Day Two at Belladrum: Sunshine, Smiles, and Non-Stop Music!
The second day of Belladrum kicked off in the best possible way, with clear blue skies stretching out overhead and just a light breeze gently nudging the clouds along. It was the kind of morning that put a spring in everyone’s step, and fans clearly felt it too, arriving nice and early to make the most of a jam-packed day of live music across the beautiful Highland estate.
From the very first afternoon sets, you could feel that lovely festival energy building. There’s something special about that early buzz, isn’t there? People chatting excitedly, grabbing their first drinks of the day, and finding the perfect spot to soak up the first act. As the hours rolled on, the atmosphere just kept growing, carrying that unmistakable feel-good vibe right through to the closing headline slots in the evening.
Whether folks were dancing away at the front of the crowd or relaxing further back with friends, the whole site was buzzing with exactly the kind of warmth and excitement that makes a festival day truly memorable. Honestly, it’s hard to beat that feeling when the sun’s shining, the music’s flowing, and everyone around you is having the time of their lives!
At the Hothouse Stage, Shay O’Dowd made his Belladrum debut with a quiet, understated confidence that gradually drew the crowd in. Rather than demanding attention from the outset, he let his songs do the work, and the audience responded in kind, warming to him more with every track. There was a lovely, unscripted moment partway through the set when someone shouted out the name of one of his old teachers – a small, unexpected connection that spoke to just how tightly knit the local music scene can be. It was a fleeting exchange, but it landed perfectly, breaking down the usual distance between performer and crowd and adding a touch of warmth to the afternoon.
That sense of ease seemed to carry through the rest of the performance. O’Dowd’s songwriting connected with the audience in a genuine way, each track building on the goodwill of the last, and it was clear he was relishing the moment himself. His evident enjoyment wasn’t performative – it showed in small, natural ways: a loosening of shoulders, an easy exchange between songs, a smile that crept in unbidden. That authenticity translated directly into the performance, making for a set that felt less like a debut and more like the work of someone already comfortable on a festival stage.
Over in the Grassroots Tent, Willie MacAskill set an unmistakable alt-country tone for the early afternoon, his folk-leaning songs drawing in a respectable crowd despite the modest hour. Armed with little more than his weathered guitar and a warm, unhurried voice, he eased the audience into the day with an understated confidence that belied the size of the space he was filling.
There was nothing rushed about his approach. MacAskill built each song steadily, chorus by chorus, layering in harmonies and letting melodies breathe before pushing them toward their natural peaks. His between-song banter was minimal but charming, the kind of low-key stage presence that invited listeners to settle in rather than demanding their attention outright.
By the time his set wound down, he’d done exactly what an opening slot requires: he got the tent’s afternoon programme off to an easy, unforced start, warming up the space both sonically and atmospherically for whatever was to follow. It was a quietly effective performance – unshowy, but the kind that lingers pleasantly in memory long after the next act has taken the stage.
At the Seedling Stage, Dr Wook and The Hollow Pine delivered a set of blues-inflected alt-rock that commanded the tent’s attention from the very first riff. There was nothing tentative about their opening – the sound had real punch, gritty and full-bodied, the kind that settles into your chest and stays there.
What set the performance apart, though, was the songwriting. Beneath the muscular guitar work and rhythmic drive ran a clear thread of storytelling, with lyrics that felt lived-in and purposeful rather than incidental. The band seemed genuinely invested in the narratives they were spinning, and that conviction translated into a crowd that stayed locked in from start to finish, heads nodding, eyes fixed on the stage.
It was a set built on chemistry as much as craft. Each member appeared attuned to the others, letting solos breathe when needed and pulling back to let the vocals carry weight elsewhere. Nothing felt rushed or overplayed – a balance that’s often missing in early-day festival slots, when bands can be tempted to overcompensate for a still-waking crowd.
By the time they closed, Dr Wook and The Hollow Pine had firmly established themselves as one of the standout early acts of the day, setting a high bar for everything that followed on the Seedling Stage.
Down at the Potting Shed, Trailer Trash kept the energy high with a rousing mix of upbeat country and Americana, the kind of sound that makes it impossible to stand still. The dance floor stretched across the entire space, packed with festival-goers of every age – toddlers, teenagers, parents, and grandparents alike – all moving together to the same infectious rhythm. It was a joyful, unpretentious scene and one that captured something essential about Belladrum itself: a festival built not around exclusivity or cool detachment but around togetherness. In that single moment, with generations dancing side by side under the same roof, the event’s family-friendly spirit was on full display, summed up perfectly in one warm, lively snapshot.
