In the quiet depths of the Norfolk countryside, Houghton Festival once again claimed the grounds of Houghton Hall — another triumph for Craig Richards and his team. While driving to the site on Thursday afternoon, the trees began to close in, and the phone signal disappeared, which was a clear sign that Houghton was about to begin.
Photo Credit: Jake Philip Davis / Khali Ackford / Sienna Lorraine Gray
The weekend kicked off with Bobby, founder of Pleasure Club and fabric resident, behind the decks. His slick, unpredictable track selection kept the crowd on their toes, and when Oliver Huntemann’s electro banger ‘37 Grad’ dropped just as the rain started to pour, it became one of those moments that sticks in your memory.
Friday began with Hamish & Toby’s traditional curtain-raiser, this year at Earthling, which was preferred to last year’s Tantrum stage. Midday sun filtered through the trees as smooth percussion and warm beats filled the air, a perfect introduction to the weekend. Tracks like ‘Gonna Wait’ by Inland Knights matched the golden light perfectly, and watching the set build momentum and having the freedom to do so, as many do at Houghton, reminded me why DJs love returning year after year and is considered one of the best.
Later, Dr Banana b2b Lukas Wigflex took over the Pavilion stage, commanding the crowd with complete authority. Inflatable bananas bounced through the audience while colorful outfits added to the chaos, and ever-popular Sandy made his first appearance of two sets over the weekend. Da Sunlounge’s ‘Baby How Long’ set the tone, sending the crowd into a frenzy.
Next up, Peach delivered a three-hour set brimming with energy. Despite the heat, her enthusiasm radiated across the dance floor, the perfect showcase for a rising star whose momentum seems unstoppable. Ozagon followed with one of the weekend’s standout performances. The Pavilion, possibly the loudest outdoor stage I’ve ever experienced, shook with bass and crisp highs audible even from the very back. Earplugs were essential up front, but that didn’t stop the crowd from surrendering to her seamless fusion of house and techno — a clear reminder why she’s considered one of the best DJs around.
With Houghton’s 24-hour schedule, planning is nearly impossible, and Saturday promised to be one of those days. Friday night ended early in preparation for what was to come.
At 4 AM on Saturday, I reluctantly rose to start the day. The tiredness and cold was seeping through the tent, but the opportunity to watch Gene on Earth’s three-hour sunrise set was too good of an opportunity to miss. Entering the Pavilion, it was evident that the serious ravers had either stayed up all night or risen early — the energy was palpable. Gene played with total confidence, slowly building the set as the sun climbed, delivering moments few festivals can offer. Ten minutes before his set ended, he dropped ‘Hypnotize – Hypnoroom’ by Julio & Sebastian & Al Frediko, a 2001 gem with a vocal that refuses to leave your head and a punchy beat that had the crowd dancing as if it were the first track of the weekend. Speaking to Gene later, he called it “a real nugget” — and he wasn’t wrong. That set, that sunrise, that atmosphere was a masterclass in festival magic.
From there, Junki Inou took over the Stallions stage from 7:30 to 9:00 AM, a slot not for the faint-hearted. Far from easing into the day, Junki delivered an amazing blend of techno, house, and acid, blurring the line between morning and night. Stallions’ reputation for after-hours energy was fully justified and made it hard to leave for what was next.
Finally, for us, it was time for Terminus. Houghton famously never publishes set times, so finding out who was playing involved tracking DJ hints on social media and following rumours. Terminus is known for its long queues, which sometimes last over three hours, and even as a first-timer, navigating its hidden location added to the sense of adventure. The stage itself is spectacular, with a curved stairway that descends into a wooden pit surrounded by towering trees, and the dance floor made of unique wooden pellets. From 9:30 AM to 7:00 PM, I, along with many others, caught Tomas Station, Velasco, The Ghost, Hamish & Toby, and Ryan Elliot b2b Francesco Del Garda. The crowd remained locked in, the weather played its part, and each set provided moments to remember. Whether it was Hamish & Toby’s slightly heavier-sounding set, which was a powerful and fully controlled two hours, or the moments from Del Garda and Ryan Elliot with classics like Magik J’s ‘Come on Girl’, which has the crowd moving with the grooviest of baselines. The onsite food and smoothie stand was a thoughtful touch, allowing the crowd to replenish without having to leave and requeue, though queues still stretched 90 minutes or more due to Terminus’s limited capacity.
