Upcoming Gigs


Midlight

5th October 2021
Paper Dress Vintage, London

We’ve teamed up with our mates Club The Mammoth for our first show in the capital! Tell your southern mates!

Buy tickets for Midlight


Maddie Magdalene (plus Lucy May Walker and Jaz Beeson)

6th October 2021
The Waiting Room, London

Another London gig, this time with an incredible all-female line up!

Buy tickets for Maddie (18+)


Bull (plus: Indigo Bay, Current Climate, Serial Chiller, and Hannah Fletcher – BBC Introducing DJ set)

22nd October 2021
The Scene, Lincoln

Huge acclaim after their debut album release this year, once you see them at the festival you’ll be coming back for more!

Get tickets for Bull (18+)


The Rills

16th December 2021
The Platform (above The Engine Shed), Lincoln

We’ve already had to upgrade this show due to huge demand. Don’t miss this homecoming show from these indie upstarts!

Buy tickets for The Rills (14+)


Only Sun plus Tin Pigeons and Jaz Beeson

Rescheduled date tba
Akedo Gaming Bar, Lincoln

Buy tickets for Only Sun (18+)


Statement on the cancellation of Beyond The Woods 2021

Dear Friends,

It is with very heavy hearts that we have to inform you that, following the postponement of the 21st June easing of lockdown restrictions, Beyond The Woods Festival will no longer be taking place this year.

To say that we are gutted is a huge understatement. Over the last seven years our organising committee have poured their hearts and souls into Beyond The Woods. People have given up hundreds of hours of their time to get the event to where it is, and for them not to be able to enjoy seeing their hard work come to fruition is an enormous disappointment.

After the disappointment of having to postpone the festival in previous years, our team were desperate to put on a show for you in August. However, after recent events it has become apparent that this will no longer be possible.

The uncertainty around lockdown being lifted, the lack of availability of insurance cover for Covid-related festival cancellations, and a lack of clear guidance on which measures might be required of mass gatherings such as ours means we’ve been left with no option other than to call off this year’s event.

The situation with Covid has been anything but predictable. Without any certainty, either in the form of insurance, or a cast-iron guarantee that the festival would be able to take place restriction-free, we’re not going to be able to proceed as we’d so dearly wanted to. 

Over the coming weeks, we’d have to pay tens of thousands of pounds in upfront costs to ensure that Beyond The Woods would be able to take place, covering everything from marketing to marquee hire, but with no guarantee that the festival would be able to go ahead in August – without any additional restrictions.

Beyond The Woods began life as a birthday party in our back garden in Lincoln. While the bands have got bigger in recent years, and the organisation more detailed, it’s still the same small group of friends and volunteers putting on the event. We’re not multi-millionaires, and there’s no big corporation backing the festival. We do this purely for the love of it.

We understand that many people will be as disappointed as we are, but we sincerely hope you can understand why we do not feel it’s possible to go ahead with this year’s event. The situation has now changed, and the risk for us as an organisation has just become too great.

We are working hard to secure a new date for 2022 and all tickets purchased for this or previous years will remain valid. You are of course welcome to a refund, and if your tickets were purchased from an official Beyond The Woods supplier, we will be in touch in the next couple of weeks to advise you of the refund process.

We’d like to say a big thank you to everyone for your support during this extraordinarily difficult period and we hope to see you all in 2022.

Love

The Beyond The Woods Team

The Staves

The Staves are an English indie folk trio of sisters Emily, Jessica and Camilla Staveley-Taylor, from Watford, Hertfordshire. The Staves began performing together at open-mic nights in Watford hosted by a local pub, The Horns. Originally performing as The Staveley-Taylors, the trio later changed their name to The Staves.

The Staves’ ‘Good Woman’ was written and recorded in a time of severe turmoil for the band, seeing the ending of relationships, the death of their beloved mother and the birth of Emily’s first child. Produced by John Congleton, the album stands as a testament to their strength and that of other women, to sisters, mothers and daughters. To love, loss and change. To trying to be a good woman.

Praise for Good Woman…
“their three-part blood harmonies form the shimmering centre of an elaborate, album-long soundscape” 8/10 – Uncut
“elegantly nuanced” **** – Mojo
“an album with attitude” – Sunday Times Culture
“pop-rock sophistication” – **** – The Times
“melodic sweetness is bolstered by a sense of urgency and stylistic cool” – **** – The Guardian
“a sophisticated return” – **** – NME

Alfie Templeman

Headlining our Friday night Good Karma Club Takeover, Alfie Templeman has been hotly tipped by just about everyone with a history of backing the next big thing!