Meanwhile, in another corner of the festival grounds, the busking band The Kevs were busy lifting spirits with their infectious energy and lively covers. Known for putting their own spin on classic hits, the group delivered a set that included cleverly reworked ABBA songs, transforming familiar anthems into something fresh and distinctly their own.
Their performance quickly drew a crowd, as curious passers-by slowed their pace, then stopped altogether, unable to resist the pull of the music. Before long, what started as a handful of onlookers turned into a full-blown impromptu singalong, with strangers joining voices and swaying together in the afternoon sun.
It was a small but telling moment – one that captured something essential about the festival experience. Amid the buzz of headline acts and the pull of the main stages, it’s often these unplanned, spontaneous encounters that linger longest in memory. The Kevs’ set was a joyful reminder that magic doesn’t always happen under the spotlight; sometimes it’s found in a quiet corner, sparked by a few chords and the willingness of strangers to sing along together.
Scouting For Girls restored the Hothouse Stage to its full crowd-pleasing glory, capturing the audience’s attention from the very first note. The band launched straight into a string of beloved hits, including “She’s So Lonely”, “Elvis Ain’t Dead”, and “Heartbeat”, each one landing with the kind of instant recognition that sent a ripple of excitement through the crowd.
This was clearly a set designed for maximum sing-along potential, and the audience needed no encouragement to join in. Voices rose in unison with every chorus, hands shot into the air, and the atmosphere quickly transformed into something closer to a communal celebration than a typical gig. The band fed off that energy, playing with an infectious enthusiasm that matched the crowd’s own.
By the time the familiar hooks and singalong choruses had worked their magic, it was evident that Scouting For Girls had delivered exactly what the Hothouse Stage needed – a joyous, unifying performance that reminded everyone why these songs had become such enduring favourites in the first place.
On the Garden Stage, Irish singer Nathan Carter delivered a set that skilfully blended his own original material with a selection of well-chosen covers, transitioning effortlessly between upbeat rhythms and heartfelt melodies. Throughout the performance, the crowd was fully engaged – dancing, clapping, and singing along to fan favourites like “What’s Up”, “The Rambling Rover”, and “Waggon Wheel”. Carter’s rich, expressive voice carried across the venue with ease, while his warm, confident stage presence made clear why he’s become such a reliable draw at festivals. It was evident from the audience’s energy and enthusiasm that Carter has mastered the art of connecting with a crowd, turning what could have been just another set into a memorable, communal experience.
The Grassroots Tent then erupted into something closer to pure theatre than a conventional music set as The Crazy World of Arthur Brown took to the stage. From the very first moment, it was clear this would be no ordinary performance. Dramatic, otherworldly costumes transformed the stage into a spectacle of colour and eccentricity, while fearless, uninhibited performing pushed the boundaries of what audiences expected from a live show. There was a palpable sense of gleeful audacity running through every gesture and note, as if the performers were daring the crowd to keep up with their theatrical excess.
The result was a set that left people genuinely stunned – caught somewhere between disbelief and delight. Conversations paused mid-sentence, phones were momentarily forgotten, and the tent seemed to hold its collective breath as the spectacle unfolded. If you’d come searching for performance art happening in real time, raw, unpredictable, and utterly captivating, this was exactly it. It was a reminder that music festivals can still surprise you, still conjure moments of genuine theatrical magic that linger long after the final note fades.
Back on the Garden Stage, Scotland’s soul favourite Brooke Combe took command of the afternoon with a set that showcased both her raw talent and her evolving artistry. Her performance of “Talkin’ Bout Headaches”, backed by the Lanewood Pines, revealed an artist still finding new dimensions within her sound – confident in her voice, yet clearly experimenting with fresh textures and arrangements that hint at where she’s headed next.
The set’s standout moment came with her cover of Barbara Lynn’s classic “You’re Losing Me”, a soulful rendition that had the crowd singing along and dancing without hesitation. Adding to the charm of the moment, fellow Scottish artist Callum Beattie joined in from the side of the stage, clearly caught up in the energy of the performance – a small but telling gesture of the camaraderie within the local music scene.
