LIVE REVIEW & GALLERY: DonnyFest @ Eco-Power Stadium, Doncaster
June 14th 2025
My wimpy southerner bones were put off by the forecast of rain, so I ended up doing something out of character and arriving well after the gates opened, which, in hindsight, I wish I hadn't, because while the weather was a little bit brass monkeys at times, it stayed fine all day. I'll remedy this next year and get there for gates, whatever the weather. As my dear old dad used to say, "You're not sugar, are you?"
The festival had moved sites to the Eco Power Stadium and changed names from Askern Music Festival to DonnyFest in the two years since its last outing. 2024 was cancelled due to licensing issues; however, most of the previous bill rolled across to the 2025 lineup. My first impressions? The organisers had done a great job. It was neatly arranged, and the layout had clearly been carefully considered, no huge walks between stages, but also positioned so that sound from one didn’t impede the other. Even the boom boom music from the handful of fairground rides that rattled your core on the approach to the site didn’t affect the acoustic or busker stages, which were outside the ground.
There was a nice array of food—maybe not the best choices for me as a veggie, but better than at some festivals I’d been to. A few little festival-style stalls sold silly hats and did face painting, which was fun. Inside the ground, the main stage was a decent size, and the festival had perhaps been slightly undersold, but in many ways that worked in its favour. It meant those wanting a chilled day could set up their chairs, sit back, and watch from afar. The bar was also nicely stocked and not priced extortionately.
Overall, my first impressions were nothing but positive. For a festival in a small South Yorkshire city returning to a new site after a year's hiatus, I think the organisers did a superb job. It had a wonderfully hospitable feel, a family-friendly atmosphere, and just an all-round warm, inviting presence.
Onto the music. Now, I must admit, for me, the lineup was a bit all over the place, and at a fairly cheap ticket price, I definitely saw people arrive for the band or two they liked and then leave. If I were to make a recommendation for future years, it would be to have a theme, say BritRock, ’90s Revival, or Local Legends (Yorkshire seems to be a hive of rising artists and long standing staples, might be a cool concept to celebrate all the county has to offer), and have a lineup that's more cohesive, where bands complement each other. This might also make it more appealing to a travelling audience. Of course, I can see what they were going for, a something-for-everyone appeal, but I think such a diverse lineup over two stages (I won’t include the busker stage, as that was all local, largely unknown talent) felt a little scattered.
Anyway, I said I’d get onto the music and continued to waffle. Now I really am going to talk about the actual music, haha! So this might be a little all over the place, as we were shooting and reviewing. Scott (editor and photographer extraordinaire) wanted to capture as many artists as possible, and since the acoustic stage started halfway through the main stage acts, I didn’t really manage to see many full sets.
So! I think I’ll group bands, the first batch all played the main stage. Afflecks Palace, the first band I saw on the day, The Farm, and The Twang all brought some baggy, Madchester nostalgia, with Afflecks Palace leaning into a more shoegaze-inspired jangle, dreamy textures, and a psychedelic vibe. They're not a band I knew beforehand, but I found myself captivated by their immersive soundscapes.
Liverpool baggy originators The Farm took to the stage with their blend of dance-infused indie rock, rooted in the swaggering ’80s Madchester scene. Catchy basslines and laid-back, slacker-style vocals transported everyone back to the bustling North West music scene of 40 years ago. Of course, anti-war (and now football terrace) anthem 'All Together Now' was a highlight and got the crowd in fine voice.
Meanwhile, The Twang—by far the most recent band of the trio, formed in Birmingham in 2004—brought the same slightly psychedelic-infused, slacker sound as The Farm but with an extra layer of jack-the-lad boyish charm. Their signature slightly off-kilter vocals transcended to the live setting with the same blasé charm as the recorded versions, with 'Either Way' and its semi-spoken delivery working perfectly live.
Moving across to explore the acoustic stage (tent), we had Mat Hook, Jamie Wooding, The 48ks, and Sam Scherdel. Mat, The 48ks, and Sam being local South Yorkshire lads, while Jamie hailed from slightly further afield in Lancashire.
Mat has powerful, emotive vocals that worked beautifully against the acoustic guitar backdrop, really bringing out the feeling in his words. There was a crisp, clean quality to his sound that I really enjoyed. His cover of The Beatles' 'Twist and Shout' to finish was a fun touch. I’d love to see him in a full band setting, I think it would only elevate his vocals further.
Jamie brought a very sentimental stage presence, with a real love-song feel—undeniably a very pretty sound that translated well acoustically, though it wasn’t entirely my vibe. I can’t say I’m a huge fan of overly soppy love songs. That said, his passion and sincerity were undeniable, and it was clear he meant—and had lived—every word. His voice was wonderful, reminding me of Gary Barlow in his more pensive moments.
The 48ks delivered a stripped-back set, with just two of the five-piece performing. Their sound offered buoyant melodies, melodic vocals, and excellent harmonies. The set spanned upbeat moments alongside more introspective forays, really showcasing their style, which oscillates between contemporary indie and something more firmly rooted in the past. A very enjoyable set—left me wanting to see them in full lineup mode.
Sam brought the tempo back up in the tent with a rockier energy, opting to squeeze his full band onto the tiny stage. His style leans classic rock—big hooks, catchy rhythms, and a whole lot of attitude.
I only ventured to the Busker Stage for one artist, as it clashed almost entirely with the other two stages and finished much earlier in the afternoon than the Main and Acoustic stages. I caught a bit of Bradley Smart, who brought a country flavour to the event. It was a typical busker setup—covers sung to a backing track. While country has never been my thing, his energy was solid, and he undeniably has a great voice. I would have preferred some self-penned tunes, though. Anyone who’s read my reviews before knows I just don’t like covers! That said, his small crowd were clearly loving it, line dancing along in full spirit.