Saturday night was stacked with legends: John Talabot, Zip, Reptant, Jane Fitz, and DJ Masda all delivering across the site. Masda’s Pavilion set was a masterclass in precision and energy. Electro bombs like ‘Transmission’ by Skatman rattled through the towering speakers, the bass cutting so deep it felt like it was hitting your chest and your bones at the same time. The Japanese DJ had the crowd in a frenzy, every drop greeted with shouts and hands in the air. Pavilion’s production pushed it even further. Lasers sliced through the wonderful trees, scattering beams into a sky of shifting colours, wrapping the dance floor in pure atmosphere.
Before I knew it, Sunday had rolled around far quicker than expected and quicker than I had wanted, bringing with it another early start — this time for one of the slickest duos around. The Ghost took command of the Pavilion for a four-hour stretch, giving James and Josh all the space they needed to take us on a proper journey. They eased us in with warm, unhurried grooves that felt tailor-made for a Sunday morning, but by 1:30 PM the laid-back dance floor had morphed into a full-on party. Hands up, feet barely touched the ground, and tracks like James Andrew’s edit of ‘Lose My Breath’ by Destiny’s Child pushed the momentum higher and higher until the final beat left everyone wanting more. The pair were greeted with one of the loudest cheers of the weekend at the end of their set, which was fully deserved.
From there, I made my first trip to Tantrum for Peach b2b Gene on Earth, having already enjoyed both of their solo sets earlier in the weekend. The stage felt almost too small for the crowd it drew, but the squeeze only added to the buzz. The pair kept things playful yet driving, weaving in gems like DJ Phenix’s ‘Do U Love Me’ and Mysterious People’s ‘Fly Away’ (Joystick Dub Remix). With the sun blazing from the back of the stage and the crowd locked in, it was a set that couldn’t have fit the Sunday mood any better — the perfect bridge into the evening’s final stretch.
On the walk from the field back into the forest, I took a moment to really soak in the beauty of Houghton’s grounds. Few festivals can match them — sprawling lawns framed by towering trees, pockets of hidden stages, and incredible art installations scattered throughout. One standout was Pulse, an art commission from EBBA Studio led by Benni Allan, which created a serene space where festival-goers could pause, breathe, and watch the piece echo the rhythms of the forest around it.
By Sunday night, the weekend’s energy was still peaking, with two of the finest sets of Houghton saved for the final hours. First up, Francesco Del Garda, who delivered an absolutely relentless masterclass — three hours of pure momentum, every track landing with purpose. His selections were nothing short of inspired: a spine-tingling remix of Radiohead’s ‘Everything In Its Right Place’ (NTO Remix) that felt almost magical, and then later followed by DJ Phully’s ‘Daft Fader’, which was complete with outrageous Star Wars samples and a drop worthy of being crowned ID of the weekend. It was the kind of set that stops you in your tracks, the crowd breaking into spontaneous applause five separate times mid-performance, which is the most I have ever seen and was fully deserved.
Finally, it was Sonja Moonear — a tough choice, with Saoirse, DJ Hell, Call Super, and Freakenstein all playing elsewhere, but proof again of Houghton’s stacked lineup. Sonja was in the mood, seamlessly weaving between electro, techno, and house with her trademark precision and energy. The moment she sneakily dropped Camisra’s ‘Let Me Show You’ was pure festival magic — the crowd erupted, people jumping, hands in the air, and even a pair of crutches raised triumphantly above the dance floor. Who says house music can’t heal?
Before arriving, I’d seen the videos and heard the stories, but Houghton still managed to blow past my expectations. This isn’t just another festival — it’s a carefully crafted experience where the people, the sound, the lineup, and the setting all work in harmony. People put their worries to one side, and for four days, nothing but music is the focus. Houghton is light-years ahead of the rest, and the countdown to 2026 is already on.
