Team Punktuation! are at the world's largest Punk festival in Blackpool, catching as many bands as they can!
Celebrating its 30th anniversary this year, Rebellion Festival, the world’s largest annual Punk event, returns on August 6th to 9th to its long-standing home, the Winter Gardens in Blackpool.
Initially known as Holidays In The Sun, the Winter Gardens first opened its doors to mark the then 20th anniversary of Punk, hosting headliners X-Ray Spex, The Damned and Buzzcocks for the landmark three-day event back in 1996. Another thirty years on, and Rebellion Festival is going stronger than ever, as Punk rock celebrates its 50th anniversary! Interest in the music and culture show no sign of dissipating, and the last two years have seen the festival completely sell out across the four-day gathering.
For the fifth year running, our intrepid Punktuation! team of writers and photographers – in 2026: Ruth, Florian, Herman, Per-Åke and Phil – bring you daily reports (and look out for our Introducing Stage Special Review next week!) from Rebellion Festival 2026:
Thursday – Ruth Rae’s Report
It’s the first day of the main festival, and I watch the entry queue snaking all the way around the building, as Punks from every corner of the world arrive at Blackpool’s annual gathering. Sporting hair of every hue, with decorative clothing, chains and studs aplenty, it’s a colourful and joyful sight to see!
Rebellion stalwarts Menace are up next, second band to grace the Opera House stage, which is mainly seated now, with the barrier much closer to the stage and less standing room. Opening with ‘One Two One Two‘ – rather appropriately after some sound issues which delayed the start of their set – the Opera House is soon rocking to songs old and new. Noel Martin and the lads are celebrating the band’s 50th anniversary this year, so it’s fitting they are part of the Rebellion anniversary celebrations. They’ve drawn a large and loyal crowd, and Menace reward them with the classics; ‘Insane Society‘, ‘Screwed Up‘ and the obligatory ‘G.L.C.‘ – the latter screamed out by a multitude of voices in front of them! Noel tells us how sad he is about Charlie Harper’s retirement next year, then Menace play their cover of UK Subs ‘I Couldn’t Be You’. It sounds mighty – the acoustics in here are better than ever!
Düsseldorf punks Dead Dates hit the Arena stage after lunch, and take no prisoners! Lead singer Opa adresses the audience – “It’s good to see they have released you from your care homes” and “Don’t mention the war!” Just two weeks ago, Dead Dates released their new EP and ode to the festival, ‘Rebellion in Blackpool’ to great acclaim, and word has clearly spread, as room is full. “Punk was never just about the music – it’s always been about standing against racists and fascists” states Opa, before the band launch into ‘Stand Up’. They finish with a cover of Wolfsheim‘s ‘Kein zurück‘, and a final number where the crowd are encouraged to join in. We really enjoy their set!
My favourite band Bar Stool Preachers have their fourth studio album ‘Party Eternal‘ coming out this October – I’ve already heard it and it’s bloomin’ brilliant! Taking the opportunity to blast our ears with firm fan new favourite ‘Pick A Side’, it’s wonderful to see the faithful in the front row singing along to every word in a packed out Empress Ballroom! The sprung floor is bouncing super high as everyone has brought their dancing shoes this afternoon. Bar Stool Preachers are thoroughly deserving of their main stage slot, and as always, they give it 1000%. The band’s first ever written song ‘One Fool Down’ gets its biggest mass sing-along yet! The crowd are well-trained, as there’s instant silence during the quiet part of ‘Flatlined‘, which allows Alex‘s beautiful piano solo to ring out. Singer TJ then has us all raising the roof with our “woah oh oh ohs”, then there’s a tremendous sing-along to ‘Bar Stool Preacher‘ to close the set – this BSP set is a massive highlight of a day that’s been incredible so far!
Sticking around at the Empress stage, it wouldn’t be Rebellion Festival without the legendary UK Subs now, would it? Charlie Harper, Alvin Gibbs, Stefan Häublein and Abe Inglis rock the foundations of the grand ballroom as only they know how, the crowd loving every second of their set. All the fan favourites are included, and the Empress goes wild. Kudos to the young folk who surfed over the barrier multiple times! Charlie urges us to raise the roof with ‘Warhead’ – and of course we comply! Abe is on fire – he’s a highly skilled, fantastic guitarist who has really made these songs his own. As there was an issue with the lighting rig, UK Subs went on a bit late, so they remain on stage and dive straight into their their encores – ‘C.I.D.‘, ‘I Live in a Car‘, and ‘Endangered Species‘ (which feels particularly poignant). An absolute belter of a set from the Subs!
