After last year’s stellar edition, Houghton festival looked to have finally shaken off the bad luck that had defined their journey. Losing two years of programming due to covid-related cancellations, and then an additional year due to dangerous weather, the festival has since come back with a bang, rising to be one of the most important electronic music events in the UK. This year we saw them raise their game once more, introducing a host of new names to the lineup, revamped stage design and placing further focus on live acts.
Curated by long-term Fabric resident Craig Richards and Bobby, this year Houghton introduced over 60 debutants. The likes of Daniel Avery, Moodyman and Or:la provided a fresh touch and displayed the breadth of dance music the festival was willing to offer. The team also added an additional stage called The Armadillo, which hosted talks and experimental DJ sets. Besides this, there were minimal changes elsewhere – stages were lowered at The Pavillion and Warehouse to be closer to the crowd, whilst the Derren Smart stage was reborn, taking on a 360 degree DJ booth that really came to life at night.
Drawing on Richards’s personal experience, Houghton allocated three hour slots to the majority of DJ’s, allowing them to really explore and connect with the dancefloor. This is an area where the festival truly excels as every artist we saw brought their A-game. Unlike a lot of other festivals, you’d often see artists in the crowd dancing to other selectors throughout the weekend – a sure sign the programming was top notch, as well as an incredibly welcoming environment.Â
For this year’s edition, Houghton didn’t need to reinvent the wheel, it was simply a case of refining what they built. With 13 stages dotted in and around a beautiful forest setting in Norfolk, revellers were never spoilt for choice. Add on top a 24 hour licence and the four days at Houghton really are a true escape with unrivalled freedom to explore. Due to so much choice, we found ourselves dipping in and out of sets frequently, worried we might be missing something at another stage.Â
This year the Warehouse stage – a giant, indoor structure with its accompanying A/V display – played host to some of the more hard-hitting sounds, and the artists that played there created some spectacular moments. On Friday Canadian producer and vocalist, Marie Davidson played an energetic live set that saw the artist traverse her discography. Certified banger ‘Work It’ gained a rapturous response as well as her new single ‘Y.A.A.M’, which showcased her unique songwriting style. Ilian tape boss, Skee Mask followed with a set that consisted of acid, breakbeat and techno. On Saturday, Surgeon delivered a live set of electro and techno. It was an hour that transfixed the crowd with wall shaking bass and mesmerising visuals.
Elsewhere across the weekend there were endless highlights. On the opening night Adonis resident DJ, Hannah Holland kick started the weekend with a heavy hitting set that showcased the Tantrum’s stage new and improved visual display. Red Axes’s live performance on Saturday with a backing band brought their electronic hits to an alternative reality. Blending aspects of indie-dance and psych rock, the Israeli duo stunned with renditions of ‘Some Lights’, ‘Sound Test’ and ‘Sticks and Stones’ across a 90 minute set. Josh Caffe’s live performance at Pinters brought pure sexual energy. A popular figure in the queer community, Caffe shone bright in Denim chaps as he performed ‘Do You Want To Take Me Home’ and ‘Free World’ alongside a live saxophone. It was a moment that highlighted his growing solo career.  Â
In and amongst the crazy music schedule, Houghton offered the chance to unwind at the Orchard – their wellness centre. Situated next to the lake, on offer were yoga classes and gong baths, as well as fresh juices and the option of a sauna as well. After a couple of hungover days it was much needed – as were the hammocks!
Closing the Sunday night saw two fan favourites draw in some of the largest crowds of the weekend. John Talabot at the Outburst stage delved deep into psychedelia, deep house and breakbeat. Constantly blending multiple songs, he delivered energy to a crowd after a marathon weekend, who much needed it. Whilst Riccardo Villalobas took the Pavilion stage by storm with his unpredictable, fun selections. His choice of Prince’s ‘When Doves Cry’ followed by a transition into De’Lacy’s ‘Hideaway’ displayed just how comfortable he was with the crowd, delivering a truly joyous end to proceedings.
A unique perk to attending Houghton festival is the free sculpture tour on offer at the neo-palladian mansion, which was built in the 1700s. Owned by Lord Cholmondeley who has an extensive array of artwork on show throughout the beautiful gardens. This year’s artist in residence was Anthony Gormley – best known for the Angel Of The North – with his Time Horizon installations. It was an experience for those that wanted to take in the event for all that it offered. There was also something refreshing about leaving the raucous atmosphere inside the festival to take an hour out learning about fine art.Â
Besides the music and programming, the stand out aspect of Houghton is the crowd it brings in. A lot of the people I met had been to the festival before, some had even been every year. Age is of no concern, veteran ravers dance alongside those who are just discovering electronic music in unison. Despite the event’s growing reputation, they’ve managed to maintain an inclusive atmosphere where everyone can freely be themselves.
This year’s edition of Houghton festival managed to surpass my expectations. The attention to detail of the team continues to push the event forward. Despite the loss of the Quarry stage to flooding, the festival transitioned seamlessly, instead placing a focus on the Stallions stage, expanding it and making it 24 hours; revellers chose to spend more time there instead. The quality of music on show is some of the highest I’ve seen at a festival and the freedom the site offers is unparalleled. We’re intrigued to see what direction the festival will head in next year.
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Words: Jake Wright