Sorry, this review is a bit all over the place and doesn’t necessarily follow the flow of the event! What can I say, I’m a chaotic person!
Topping off the Acoustic Stage was the penultimate act, Starsailor’s James Walsh, followed by Simon and Oscar of Ocean Colour Scene fame.
I adored Starsailor in the early 2000s. “Love Is Here” is an incredible record, and I saw them tour it. I hadn’t listened in years, so I didn’t expect to remember much, but I was soon singing along to every word. 'Fever', 'Good Souls', 'Tie Up My Hands', and 'Alcoholic' all hit just as they had 24 years ago, working beautifully in their stripped-back acoustic form, allowing the passion and emotion to stand even taller.
He played a couple of his solo tracks, including 'Tulips' and a new song, which is always a risk at a festival, but they seemed to be well received. It’s clear James has been in the business a long time, his set was professional, emotional, melodic, and heartfelt. It was a real trip down memory lane, hearing songs I hadn’t heard in two decades, and I loved every minute.
In contrast, for Simon and Oscar, thinking I knew OCS well, I found I knew almost nothing. I believe their set was entirely OCS covers, as I don’t think they’ve released anything as a duo. It was a great performance; strong harmonies, a charismatic stage presence, exactly what you'd expect from another pair of musicians who’ve spent decades in the industry. That said, I would have liked to hear more of the bigger hits such as '100 Mile High City' or 'The Riverboat Song' would’ve been a welcome addition. I believe they closed with 'The Day We Caught the Train', but by then, I was back at the main stage.
Right, back to the Main Stage for the final furlong!
I was looking forward to Heather Small, not because I was particularly into M People in the ’90s, but for the nostalgia. However, I was left feeling a bit disappointed. Yes, she had some technical errors, the stage lost power! But, for someone who’s been in the industry since 1986, her obvious strop felt a little unprofessional and underwhelming.
That said, for a lady of 60 her voice still sounds great and the set was packed with hits like 'Renaissance (I'm Coming Home)', 'One Night in Heaven', and plenty more I could sing along to but not name. A definite blast from the past, a little trip back to my youth, but I couldn’t help finding it all a bit flat, like she was just going through the motions. Even the thank-yous felt ritualistic rather than heartfelt.
Not wanting to be a Debbie Downer, but the set didn’t hit in the way I’d hoped. I also think she wasn’t the best fit for a largely indie-rock lineup, her fans wouldn’t necessarily want to see The Twang etc, and vice versa. Definitely my biggest disappointment of the festival.
Now, onto both my biggest surprise and festival highlight! Former Kasabian frontman Tom Meighan.
I’ll admit, I expected to hate his lads lads lads demeanour. I never liked Kasabian for that very reason. While I love stereotypically blokeish genres (Pirate Metal, Grindcore, and Stoner Rock - I’m looking at you!), their laddish sound never did it for me (and believe me, I’ve tried!). However, Tom live is a totally different kettle of fish to Kasabian recorded!
Sure, he came across as fully of swagger and a bit a cocky, but that’s what I loved. A fiery, attitude-packed energy, blowing kisses (which almost felt sarcastic) to the crowd at every opportunity. The between-song dialogue was stitched together with fucking this and fucking that, all self-assured, kinda arrogant but oddly charming and charismatic at the same time, like he was playing a part to gee up the crowd. He made a point of getting the audience to say hello to his wife, likely a bit of a side swipe at anyone still judging him for the domestic abuse controversy.
I only knew the big hits, but even the tracks I didn’t recognise grabbed my attention. Big riffs, killer hooks, and a dynamic performance. 'Shoot the Runner' had a bluesy, syncopated groove, while 'Club Foot' dived into dirty, reverb-drenched territory, with drums that hit like bombs. 'The Exorcist' served as a solid introduction to his solo material, and the set finale 'Fire', Kasabian’s biggest hit, ignited the Eco Power Stadium.
While I don’t think I’ll be rushing out to buy Kasabian’s back catalogue on vinyl anytime soon, I was seriously impressed with Tom live. His energy, attitude, and rebellious streak lit up the stage.
Last up, the headliner, James Bay.
I’m sorry, but following Tom’s electrifying sound and high-energy performance, lukewarm, lovey-dovey mid tempo ballad-esque tunes brought the tempo down way too far. He’s easy enough to listen to, I guess, and there were some nice guitar solos, but even with the genre hopping; from rock to blues to country, it was uninspiring at best and downright bland at worst. Far too over romanticised for me.
A real damp squib in my opinion. I can’t help but think they could have spent far less on a headliner and picked someone who would’ve carried Tom’s energy forward. To be honest, the crowd thinned out dramatically, so I don’t think I was the only one feeling that way.
Final thoughts
While a few acts missed the mark for me, overall it was a decent small festival line-up and I can’t fault the organisation. Yes, the Main Stage had a glitch, but there were far fewer issues than Slam Dunk a couple of weeks earlier. It was clean, friendly, and well-managed. One of the best laid out small festivals I’ve been to. I left impressed, and I’m already looking forward to next year.
Hopes for next year
Ideally, a more cohesive line-up. Artists that complement each other, and a headliner who builds the event to a proper crescendo, rather than one that fizzles out. I’m pretty sure, local lads The Reytons or The Sherlocks would go down a storm. A bit of nostalgia with Feeder, Razorlight, or Space. Maybe Frank Turner, or even his newly reformed Million Dead could be fun. The Lathums, Courteeners, even a couple of international acts to mix things up.
Overall, there’s room for improvement, but this was a stellar effort, especially for a small comeback year after an enforced hiatus.