Guadeloupe’s original Punk band The Bolokos have been relegated to the Arena stage this year, but that’s fine by me, as I’m just overjoyed to see them again! Fun and funky, bassist Océ Cheapfret, guitarist Edy Caramello and drummer Mister Fridge captivate us from the first note. Bringing their lively set to an absolutely rammed Arena, The Bolokos sing in a mixture of English and Creole, and their songs instantly have bodies moving and hands clapping. There’s real meaning to their heartfelt songs too – ‘Poisoned Land’ is about the damage done to Guadeloupe by the French government through mining, and has us all nodding in agreement. We’re encouraged to join in with the choruses of every song, and many gladly do! Edy ends the set by riding on the shoulders of someone in the crowd as we all cheer a stunning performance!
Tonight’s headliners in the Empress Ballroom are none other than The Stranglers – a band who have been going since 1974 – albeit with only the ‘barracuda bassist’ Jean-Jacques Burnel remaining from the original line-up. Something I’ve always maintained is that their songs stand the test of time, and if the massive crowd are anything to go by, I’m clearly not the only one! Guitarist and lead vocalist Baz Warne, drummer Jim Macaulay and keyboard whizz Toby Hounsham are on fine form tonight, despite the late hour, and The Stranglers blast through a set of favourites, including ‘Straighten Out‘, ‘Grip‘, ‘Nice ‘n’ Sleazy‘, ‘Relentless‘, ‘Golden Brown‘, and ‘Skin Deep‘. In ‘Peaches‘, Baz tries to get “United States of Americur” to rhyme with “sewer”!
‘Toiler on the Sea‘ sets the crowd bouncing again, with superb keyboard playing from Toby kicking its pace along nicely. ‘Always the Sun‘ fills the hall with many voices echoing its chorus. ‘Genetix‘ is a highlight – Jim’s drumming is superb, while Toby’s singing as on point as his playing. JJ takes lead vocals on ‘White Stallion‘, followed by ‘5 Minutes‘. Another highlght is ‘Tank‘ which has the floor shaking from front to back, accompanied by an impressive light show – shoutout to Stranglers lighting tech Pete! It’s gone midnight, but we are treated to two encores, boogie-woogie ‘Mean To Me‘, and traditional finale ‘No More Heroes‘. Well, today has been so amazing, as my Punk heroes are still very much alive and kicking!
Thursday – Florian Reith’s Report
What a perfect start to the 30th Anniversary celebration – from Korean “Death Punk Disco” to legendary UK punk icons, the first day delivered unforgettable moments, chaos, energy and pure punk spirit! Unlike previous years, my Rebellion Festival experience did not begin on Wednesday this time, but earlier on Monday. The reason was the festival’s 30th anniversary celebrations, which included numerous pre-shows throughout the week. Of course, I had tried to take things a little easier during the days before the festival to make sure I was ready for the week ahead. Nevertheless, I enjoyed every moment of the warm-up shows.
My first main festival gig took me to 18 Fevers from South Korea – a band I had been particularly looking forward to seeing. I had previously watched them at the RIS in 2023 and on the Club Casbah Stage at Rebellion in 2024, and they impressed me on both occasions. Seeing their journey continue and watching them move from the small RIS stage to the huge Empress Ballroom was a fantastic moment. From the second song onwards, vocalist Christmas Kwon picked up her Gibson SG and added even more power to the band’s sound. With ‘Gate Keeper’, the connection between the band and the audience was finally established. The catchy chorus immediately stuck in everyone’s head and showed exactly why 18 Fevers are considered one of the most exciting new bands in the international punk scene.
Their raw and energetic style sometimes brought back memories of the early The Stooges, while still feeling completely fresh and unique. Later in the set, there was another special moment when Maria from Hot Laundry joined the band on stage for a song, adding another highlight to an already impressive performance. Closing their set with ‘Save Your Venom’, 18 Fevers proved that they are not just an exciting newcomer band – they are also capable of delivering on one of the biggest stages at Rebellion. With their self-described “Death Punk Disco” sound and their explosive live performances, 18 Fevers have built a reputation in a remarkably short time. Their appearance in the Empress Ballroom felt like another important step on their journey.
