REVIEW BY GLEN PARKES IMAGES BY GLEN PARKES DAVE MARTIN AND MICK SAYCE
As the second day of Maid of Stone 2025 unfolds, grey skies loom overhead, threatening disruption. But those ominous forecasts quickly prove hollow with just morning rain but when we hit lunchtime not even a hint of drizzle could douse the fire that ignites across the festival grounds. Now well into its stride as one of the UK’s standout rock gatherings, the event pulses with electricity from the first downbeat.
Launching Saturday’s proceedings on the the Inferno stage is blues-rock force Jack J Hutchinson, who wastes no time setting a high bar. His fusion of old-school grit and modern swagger stirs early risers into motion. With raw guitar tones and a voice soaked in soul and gravel, he sets the day’s pulse racing, drawing an enthusiastic crowd who respond with knowing nods and raised horns.
Meanwhile, the Firestarter stage fires up with the energetic double hit of Big River and Bobbie Dazzle. Both acts serve as a fine contrast to each other – Big River delivers blues-infused rock ‘n’ roll with a seasoned, earthy warmth, while Bobbie Dazzle turns up the attitude with a punchy, groove-laden set that struts confidently across genres. Together, they create an early-day momentum that carries across the site like wildfire.
Later in the day, we dive headfirst into the kaleidoscopic realm of Rosalie Cunningham. Formerly the voice and vision behind Purson, her solo set is a wild, whimsical trip that defies genre. Equal parts cosmic theatre and retro-infused rock odyssey, she conjures a world where the boundary between performance and ritual disappears. Think kaleidoscopic lights, eccentric costume, and a voice that can soothe or shatter. Her band backs her vision with precision, as she channels an aesthetic that spans acid rock, glam decadence, and Victorian oddity. A truly immersive experience.
Next comes a whiplash shift in tone with the entrance of Florence Black. the Welsh three-piece step into a coveted slot and proceed to annihilate expectations. Fueled by razor-sharp riffing and aggressive dynamics, they explode with furious anthems like “Zulu” and the anthemic call-to-arms “Look Up.” It’s no-frills rock, hardwired with adrenaline, and the reaction proves how much this band has carved out a place in the hearts of the heavy music faithful.
Kim Jennett lit up the Firestarter stage with a fierce, commanding performance that proved why she continues to turn heads across the rock circuit. From the moment she stepped out, her stage presence was electric—radiating confidence, energy, and sheer vocal power. With a voice that moves effortlessly between raw grit and soaring melody, she tore through her set with both precision and passion. Her interaction with the crowd was instinctive, drawing the audience in with every note and defiant lyric. Backed by a tight, thunderous band, Kim delivered a set that felt both deeply personal and gloriously explosive—marking her as a true standout of the day.
Revenant took to the Firestarter stage with the kind of assurance that speaks volumes about their rising status in the UK rock scene. Their set was tight, well-rehearsed, and delivered with a conviction that left no doubt about their professionalism. From the moment the first chord rang out, it was clear this was a band in full command of their sound and their audience. Each track flowed seamlessly into the next, showcasing their sharp songwriting and slick transitions, while the band’s natural chemistry onstage gave the performance a dynamic edge. Whether hammering out heavy riffs or locking into melodic grooves, Revenant demonstrated that they’re not just a band with potential – they’re already the full package.
As the dust settles from their sonic assault, the stage welcomes a player whose guitar wizardry has captured the internet’s attention and beyond – Sophie Lloyd. Taking the spotlight in true rockstar fashion, she blends technical prowess with fiery stage charisma. Joined by powerhouse vocalist Nathan James – known for fronting Inglorious – and former bandmate Marisa Rodriguez on drums, Lloyd constructs a set that’s both emotionally resonant and sonically ferocious. Her fretboard fireworks dazzle, but never feel indulgent.
A particularly touching moment arrives mid-set, when Lloyd leads a heartfelt instrumental tribute to drummer Chris Painter’s late father. As the final notes hang in the air, there’s a collective pause – a rare, poignant moment that silences the crowd and etches itself into memory. It’s not about showmanship here; it’s about connection.
To spice things further, Chris Robertson of Black Stone Cherry steps up for a guest vocal turn on “Let It Hurt,” elevating the set even higher. It’s a cross-generational rock family moment, met with roaring approval from the packed field.
With emotions still running high, The Raven Age follows. Their polished, cinematic take on modern metal is rich in atmosphere and meticulous in execution. Tracks build with precision, choruses soar, and the musicianship is evident. Yet despite the sheer professionalism on display, there’s a sense that the crowd is a little distracted – many eyes, it seems, are fixed on the long snaking line for autographs from the headliners-in-waiting. Timing can be cruel, even to the most accomplished performers.
Fortunately, it falls to Ugly Kid Joe to grab the day by the scruff of its neck and bring the fun back into focus. The Californian outfit, long synonymous with irreverent energy, immediately re-establish command. Frontman Whitfield Crane blends manic charisma with genuine warmth, flipping between hype man and mischievous ringleader. The crowd obliges every instruction, whether it’s to jump, clap, shout or just smile. Tracks like “Neighbor” and “Cats in the Cradle” hit with all the expected nostalgia, but it’s their cover of “Ace of Spades” that takes everyone by surprise – it’s loud, fast, and totally unhinged. Glorious chaos.
Back on the Firestarter stage, Beaux Gris Gris & The Apocalypse deliver a masterclass in genre-blending bravado. With a name that suggests both drama and intrigue, they more than live up to it. Vocalist Greta Valenti is magnetic, commanding attention with both her presence and her pipes, while guitarist Robin Davey slings licks soaked in southern spirit and raw blues authenticity. Their set feels less like a performance and more like a spiritual revival – rock and soul tangled with gospel fervour. Highlights include the sultry “Wild Woman,” the hypnotic “Oh Yeah,” and the swaggering “Satisfy Your Queen.” If there’s a band destined to shake up the festival scene in 2025, it’s these genre-dodging misfits. They may be playing a smaller stage, but their impact is monumental.
All roads, however, lead to tonight’s marquee moment – the arrival of Kentucky’s favourite sons, Black Stone Cherry. With a loyal UK following and a string of anthems to back it up, their headline spot is both deserved and long-awaited. Paul Anthony of Planet Rock introduces them with the kind of respect usually reserved for royalty, and as soon as they hit the stage, it’s clear why.
From the first riff, the chemistry between the members is obvious. Chris Robertson’s voice is as rich and powerful as ever, delivering every line with conviction and soul. Guitarist Ben Wells and bassist Steve Jewell command the stage with kinetic energy, racing from one end to the other, throwing shapes and firing up the crowd like seasoned generals. Their drummer, John Fred Young, remains an unstoppable force behind the kit, laying down thunderous grooves with joyful abandon.
Newer material like “Out Of Pocket” slots seamlessly alongside classics, while deeper cuts like “Devil’s Queen” add grit to the set. One of the night’s most moving moments comes with the dedication of “Things My Father Said” – a touching, universal tribute that leaves more than a few misty eyes glistening under the stage lights. The way Robertson speaks to the audience – humble, heartfelt – reinforces what’s always made this band special: their authenticity.
By the time the closing chords ring out, there’s no doubt that the crowd has been part of something memorable. Maid of Stone 2025 may have started with storm warnings, but ended with a celebration of music’s power to uplift, unite, and endure. Day two was a testament not just to great bands, but to the community that gathers to hear them – rain or shine.
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