Alfie Templeman

Alfie Templeman knows music. At just 17, this boy wunderkind already has four EPs to his name, and an encyclopaedic knowledge of music history that some veteran artists would envy. He’s been called a “bedroom producer”, and that’s true – all of his songs were crafted at home in the small village of Carlton, Bedfordshire. “It’s kind of boring,” Templeman says cheerfully. “I live in a nice place and everyone’s friendly and supportive, so I’m lucky. But there’s not a lot to do, so that’s one of the reasons I got into songwriting.” But where many young artists create tracks from pre-made samples, Templeman is more likely to pick up one of the 10 instruments he taught himself.

Follow Alfie on Instagram

It started with his father. A builder by trade but a passionate guitarist by nature, Templeman’s dad would fill the house with the sounds of classic rock, while his son banged away to the rhythm on pots and pans. Then one day, his dad brought him along to do some work at a friend’s house. That friend wasn’t sure how to entertain a child, so he put a video of a live Rush concert on the TV. “I was blown away,” Templeman recalls. “I can vividly remember watching Neil Peart play. He became my first musical hero.” He began saving his pocket money to buy “all of the Rush albums”, then set out converting a mate so they could form a band together. Aged eight, using his sister’s toy microphone and an old laptop, Templeman recorded his first demo.

At school, he always felt like the odd one out. “All the boys were playing football, and I hated that,” he says. “I felt like the weird kid because I didn’t want to do sports.” He began going to cello lessons, which he credits for his perfect pitch. Then he fell in love with the drums around the same time he was teaching himself to play one of his dad’s left-handed guitars (right-handed). After that it was the keyboard, mandolin, “a bit of violin”, bass, sitar, harmonica, synths… “One of the reasons I learnt all that was so I could play and produce everything myself,” he explains. “I had to have full control over my first EP. I just wanted to see if I could put everything together so it sounded good.”

It definitely worked. Like An Animal, released by Chess Club Records in 2018, is an astonishing, self-produced collection redolent of Kevin Parker and Mac De Marco. There are hazy, sun-drenched twangs of guitar; swooning, Eighties-style synths; moody, wandering basslines and warm percussion. Unlike many other artists, who might try to compensate for their youth by tackling the “big” subjects, Templeman makes no attempt to hide his age. These songs are about feeling like an outsider, exam stress, and those all-consuming first crushes.

Like An Animal was followed by two EPs in 2019, Sunday Morning Cereal and Don’t Go Wasting Time. The former was infused with heavy funk influences, from the squelchy bass and vocal fuzz of “Stop Thinking (About Me)” to the dreamy psychedelia of “Busy”. The seven-track Don’t Go Wasting Time was an ambitious leap that shone a brighter spotlight on Templeman’s extraordinary range, encompassing pop, indie, rock, Latin and prog influences. It’s all the more impressive upon learning that, around this time, Templeman ended up in hospital, where he was diagnosed with childhood lung disease.

“It doesn’t really bother me, but I’m one of those ‘vulnerable to Covid-19’ people, so I’ve been shielding since March,” he reveals. “It’s been a long summer!” Until the diagnosis, Templeman and his family thought he had bad asthma. You wouldn’t think he had any sort of condition to hear him – or, indeed, see him onstage. “It can get messy,” he laughs. His gigs, including a sold-out London show at COLOURS in Hoxton, are raucous affairs, filled by screaming fans only too happy to catch him whenever he hurls himself offstage. After a string of UK performances last year, including his triumphant Radio 1 Introducing Set at Reading and Leeds festival, he’s eager to get back to it.

And why wouldn’t he be? 2020 has already seen the release of his best EP to date, the irrepressible Happiness in Liquid Form, which has achieved millions of streams – not to mention praise from the likes of The Guardian and NME. Templeman refers to the title track as “colourful sugary disco pop”, but there’s plenty more to love besides that. Writing with Justin Young of The Vaccines fame has instilled a new confidence in Templeman’s songwriting. You can hear it in the cheeky bounce of “My Best Friend” – which will remind listeners of Billie Eilish’s insouciant charm – and the infectious Caribbean sound on “Things I Thought Were Mine”.  

“I listen to everything!” Templeman says, explaining how he came to have such a broad range of references. This is a teenager who will just as happily discuss John McLaughlin and Miles Davis as he would The Weeknd and Harry Styles. “I think some people might consider me as ‘just’ an indie artist, but my music is a broad mix,” he continues. “There are modern influences, but also a lot of prog, classic jazz, funk… I like to play things that people don’t expect, that hit you right in the feels.”