Staying in the Empress Ballroom, the next band on my schedule was The Dollheads. The sibling trio from Las Vegas are another one of the most exciting young punk bands from the USA, combining classic pop-punk influences with an incredibly infectious live energy. Like 18 Fevers, they started their Rebellion journey on the RIS stage and have now reached the Empress Ballroom for the second time – an impressive rise in such a short period of time. Their set began in a way that many people probably did not expect. A huge scream followed by an intense drum roll opened a song that was almost leaning towards hardcore territory. From there, the band showcased the full range of their sound – moving between melodic pop-punk, classic punk rock and much heavier screaming sections. This mixture is exactly what makes The Dollheads so interesting.
A special highlight was their cover of ‘99 Red Balloons’, which was warmly received by the crowd. But the chaos continued afterwards. During the set, lead vocalist & guitarist Angela broke a string – “oh no, not again!” – but simply carried on playing with only five strings. Shortly before ‘Teenage Runaway’, another string broke. Instead of letting the atmosphere drop, the band turned the problem into part of the show. While the guitar was being repaired, Sam on bass entertained the crowd by playing parts of punk classics such as ‘Bro Hymn’ until the guitar was ready again. The final two songs brought the set to a perfect finish, including ‘Burger King’, which saw the first circle pit of the day open up inside the Empress Ballroom. A performance full of energy, chaos and pure joy – exactly what punk rock should be about.
Afterwards, I moved next door to the Arena for Splodgenessabounds. With this band, you never really know what to expect – and that unpredictability is a huge part of their charm. This time, the story behind the performance was almost as interesting as the show itself. The current line-up was a true all-star band featuring musicians connected to Die Toten Hosen, Chelsea, Buster Shuffle and Anti-Nowhere League. The only missing member was vocalist Max, who was unable to perform due to a sudden hospital stay. Get well soon, Max! Things did not become easier once the show started. There were microphone problems at the beginning, and the whole performance felt spontaneous and improvised – this was clearly not a band that had spent weeks rehearsing together. But that was exactly what made the performance so special. Behind the apparent chaos were musicians who were absolute masters of their craft. They knew exactly what they were doing, never took themselves too seriously and simply made the best out of every unexpected situation.
A particularly memorable moment came when the crowd joined the band in singing ‘Happy Birthday’ to Vom Ritchie, who was celebrating that day. What could have been a difficult and chaotic situation turned into one of the most charming performances of the day. The combination of incredible musicianship, self-irony and that unmistakable Splodgenessabounds spirit made this a truly special show.
Back in the Empress Ballroom, it was time for The Courettes. A band I have seen many times over the last few years in all kinds of venues and festivals. Whether it is a tiny club, a large venue or a huge festival stage – this duo always delivers. Once again, they showed why they are regarded as one of the most exciting live acts in the current garage punk scene. Their performance was packed with energy, attitude and pure rock’n’roll spirit. The big moment came with the almost eight-minute version of ‘Boom! Dynamite’, during which Flavia literally launched herself into the audience with her guitar, completely blurring the line between stage and crowd. But that was not the end of it. During the final song, Flavia jumped into the audience and was carried through the room on people’s hands while continuing to play guitar. It was the perfect image of her explosive stage presence. The celebration continued with ‘Let’s Have a Party’, a fitting choice for Rebellion’s 30th anniversary. And that was exactly what happened – the entire Empress Ballroom turned into one huge party. The packed room was completely alive, nobody could stand still, and The Courettes once again proved that they can create unforgettable moments on any stage.
Next, I headed to the Club Casbah for Bad Cop/Bad Cop from California. The four-piece had last appeared at Rebellion around ten years ago, making this return to Blackpool a long-awaited reunion with the festival audience. From the very first moment, their incredible enthusiasm was obvious. The band played with huge smiles, tremendous energy and genuine enjoyment. Their combination of melodic punk rock, catchy choruses and classic Californian punk attitude immediately connected with the crowd. Bad Cop/Bad Cop showed that, even after all these years, they have lost none of their passion or stage presence. It was a powerful reminder of why they remain one of the most loved bands in the American punk scene.
