest in Bolsolver has quietly become one of Derbyshire’s most welcoming independent festivals and one of our favourite festivals in an extremely full calendar of events. Across three days at Carr Vale FC, the festival blends folk-punk chaos, acoustic intimacy, political songwriting and late-night revelry into something that feels completely community driven. It is such a special festival because you are guaranteed a singalong chorus, and there will be plenty of opportunities to dance all night to brilliant bands, as well as some beautiful acoustic sets and lyrics that will make you laugh, cry and most importantly, think. What more could you want? Well…there’s also a bar run by the fabulously friendly Black Market Bar team with fantastic offerings such as Lyric Lounge Review’s favourite drink, the wonderful ‘Illicit’, a pint so good there’s even a song about it. Whether you are an established member of the grassroots ‘festival family’ or completely new to the grassroots festival circuit, you will genuinely feel at home in this field.
Brian Stone provided one of the earliest highlights of the weekend, setting the tone for Valefest with a set full of humour, heart and infectious energy. Stone’s songwriting draws heavily on folk traditions, storytelling and communal participation, and nowhere was that more evident than during ‘Jack Of All Trades’. The song’s lively rhythm and relatable narrative immediately drew the audience in, while its memorable chorus encouraged plenty of early singalongs. There is an authenticity to Stone’s performance style that makes every lyric feel lived rather than merely performed, and this sincerity runs through all of his material.
Stone’s joy at being on the stage suffuses the set with the songsmith’s passion for performing, evident in ‘What Makes Me Happy?’, establishing an immediate sense of connection between performer and audience. The reply, which is music, obviously, is a simple statement, yet one that perfectly encapsulated both his performance and the wider spirit of the festival itself. By the end of the set, it was clear that happiness was proving wonderfully contagious.
The nautical themes that frequently appear in his back catalogue were particularly effective in the festival setting. ‘Ward The Pirate’ arrived with all the swagger and camaraderie of a classic sea shanty, telling the story of 17th century pirate Jack Ward, complete with booming choruses and a melody that seemed designed to be shouted back by a crowd. The audience happily obliged, joining in with increasing enthusiasm as the song gathered momentum. Although I was in immediate dangerous peril due to The Great Trombroni’s somewhat too enthusiastic ‘dancing’, now a well-established tradition at Stone gigs, the melody soon captured me too and I was waving away like everyone else in the tent. Continuing with maritime folklore in a song about Davy Jones, with a mischievous grin, Stone blends humour and storytelling with jangling riffs and Matty’s drumming, all of which turn this into a performance that feels uniquely personal and timeless, recalling the folk features of audience participation as we shout ‘ho!’ and punch the air, which makes more sense when you are actually there.
Perhaps the standout moment came with ‘Stowaway’. What began as an engaging narrative song quickly transformed into one of the weekend’s first truly euphoric moments as a gentle yet chaotic circle pit kind of did a conga around the tent and then in front of the stage. The contrast between traditional folk influences and the audience’s punk-infused reaction perfectly demonstrated the unique appeal of the contemporary grassroots scene. The song’s driving rhythm and adventurous melody encouraged movement, laughter and complete immersion from everyone gathered in the tent.
Throughout the set, Stone repeatedly fostered a sense of togetherness. Audience members enthusiastically sang along to lines such as ‘we’re with you all the way’, creating the feeling of a shared experience rather than a conventional performance. There is no fourth wall at a Stone gig. His easy rapport with the crowd, combined with a knack for crafting memorable choruses, ensured that even those unfamiliar with his material quickly became invested.
What made Brian Stone’s performance so memorable was not simply the quality of the songs but the atmosphere he created around them. His blend of folk storytelling, maritime adventure, humour and audience participation captured everything that makes festivals like Valefest special. It was a joyous, life-affirming set that reminded everyone gathered in Bolsover why live music continues to bring people together in such a powerful way. By the time he left the stage, the audience were smiling, singing and already looking forward to the next time they would encounter his music.