He praises his label, Chess Club Records, for helping him to “come out of my shell a bit” and be the charming, exuberant and driven young man he is today. “I’ve definitely become more open,” he nods. “I didn’t always know how to talk to people before, and I could get pretty anxious. I’d get scared, but everyone’s really nice!” He’s eager to become one of the voices of a generation determined to change the world: “Everyone at my school was so intelligent and well-informed. Young people have more of a voice now than ever.”

Templeman now has his eye on 2021, with a brand-new collection of songs on the way – the superb Forever Isn’t Long Enough – that he describes as “the best representation of what I’m about”. “Each song is different but linked,” he says. The mini-album opens on the thrilling rhythms of “Shady” – produced by Tom McFarland from the Mercury Prize-shortlisted collective Jungle. From there, you’ll be hooked, whether to the strut of “Wait, I Lied” (with nods to Gnarls Barkley and Justin Timberlake), or the gleaming “To You”, which recalls the sound of The Weeknd’s chart-dominating 2019 album, After Hours.

“My mum kept wanting to hear what I was working on, but I can’t show anyone until a song’s finished,” Templeman laughs, thinking of the reaction his fans will have when they hear this new material. He wants to do as many shows as possible when he gets back on the road, performing to a fanbase that now stretches around the world. “I want those new experiences,” he says. “2021 is going to be massive.”

Vistas

Vistas are an indie band hailing from Edinburgh, Scotland. The line-up consists of Prentice Robertson, Dylan Rush & Jamie Law. Vistas are a band with catchy choruses, hooky guitar lines, and rhythmic thunderous baselines.

Vistas have been surging to the forefront of the indie-rock scene over the last few years with a steady stream of catchy, radio ready releases leading the band to pick up extensive praise from the likes of Radio 1’s Huw Stephens, 6 Music, DIY Magazine and Clash Magazine among many others.

Having picked up over 15 million streams and cultivating 650k monthly listeners on Spotify in a short space of time, the Scottish trio have quickly become known for their brand of colourful and energetic guitar-based indie pop and are quickly beginning to show their universal appeal.

The single ‘Eighteen’ is another high-tempo, hook-laden anthem, full of the huge choruses and infectious melodies that have been cementing Vistas as one of the most exciting emerging bands in the country right now. Speaking on the track the band explain “Eighteen is about looking back on the best summer of your life and wishing you could go back to that moment. What often happens when you look back on those moments is you can forget about some of the bad sides of those experiences because your memory is clouded by nostalgia.”

Flyte

Having spent the past six months holed up in the claustrophobic confines of their gloriously ramshackle Bethnal Green recording studio, London four piece Flyte – Will Taylor (vocals, lead guitar), Nick Hill (bass, vocals), Sam Berridge (keyboards, guitars, vocals) and Jon Supran (drums, vocals) – emerge from the process energised and ready to unleash a raft of new material on the world, kicking off with debut single ‘Closer Together’ released on 31st July through Island Records. Combining a wealth of influences ranging from the wry storytelling of The Kinks, the off-kilter new wave sensibilities of Talking Heads, and the lyrically incisive optimism of the best mid-90s British bands, Flyte’s songs are always driven by a sharp ear for melody and laden with hooks. Flyte’s recent live performances – including a stunning slot at Scala with Hinds – have seen the band growing in stature as performers from their early shows on the road with the likes of Bombay Bicycle Club. Fans will be able to catch them on the road this summer at various festivals such as Secret Garden Party, Kendall Calling, SWN and Victorious. With new  releases on the horizon and more live dates on the way, Flyte are definitely ones to keep an eye on.

Cj Pandit

Cj Pandit is an ArtPop performer who crafts songs for movies that were never made and places that you’ve never been. Working and living between London, New York and hometown Leicester, Cj has spent the majority of his life floating through different scenes, cities and circumstances, so is inevitably informed by heartbreak, longing and a search for
meaning between the cracks in our day to day lives.

Inherently driven by the same escapist spirit as Bruce Springsteen, the curiosity of Talk Talk, and the lingering late night lyricism of Leonard Cohen through a truly modern lens, Cj is an anomaly and one of pop music’s most intriguing outliers.

