Milkfest '26 live review: Charity blues event returns for its second year

Milkfest once again delivered a full day of live music celebrating some of the finest names in UK blues and blues-rock. Back for a second year, the one day festival was in aid of Dementia UK: The specialist dementia nursing charity supporting the whole family. Their Admiral Nurses provide expert advice and practical help to anyone affected by dementia whenever it’s needed, with a helpline open 364 days a year. So what better way to support their vital work, while bringing together some of the best talent in British blues.

Hosts The Milk Men opened proceedings and wasted no time getting the crowd onside with their punchy, no-frills blues-rock. Tracks including Miss Attention and She Don’t Like Rock and Roll set the tone for the day with energy and confidence. Blues favourite, Thomas Hepple also joined the band for a guest spot. It’s easy to see why The Milk Men have such a reputation as a live band, so make sure you see them on the road if you get a chance!

Fresh from recording in the US with Al Green’s band, and still shaking off the jet lag, Oli 'Mississippi' MacDonald followed with a set steeped in old-school blues. Songs such as (Someone Else Is) Steppin’ In blended southern tradition with a modern touch, delivered with warmth and soul. Keep an ear out for new track What Love Is.

Drawing inspiration from Chicago and Mississippi blues, Errol Linton has long carved out his own sound,what he calls Brixton Blues. Beginning his musical life busking on London streets, he’s become a leading figure in modern British blues. His harmonica work was a particular highlight: expressive, rhythmic and full of personality.

The early evening slot belonged to Hamish Stuart and Robbie McIntosh, two musicians whose careers read like a who’s who of musical royalty. Their relaxed acoustic set was filled with stories and effortless musicianship. Robbie’s acoustic guitar work, in particular, drew admiration.

Award-winning vocalist Alice Armstrong then raised the temperature with a commanding performance that fused blues, soul and rock. Blood in the Water and the sultry, Lady Marmalade-inspired Good Love were standout moments. Elles Bailey joined Alice onstage for a cover of Matt Long’s Better Days, featured on her latest album and on an upcoming tribute release dedicated to the late guitarist and songwriter.

Current UK Blues Band of the Year winners Brave Rival pushed the energy higher still. Their electrifying set, driven by big riffs and the commanding vocals of Lindsay Bonnick, showed exactly why they’ve become one of the most talked-about bands on the circuit. Tracks such as Poison and Fairytale brought a heavier edge to the afternoon’s blues-led line-up, and the crowd responded in kind.

Climax Blues Band brought a sense of heritage to the evening, revisiting favourites from their back catalogue, alongside newer material. Replete with plenty of brass and grooves, their performance served as a reminder of the enduring heritage of British blues.

Closing the festival, Chris Difford proved once again what a remarkable songwriter he is. Joking that he’d missed his Sunday roast to be there, the Squeeze co-founder delivered a set of well-loved classics including Cool for Cats, Up the Junction and Pulling Mussels (From the Shell). A little rough around the edges by his own admission, with minimal rehearsal, the songs needed little introduction, their wit and sharply observed lyrics reminding everyone why Difford remains one of Britain’s finest songwriters.

Milkfest once again showed just how broad and vibrant the UK blues scene has become, comfortably placing established names alongside newer voices and rising bands. More than just a day of music, it brought together artists, fans and a shared purpose in support of an important cause. If this second edition proved anything, it’s that Milkfest has quickly found its place on the calendar and it already feels like a tradition in the making.

For mor information or to donate to Dementia UK https://www.dementiauk.org

Review Cathy Clark

Photos Gerry Driver