Watching Combe work the stage, it’s easy to see why her trajectory feels so promising. Her rise has been steady, built on genuine talent rather than hype, and each performance seems to bring her one step closer to the festival’s bigger stages. If this set was any indication, it won’t be long before she’s headlining rather than warming up the Garden Stage crowd.
Kula Shaker, fronted by the ever-charismatic Crispian Mills, took over the Garden Stage for a headlining performance that proved utterly immersive from the very first note to the last. The band’s signature blend of psychedelic rock and spiritual undertones permeated every moment of the show, creating an atmosphere that felt more like a communal ritual than a simple gig.
The setlist was a masterclass in crowd-pleasing favourites. “Lucky Number” and “Hey Dude” brought infectious energy and singalong hooks, while “Tattva” showcased the band’s deeper, more meditative side, blending Eastern-inspired melodies with driving rock instrumentation. “Hush” rounded things out with its timeless, feel-good charm, drawing enthusiastic responses from all corners of the field.
Adding to the sensory experience, wafts of incense drifted through the crowd, enhancing the psychedelic ambience that Kula Shaker have long been known for. Swirling lights, hypnotic grooves, and Mills’ magnetic stage presence combined to transport the audience somewhere far beyond the festival grounds.
Throughout the set, fans danced freely and sang along with abandon, fully swept up in the band’s infectious energy and undeniable chemistry. It was clear that Kula Shaker’s music continues to resonate deeply, decades after their initial rise to fame.
For anyone yet to witness Kula Shaker live, this performance served as a compelling reminder: if the opportunity arises, seize it. Their live shows are a genuine experience – equal parts nostalgia, spirituality, and pure rock and roll euphoria.
Over on the Hothouse Stage, The Human League brought the night to a triumphant close with a set that oozed confidence and polish. The 80s synth-pop icons proved they’ve lost none of their edge, moving effortlessly through decades of material while sounding as sharp and vital as ever. Their sound remains remarkably well-preserved, a testament to both the strength of the songwriting and the band’s enduring chemistry on stage.
The setlist was a masterclass in pacing, blending fan favourites with deeper cuts. “The Sound of the Crowd”, “Mirror Man”, “Louise”, and “Love Action” all landed as clear highlights, each track drawing an enthusiastic response from the crowd. But it was “The Lebanon” and “One Man in My Heart” that truly stood out, offering a glimpse into the more textured, emotionally resonant side of the band’s catalogue.
As the night drew toward its inevitable conclusion, the band pulled out their two biggest anthems: “Don’t You Want Me” and “Together in Electric Dreams.” Both were met with an overwhelming singalong, the crowd matching the band note for note, word for word, in a moment of pure collective euphoria that seemed to encapsulate everything a great festival closing set should be.
Perhaps the most memorable moment of the evening, though, came not from the music itself but from frontman Phil Oakey’s simple, heartfelt words of thanks. His gratitude to the audience for coming out and continuing to support live music added a warm, genuine, human touch – a fitting and poignant way to bring the night, and the festival, to a close.
Day Two proved once again why Belladrum has become one of Scotland’s most beloved festivals. It was a day that perfectly balanced headline-worthy performances with the warm, welcoming atmosphere the event is known for – a rare combination that many larger festivals struggle to achieve. Families wandered freely between stages, children danced alongside seasoned festival-goers, and there was a palpable sense of community that ran through the crowd from the earliest morning sets to the final notes of the night.
The weather cooperated beautifully, with clear skies holding steady throughout the day and giving everyone the chance to fully enjoy the outdoor setting without worry of rain dampening spirits. That good fortune seemed to feed into the mood of the crowd, who remained upbeat, engaged, and ready to embrace every act that took the stage. Whether it was a quieter acoustic set in the afternoon sun or a high-energy performance as evening fell, the audience responded with equal enthusiasm.
Musically, the day never lost its momentum. Energy built steadily as the hours passed, culminating in a final encore that sent the crowd home buzzing with excitement and already looking forward to what was still to come. It was the kind of day that captures the essence of Belladrum: a festival built not just on great music but on the joy of shared experience.
With two days down and spirits running high, all eyes now turn to Day Three – the final chapter of this year’s festival – as organisers and attendees alike prepare for a fitting finale to send Belladrum off in style.
Review by Karen Edmond
Photographs by James Edmond Photography