APRE

Listen to any of APRE’s music – be it Without Your Love’s shimmering, celestial bounce; the liquid grooves and clean lines of All Yours; or the widescreen pop cloudburst that is Don’t You Feel Like Heaven? – and it’s likely your first impression wouldn’t be that all these songs have their roots in the backroom of a West London chess club. But that’s exactly where APRE’s story begins.  

Charlie Brown and Jules Konieczny were no strangers to making music individually, but it wasn’t until  Sue who runs Ealing chess club (or, to use her full title “this legend called Sue”) suggested they  should hook up and work together that the strands that make up APRE’s unique sound started to  fuse together. 

“She knew that we shared this passion for music and she paired us up,” recalls Brown, “we started playing together and found this love for the same thing.” 

However, things didn’t quite immediately leap forwards from that moment to where we are today.  Three years passed and Brown and Konieczny would spend their days playing in other groups,  producing, working on other people’s material, making ends meet and trying to find their way in  music. But something special kept bringing them back to that room. It wasn’t because of some over arching grand plan, it was simply what they did for fun outside of other projects. 

“This was a happy accident,” notes Konieczny. “It was always our side project. The focus was the  other bands we were in and me and Charlie would just go back in the evening and do this for fun.  Then it got to the point where we had 35 songs and were like, ‘Hang on we’re being stupid here…’” 

“APRE was the fun side where we could go and be ourselves in music. 

We always thought it was better than the other stuff and we enjoyed it more,” adds Brown. “Even  now, if a track’s not fun while we’re making it we normally fuck it off to be honest. It’s all been  extremely natural. It’s not done in a fancy place, it’s done on quite terrible equipment and that’s  what it’s about.” 

You might read that and imagine APRE’s music to be a bit rough around the edges, something  slightly carelessly tossed together for a bit of a laugh. Nothing could be further from the truth  though.

They may have been recorded out the back of Ealing chess club or in the front room of Brown’s  nan’s place, but these songs sparkle like a well-polished gem. Synths glisten like rays of light on a  pool of water; bass lines slink in and out; a gentle cascade of guitar will wash over a crisp, irresistible  beat as Brown’s vocals find the sweet spot between soulful, wistful and empathetic. 

And all that delivered within pristine, intelligent pop songs. Pop songs with brains, heart and laser guided melodies. 

“Don’t bore us get to the chorus” deadpans Brown. “Surely that’s the point isn’t it? If it’s a good  song. If you bought a pair of trouser and they looked nice and people kept on saying ‘You’ve got nice  trousers,’ you’d be like, ‘Yeah, because they’re good trousers.’ So if you write a good song why do  people need to go, ‘Oh it’s quite pop…’ Mate, it’s just a good song.” 

Part of what makes APRE so special though, is that there’s more to them than just good songs. Each  APRE release is its own self-contained universe where everything matters and nothing is throwaway.  From the thematic threads that tie the songs on each EP together to the subtle visual clues in the  artwork and videos, right down to the clothes they wear on stage – like with any great band, to listen  to APRE is to immerse yourself fully in their world. 

“We always wanted to create something where if you go to a gig or your listening to it you’re pulled  into this APRE world,” says Brown. “My favourite bands always did that to me. When you come back  from a gig and you feel like you’ve not just seen a gig, you’ve entered a different place. It’s an  escape. If every person who comes to our gigs or listens to our music can escape and become part of  something, feel that we’re all in this together – that’s why we’re doing this.” 

The door to APRE’s world is open. All you need to do is walk through it.

Lottery Winners

Lottery Winners have a whole list of achievements: their debut album ‘Lottery Winners’ hit number 10 in the UK Official Charts and number 3 in the vinyl charts; they have over 10 million streams and thousands of tour tickets sold, including a sold out headline at the Manchester Ritz; they released three albums and one EP within 18 months.

They have supported Kaiser Chiefs, Blossoms, Catfish and the Bottlemen, The Wonder Stuff, Tom Odell, We Are Scientists, Tom Jones and more.

They are also the hosts of their own TV production, ‘LWTV’, featuring guests including Jamie Cullum, Rick Astley, Andy Burnham and Rowetta (Happy Mondays) gaining over 125K views.

Sunflower Thieves

Sunflower Thieves are a dream-folk duo, combining rich harmonies and storytelling lyrics to create their own unique world of ethereal melancholy. Influenced by Phoebe Bridgers and Fenne Lily, the band have written and performed together for many years. 

Sunflower Thieves were included in Glastonbury’s Emerging Talent longlist for 2020, and recently named as ‘Ones To Watch’ in PRS’ M Magazine.

© Beyond The Woods Festival 2021