I’ve always been of the opinion that Deer Shed Festival is a state of mind. But for 2025, they’d gone better and dubbed the weekender ‘A sense of place’, emblazoning the tagline on entry wristbands and across the DS marketing collateral. And, for the fourth year running*, I can confirm it did both statements justice.

When it came to firsts, however, rather than staying locally, we took the plunge and camped. Arriving just as Joan As Police Woman assumed the Main Stage, we set to work with tent poles and pegs, and soon had a fit-for-purpose five-man up within sight of the food vendors. And with one of my most treasured parts of Deer Shed being the array of delicious delights to chomp and nibble on, this felt pretty perfect. 

Down along what I’ll affectionately call ‘The Strip’, where a row of vintage garments pop-ups meet food and drink stalls, and the Crash Records tent stands proudly, there was the usual buzz of liveliness. Glitter-splattered faces merged with those donning furry tails and blowing bubbles larger than life — oh, it was good to be back.

Before long, we’d settled on the most epic burgers (with fries, don’t judge us) and had a mooch around the whole site. Anthony Szmierek was on up at In The Dock, though people had insterted themselves on to camping chairs and made themselves their own little areas, in readiness on the hill for Friday’s headliner, Wunderhorse. As Sprints had sadly dropped out a couple of weeks ago, it was likely that the rockers were the heavy favourites of the families with token moshers. And ourselves, of course. 

The outline of their emblematic mascot — a sort of demonic bunny or human with ears? — went from black to a slowly filled red neon art installation. Then after their walk-on, the much-anticipated ‘Midas’ (from the namesake record) rang the band in.

The delicate yet dark ‘Emily’ was one of the initial tunes on their setlist, and there were some very swish guitar swaps between that point and the long interlude ahead of the crowd-pleasing ‘Leader of the Pack’. ‘Purple’ was an evident thrill for the fans, while the newer ‘The Rope’ also went down a treat.

These guys had effortless talent but without that moody, forced swagger you sometimes get from growing rock outfits; Wunderhorse were just pure class throughout. Their frontman even lit a cig to sing guitar-free towards the end.

Before a full-on thrashy, scuzzy end to proceedings, their penultimate pick happened to be one of my top bops of theirs; the super-grungy (and apt, time-wise) ‘July’. Wow, we could’ve watched them play all night. 

Of the other music we caught, there were some total knockouts. In no kind of order, Sarah Smout with her loop pedal and trusty cello, Bernard, stole the ears and imaginations of the seated crowd that had gathered under the canopy of the Lodge. Performing what sounded like Game of Thrones-esque stringed songs with just vocals, she instantly fascinated us. Sarah also stated she’d recently returned from a residency in Svalbard, with a carbon fibre cello. Yep, recording and playing out in the Arctic?! So cool. No pun intended. She had to relearn these tunes for us, at her only festival this year, and we lapped them up. Poems, bursts on the ukulele, ‘Homing’ — a song about the salmon going up river — the list of goosebump-inducing numbers went on. Strings just have that effect on me. 

We were also clapping in no time for Jacob Alon from bonnie Scotland, who emerged with this soft, gorgeous vocal clarity atop of keys, a violin and guitars. Excellent. There was also this saluting, trumpeting noise at the beginning of one song that was made using the mouth — impressive to say the least! Each track showed the capabilities of their very descriptive lyricist, and it was mentioned that Yuri from Honeyglaze had played drums on the latest studio record. Jacob Alon also had a knack for intricately plucked acoustic strings — another yes in our book. 

Cowboy Hunters were actually the first on the Main Stage on Saturday. They’d won the festival’s ‘Apply to play’ scheme, in conjunction with EMI North — a whopping coup for them! Punky and suitably noisy, it blistered through the park as we gobbled veggie burritos and did laps of all the fun. 

Throughout the course of things, we caught some Adult DVD from outside In The Dock, some ultra-groovy, Ghana-based Tommy WÁ that had us dancing without a care in the world, and Sam Amidon’s American country/folk set, punctuated by the cover of Lou Reed’s ‘Big Sky’. All superb! 

What really ups the ante at Deer Shed and pitches it as so distinct from other festivals is its family-friendliness and penchant for the arts. From literary readings (including with Tiffany Murray, whose ‘My Family and Other Rock Stars’ is now on my must-buy books list), to the hilariously named Feral Farm, as well as kayaking, SUP yoga, and more sports, there’s a wealth of things to do and experience. We even saw kids tinkering with wood pallets! And despite the sun and warmth outside, many were lured into the science tent to try out old SEGA games, soldering, and other workshops.

Down at Wilderwild, a sauna, cold plunge and wild swimming were the draws for active types. Bee saving, pottery, copper-ring making? That was all there, too. Plus, you couldn’t miss the small-but-cute stage for sets (including secret, late-night fireside sessions — wholesome or what?). We were just in awe — maybe more so than ever before! That poetry’s really rubbing off on me…

Deer Shed is a real community; a dreamworld of creative potential that we relish the chance to be involved with. So, dare I say, we can’t wait to return? Roll on 2026, when we’ll hopefully see you there.

*With huge thanks as always to Hanglands for the press and photo pit passes.

Phone pics are Imogen’s as standard, but follow InthemomentJC on Instagram for professional shots, collabs and job enquiries.