Suraya delivered one of the weekend’s most vocally impressive sets. Her take on Amy Winehouse’s ‘Back To Black’ showcased stunning range and emotional precision, before she effortlessly pivoted into Creedence Clearwater Revival’s ‘Fortunate Son’ and Johnny Cash’s ‘Folsom Prison Blues’. Original material shone equally brightly. ‘Top Of The Hill’ swung with infectious rock energy and scoring vocals, while ‘Waiting For A Train’ channelled a beautiful Janis Joplin-inspired melancholy. By the time ‘Personal Jesus’ rolled around, the entire tent seemed utterly enthralled.
Few bands embody the joyous chaos and communal spirit of the modern folk-punk scene quite like Shanghai Treason, and it is an absolute joy to be here with them to sing and dance along to our old favourite songs and to hear some of the newer material live. The Sheffield-based band once again demonstrate why they have become one of the UK’s most beloved grassroots acts. Fronted by the irrepressible Sam Christie and supported by the band’s trademark blend of guitar, bass, drums, banjo and accordion, Shanghai Treason delivered a set that transformed the tent into a sea of dancing bodies, raised pints and smiling faces. Their mixture of Celtic punk energy, social commentary and enormous singalong choruses proved utterly irresistible.
Opening with the pounding rhythm of ‘Bones’, the band wasted little time in whipping the audience into a frenzy. The song’s huge chorus and driving melody immediately established the atmosphere that would persist throughout the set. ‘Dirty Work’ followed with its punchy riffs and infectious energy, demonstrating the band’s ability to marry thoughtful lyricism with unapologetically good-time music.
‘Emerald Causeway’ brought one of the evening’s biggest singalongs. The song’s rolling banjo melody and Celtic influences have made it a favourite among fans, and the crowd enthusiastically roared every word back at Christie. ‘Catalina’ was followed by ‘Pallbearer’, revealing the emotional depth that often lies beneath the band’s raucous exterior, with the line ‘we’ll drink to your legend tonight’ making me raise my glass to my dad, who lost his battle with cancer this time last year. He would appreciate Shanghai Treason’s punk soul, so it seemed very fitting.
By the time they launched into the magnificent ‘Gatekeeper’, the entire tent seemed to erupt. One of the standout songs from Brave, Willing & Strong, its soaring melody and propulsive rhythm perfectly encapsulated the joy of live music. Everywhere you looked, people were jumping, dancing and there are some drunken attempts at the ‘swinging each over round’ dance, some of which are completed without anyone ending up on the floor, united by a song that seemed purpose-built for festival fields.
‘A Bullet With My Name On’ maintained the intensity, its frenetic pace and razor-sharp hooks provoking yet more movement from the crowd. New single ‘Ring True’ arrived with equally infectious energy, combining frantic instrumentation with a huge singalong chorus that already sounded like a fan favourite.
The newer material sat seamlessly alongside established classics. ‘Scallywag’ bounced along with gleeful abandon, while ‘In For A Penny’ generated one of the loudest audience responses of the evening. Christie barely needed to sing parts of the chorus as the crowd happily took over vocal duties. There was a genuine sense that these songs belonged as much to the audience as they did to the band themselves, especially those of us, like us here at Lyric Lounge Review, that have loved the band for a long time now.
‘Drowning Heart’ has lyrics that speak deeply to a lot of the crowd as we stand here surrounded by friends that have helped drag us out of the doldrums and get us back to gigs when things get tough, because everyone needs a ‘lifeboat’ or a ‘light in the dark’. The soaring chorus highlights the band’s gift for balancing vulnerability with exuberance. Meanwhile, ‘Freeman On The Land’ brought the set towards its conclusion in triumphant fashion. Its stirring refrain and uplifting melody inspired yet another mass singalong, with voices echoing around the tent long after the final notes had faded.
Shanghai Treason understand that folk music has always been about community. Their songs speak of ordinary people, friendships, struggles and celebrations, and they deliver them with infectious enthusiasm and a healthy dose of Yorkshire humour.
