KENDAL CALLING 2025 - SATURDAY
From Travis to Total Chaos: A Day of Big Beats & Bigger Moments
★★★★★ (5/5)
FATBOY SLIM HEADLINING SATURDAY AT KENDAL CALLING 2025 - 202TH ANNIVERSARY
PHOTOCREDIT: JOHN HAYHURST
By Saturday morning, Kendal Calling 2025 was deep into its 20th birthday celebrations and showing no signs of slowing. The previous day had been a full-bodied mix of indie charm, outrageous nostalgia, and chaotic brilliance—from Daniel Bedingfield’s weird throwback set on the Parklands stage to Courteeners lighting up the Main Stage with their anthemic swagger. And while Friday had felt like a festival hitting its stride, Saturday arrived like a jolt of caffeine straight to the heart, with a stacked lineup that brought big names, bigger crowds, and more than a few surprises.
We start with a lilting performance by Scottish chanteuse Nina Nesbitt who charmed the early bunch with some pleasant sounds in the early sunshine.
Things kicked off under a familiar grey Cumbrian sky with The Pigeon Detectives, who wasted no time in turning the Main Stage into a sweaty, bouncing mess. Their energy remains utterly relentless, and frontman Matt Bowman was a blur of limbs and mic-lead acrobatics. “Take Her Back” and “I’m Not Sorry” had early risers singing like it was 2007 all over again, and the newer material slotted in without missing a beat. The band might be veterans of the scene, but they played with the hunger of a group still trying to prove something—and the Kendal crowd responded in kind.
There’s no end of food stalls at Kendal Calling and on the way to one, we heard the sound of “Baby Shark” done as a thrash metal cover, further inspection revealed Slay Duggee, where the band members are dressed as dogs. Ridiculously good fun.
Reverend & The Makers followed, bringing their Sheffield-born blend of electro-indie and defiant storytelling to an already warmed-up crowd. Jon McClure has long mastered the art of working a festival audience, and Saturday was no exception. “Heavyweight Champion of the World” landed like a knockout punch, while “Silence Is Talking” turned the crowd into a mass of swaying arms and knowing smiles. There’s a slight political edge to McClure’s banter, but it never feels preachy—more like a rallying cry. With the sun shining throughout, their set felt like the turning point of the day.
The Lottery Winners then raised the bar even higher with a Main Stage performance that felt less like a gig and more like a love-in. Known for their down-to-earth humour and genuine connection with fans, the Leigh-based band delivered a joyous, emotional set that proved why their star has risen so quickly in recent years. “Worry” had the whole field chanting, while “Let Me Down” brought more than a few tears. They bring out Jon McClure for “You Again” seeing as he was on stage an hour ago, but it was “Letter to Myself” that stood out—Tom Rylance introducing it with heartfelt words about mental health and hope, the song unfolding like a communal hug. There were tears, there were hugs. It was pure Kendal magic.
By late afternoon, anticipation had been steadily building for one of the weekend’s most iconic bookings: Travis. A band whose gentle presence and emotionally rich catalogue often feel out of step with the bombast of modern festival lineups—but that’s precisely what made their set so special.
Fran Healy, warm and understated, led the band through a set that was both nostalgic and surprisingly powerful. “Driftwood” and “Writing to Reach You” felt like distant but familiar memories, while “Sing” and “Why Does It Always Rain on Me?” turned the field into one giant choir. There was no need for frills or fireworks—just timeless songwriting and a crowd ready to feel it all.
We witnessed 2 amazing new acts on the Woodlands stage, KEO who drew a huge crowd, were like a younger noisier Wunderhorse and Freak Slug who dazzled with some moody grunge pop. Two key bands I definitely want to see again.
But as day turned to dusk, subtlety gave way to spectacle. Headliner Fatboy Slim arrived in full technicolour, taking Kendal Calling’s 20th birthday party into overdrive with a mind-bending mix of visuals, lasers, and dancefloor anthems. From the second “Right Here, Right Now” kicked in, the crowd was hooked, jumping as one under a kaleidoscope of lights. Norman Cook was a commanding presence behind the decks, blending classics like “Praise You” and “Weapon of Choice” with thumping edits of everything from Queen to Billie Eilish. It wasn’t just a DJ set—it was a masterclass in building euphoria. As giant smiley faces lit up the stage it was clear Kendal had its moment. This was the show people would be talking about for years.
Over at the Calling Out stage, Sports Team delivered something altogether messier, but just as memorable. Known for their chaotic live performances and frontman Alex Rice’s feral charisma, the band treated the late-night crowd to a sweaty, shouty, gloriously unhinged set. “Here’s the Thing” and “Kutcher” were met with frenzied jumping, while newer tracks suggested they’re not done evolving yet. There’s always been something of the house party about Sports Team’s shows, although for once in this tent the lighting was shocking but it felt like the perfect end-of-night release.
But there was still room for one last twist. Tucked away under the forest canopy at the Woodlands stage, Moonchild Sanelly closed out the night with a set unlike anything else on the bill. Blending gqom, hip-hop, and electro with unapologetic sexuality and razor-sharp political edge, she transformed the woodland into a late-night rave. Dressed like no one else and sounding like a future we haven’t quite caught up with, she moved through tracks like “Thirsty” and “Demon” with fearless energy. It was wild, it was sweaty, and it was absolutely spellbinding.
As the crowds drifted back toward their tents, some still dusted in glitter, others just dazed by the sheer variety of what they’d witnessed, the festival felt fully alive—joyous, chaotic, emotional, and proudly unpolished. And with Sunday promising a final blowout featuring Maximo Park on the Parklands stage, Frank Turner & The Sleeping Souls bringing their rousing folk-punk to the Main Stage, and The Prodigy closing the whole thing in what’s sure to be a seismic finale, it’s hard to believe Kendal Calling 2025 has only one day left.
REVIEW + PHOTOS BY: JOHN HAYHURST