*The Subs are getting two reviews – because yes, they were THAT good! – Editor*
My personal highlight of the day – and possibly the moment of the year I had been waiting for – came next in the Empress Ballroom: UK Subs. Every time the UK Subs play the Empress Ballroom, it feels like something truly special. You know that feeling when a band who normally plays huge venues makes you wish you could see them in a tiny club because the atmosphere would be completely different? With the UK Subs, I feel the opposite. Seeing this band in front of around 3,000 people has been one of my biggest Rebellion Festival moments for many years. The show started slightly later than planned due to technical problems shortly before the performance. One of the stage lights had caught fire, and naturally the issue had to be solved before the band could begin. But once they walked on stage, there were no compromises.
Opening with ‘Emotional Blackmail’, the UK Subs immediately showed why they have been one of the most important names in punk history for decades. Raw, powerful and completely uncompromising. After the first three songs, during which I was taking photographs, I put my camera, my hat, my glasses and my jacket aside. I did not want to experience this moment through a camera lens anymore – I wanted to be fully part of it. The Empress Ballroom was absolutely packed. I honestly cannot remember ever seeing it this full. The atmosphere was incredible, the pogo was wild and energetic, but it was still filled with that important punk attitude of respect. People looked after each other, and everyone became part of the same unforgettable moment.
Then came the moment I had been waiting for: ‘Warhead’. For a few minutes, it felt like time stopped. The floor of the Empress Ballroom seemed to move, everyone around me was completely immersed in the moment, and I had goosebumps all over my body. This is exactly why Rebellion Festival means so much. Whether the UK Subs play at midday or at 10pm – they are the true headliners of this festival.
After this emotional experience, I headed to the new Conference Circle stage, where TV Smith played a solo set. Just one day earlier, I had already seen him perform solo at the Viva Club, where he exclusively played new and previously unreleased songs. This time, however, the approach was completely different: for the Rebellion audience, TV Smith delivered a set full of well-known songs from his incredible career. The former frontman of The Adverts has always proven that sometimes all you need is a guitar, an unmistakable voice and great songs to completely capture an audience. Even without a band, he created an intense atmosphere and once again showed why he remains one of the most important figures in British punk history. His set included songs such as ‘I Delete’, ‘Expensive Being Poor’ and ‘In the Arms of My Enemy’, taking the audience on a journey through different chapters of his career. The final song, ‘Runaway Train Driver’, was the perfect ending to this special solo performance.
My final show of the day took place at the Opera House with Buzzcocks. Opinions about the current line-up without the sadly missed Pete Shelley may differ, but Steve Diggle played with such infectious enthusiasm that any doubts disappeared very quickly. With a huge smile on his face, countless classics and an emotional ‘Harmony in My Head’, Buzzcocks brought my first festival day to a perfect close.
A truly unforgettable start to the 30th anniversary year of Rebellion Festival!
Thursday – Herman De Tollenaere’s Report
My 2026 Rebellion Festival began at 12:00 at the Opera House with old friends: Hagar the Womb. Originally founded in 1980, as part of the London anarchopunk scene, but more colourful and humourous than the clichés about anarchopunk say. They disbanded in 1984 and reformed in 2011. Founding members, singers Karen and Ruth, are still present. Bassist Mitch has been with them since the 1980s. Guitarist Lorna is also the bassist in Rabies Babies. The other guitarist is Paul Harding. Mike Howe plays drums. I have great memories of them opening for Pussy Riot in Leuven and for the Steve Ignorant Band in the Melkweg in Amsterdam. And Hagar the Womb surely did not disappoint in Blackpool. The Opera House was not full yet, so early, but the audience was, correctly, very enthusiastic. So was the band! Singer Karen moved as close to the fans as possible. During the song ‘Dressed To Kill‘, bassist Mitch moved among the audience, returning to the stage at the end of the song.
I moved to the Literary stage, which hosted a special event – Celebrating Poison Girls – with musician Peter Jones and author Rich Cross. At first, Peter interviewed Rich about his new book, ‘This Is a Message to Persons Unknown: The Story of Poison Girls’. Rich Cross said that there should have been a Poison Girls book much earlier. Now, at last, his book has been published. It is not widely known that Bella Donna, the original Poison Girls bassist, helped to finance the first Buzzcocks EP, ‘Spiral Scratch’, and that Poison Girls got the Buzzcocks their first gig in Brighton. Also, Vi Subversa helped Crass to finance their ‘Stations of the Crass’ LP. When Poison Girls decided to become more independent of Crass, Steve Ignorant completely understood.