As festival sets go, this was a masterclass in how to turn a marquee into a party, and a reminder that some of the most memorable moments in music are those shared with hundreds of strangers singing as one.
Darwin’s Rejects have been a firm favourite here at Lyric Lounge Review ever since the days when they were a creative cover band delivering folk-punk infused version of loads of our favourite songs but it was when they started to perform their own songs that it was clear that the band has something special. They didn’t disappoint today either, delivering one of the most joyous and life-affirming sets of the weekend, combining foot-stomping folk melodies with thoughtful lyricism and an infectious sense of fun…and kazoos, always a kazoo or two in the audience or onstage if Torr manages to sneak one on. Fronted by Russ Torr and now with some vocals from Ellie Owen appearing in their tracks, the band turn the tent into a party.
Opening with the glorious travelling anthem ‘Rollin’ Road’, they immediately captured the festival spirit. The repeated refrain of ‘rolling road, keep my spirit free’ felt particularly appropriate at Valefest, where audiences from across the country had gathered to celebrate music and friendship.
‘Walk Away’ brought a more reflective message, with its plea to reject division and hatred. The chorus, urging listeners to ‘just walk away’, was delivered with such warmth that it became one of the set’s most memorable singalong moments.
The bouncy brilliance of ‘Roadbound Sailor’ has us all having a ‘bit of a dance’ and I’m sure for some with plenty ‘cider inside’, the haunting ‘Valkyrie’s Lament’, with Ellie Owen on lead vocals paints a powerful picture with equally powerfully vocal delivery demonstrated the band’s versatility, whilst also showcasing the band members’ ability to fuse marvellous melodies to underlie the lyrical intent. The driving rhythms of ‘Tunnel Vision’, performed with sincerity by Torr are absolutely dance-inducing but for me it is the lyrics of this emotive song that make it one of the highlights of the set. The focus on self-doubt and imposed isolation in the song are bleak but the song contains a message of hope that moving on from the past is possible. ‘Borderline’ warns of the dangers of false friends, who are ‘just on loan’ and again, its resonance .comes from the fact that many of us have experienced this ourselves and the words encapsulate the turmoil that it can cause, but still with an upbeat melody and sing a long chorus.
A spirited rendition of The Waterboys’ ‘Fisherman’s Blues’ had the crowd singing every word and dancing around jubilantly, before the politically charged ‘Broken Nation’ highlights the hypocrisy of modern society and the quiet heroism of ordinary people. Its rallying cry that ‘it’s time we made a stand together’ encapsulated the band’s belief in community and solidarity.
‘Curtain Call’ and ‘Come Take A Drink’ maintained the energy, but it was ‘Bumblebee’ that perfectly summed up the festival atmosphere. With lyrics celebrating ‘friends, singing songs and drinking whiskey’ and forgetting ‘the rush within the city’, the song felt like a love letter to the very culture that events like Valefest nurture.
Throughout the set, Darwin’s Rejects balanced politics, sentiment and sheer exuberance with remarkable ease. Their songs may tackle false friendship, division and the state of modern Britain, but they never lose sight of the joy that music can bring. Judging by the smiling faces and constant dancing in front of the stage, Valefest know exactly how to create a festival that focuses on fun whilst also making you think.
There are so many great bands on over the weekend that there is no chance to catch them all but having such a great selection means there is always something for everyone. We do manage to catch some of Random Hand’s set, and we are certainly glad that we did. Leaping effortlessly between ska, punk and hardcore, Random Hand brought an explosion of energy to Valefest that left the crowd breathless and grinning in equal measure. Fronted by the charismatic Robin Leitch, the long-standing Yorkshire outfit unleashed a relentless barrage of brass-fuelled anthems, furious riffs and infectious hooks, while the band’s message of unity and inclusivity resonated strongly with the festival audience.
Late night entertainment is always special at grassroots festivals and tonight was a real treat as performers from various bands came together to perform songs under the stars. Even members of the audience guested on vocals and it was a privilege to be part of such a great atmosphere to see collaborations that worked so well. With two full days of music left, Valefest had already established itself as one of the highlights of the year.