Peter Jones is the guitarist of Dublin, Ireland band Paranoid Visions. He also founded DIY punk labels FOAD Records and Rotator Records. Peter attended Poison Girls shows in Ireland at 15 years old, saying “they changed me forever”. The next year, in 1982, he co-founded Paranoid Visions. Peter talked about the upcoming Radical Architects special tribute set, which will pay homage to the classic anarcho-punk band Poison Girls on Friday, playing their debut album ‘Hex‘ in full! He was very happy that Molly Vulpine was happy to take on singing duties.
Lesley Woods of Au Pairs was up next on the Literary stage, interviewed by Cherry B. Cherry started with a poem, saying that Lesley was “back, and better!” In 1978, Lesley was the co-founder, singer, and guitarist of the early line-up of the Au Pairs. She played solo sets at earlier 2020s Rebellion festivals and in The Hague. In 2025, she became co-founder singer, guitarist of the recent new line-up of the Au Pairs. She said she felt it was great to reconnect with the punk community. So many Mohicans, even children with Mohicans! She had learned classical guitar at school, then electric guitar. When punk came, that broke down the straitjacket in which women in music had been confined so far. The first Au Pairs gig was at the Fighting Cocks pub in Birmingham. Then they played many gigs for Rock Against Racism, Rock Against Sexism, and more. Too many gigs caused burnouts, and the band had stopped communicating with each other. “We stopped. I became a lawyer, but now I want to dedicate the last part of my life to music. Our new bassist Estella is a great instrumentalist and a great person. Thanks Thurston Moore, for helping me with our new drummer and guitarist. So great, to be at Rebellion. I really feel I belong here, among all punks.”
Carol Hodge succeeded Lesley on the Literary stage. Cherry B again introduced her with a poem. Playing keyboards and vocals in the Carol Hodge Band and the Steve Ignorant Band, she had already played with Steve in the acoustic band Slice of Life. Carol Hodge grew up in Barrow on Furness. There was a great music scene there in the 1990s, with many venues. When she was fifteen, she joined her first band, singing covers of Nirvana and Green Day. She said it was great to meet Steve Ignorant and join his band! It makes her sad that in 2026 there is still so much misogyny. She wants to make her artwork without AI.
Remaining at the Literary stage, next up was Bow Wow Wow‘s Annabella Lwin. In 1980, Adam and the Ants manager Malcolm McLaren convinced backing band members guitarist Matthew Ashman, bassist Leigh Gorman, and drummer Dave Barbarossa to abandon Adam Ant (who Malcolm considered “too old at 25 years”). The then 13-year-old vocalist Annabella Lwin was recruited as singer to complete the lineup of Bow Wow Wow. Three years after Adam, it was Annnabella’s turn to be sacked, reading about her dismissal in the New Musical Express. She told us that her first book, which may be out later this year, is called ‘The Truth’. She chose that name because earlier writings about Bow Wow Wow contained many untruths. She did not work at a launderette, but at a dry cleaners, when she was thirteen. Her family needed the money. Annabella considers Malcolm McLaren a genius. “We immediately clicked. I was at his funeral, where I met Vivienne Westwood, unfortunately for the last time. Adam Ant is a great person, it was not fair that he was kicked out of the band.”
Then, I made sure I saw the Au Pairs in the Opera House. I have good memories, both from their early line-up in 1981 in Rotterdam, and their new line-up in 2026 in Arnhem and Leiden. On the left of the band’s front line, Lesley Woods, red hair, all the rest, including her guitar, in white. Centre stage was Estella, all in black, including beret, bass guitar and boots. On the right, the male guitarist was also in all black. The audience was very enthusiastic, with much dancing. They played the song ‘Armagh‘ which is about the torture of female prisoners in Northern Ireland. It was such a great contrast between Lesley, in her effective, sarcastic and deadpan voice exposing politicians lying about torture; and Estella, dancing frantically like a carefree teenage girl while not forgetting for one microsecond to play her great bassline contribution to the song. It was an example of what Punk often is; serious song subjects while at the same time, the band and audience have a great time. I should not talk too much about unity of contradictions in Hegelian philosophy … A great end of my first Rebellion 2026 day!
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Usually found jumping around down the front at gigs, I also relish taking photos and videos, singing, speaking with fellow music fans, and asking musicians the questions nobody else does. Writing about my favourite bands and connecting with people who love music too keeps me more-or-less sane! I’ve worked for over 25 years at a video production company, mainly filming live music events, therefore I have an additional backstage perspective on the scene.
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