By David O’Neill
On a glorious sunny day during the best summer since 1976, Steelhouse 2026 rolled across the Welsh hillside with the unforced charm that continues to set it apart. Thankfully, the nearby mountain wildfires were being brought under control and were far enough away not to cause any undue health concerns. With negligible rain throughout July, the drive up the hillside felt like a trip into Joe Bonamassa’s ‘Dust Bowl‘.
Across the weekend, the bill mixed muscle, melody and personality in a way that felt true to Steelhouse’s identity rather than tailored for a broader, blunter crowd-pleaser. From a Friday opener led by King Kraken and Parker Barrow to a Sunday finale topped by Steel Panther, the festival once again proved that its strength lies in atmosphere, community and careful placement.
Friday immediately set the tone. King Kraken brought heavy metal firepower and a sense of local pride, sounding like a band moving towards bigger things. Parker Barrow were an early highlight, full of Southern-soaked swagger and authentic groove. Megan Kane’s vocals carried a raw energy reminiscent of a young Janis Joplin, something made even clearer during their acoustic set in the VIP tent.
The first of back-to-back “guitar heroes”, Anthony Gomes added humour and blues swagger, while Luke Morley brought depth to the middle of the day with songs that at times recalled George Harrison’s later work.
Mason Hill followed with sharp melodic punch and enough hook-laden confidence to suggest a band still climbing. Hollow Souls kept the flow moving before Kris Barras added an alternative edge to his set through the addition of Phoebe Jane on vocals.
The Temperance Movement closed the day’s strongest run with looseness, soul and a late-night feel that Steelhouse audiences always seem to absorb instinctively.
Friday highlights:
- Parker Barrow’s conviction, groove and standout acoustic appearance.
- Mason Hill’s melodic punch and rising confidence.
- The Temperance Movement’s soulful, late-night energy.
Saturday was the day the festival widened its emotional range. Local metalcore band Black Lakes unfortunately had their set cut short for technical reasons, but Bobbie Dazzle quickly added a glam-rock slant reminiscent of Cats in Space, bringing both energy and intent. It was also a lovely surprise to see Rhea Thompson, formerly of Tailgunner, back on axe duty.
Tuk Smith & The Restless Hearts then helped keep the momentum moving with solid classic rock tracks.
Beaux Gris Gris & The Apocalypse were a standout, bringing colour, class and blues-rock warmth that suited the mountain setting perfectly. Dan Byrne added his usual vocal heft before one of the weekend’s most satisfying dual performances: the Von Hertzen Brothers, who excelled in both acoustic and full-band mode.
Their main-stage set lifted properly when ‘Peace Patrol’ arrived as the finale, creating one of those Steelhouse moments where crowd, band and landscape briefly lock together.
Reef handled their slot with seasoned ease, while Rival Sons delivered a similar dual impact. Jay Buchanan’s acoustic set showed the strength of his stripped-back songs, and the main-stage performance delivered a bigger, fuller setlist without losing the grit underneath.
Saturday highlights:
- Beaux Gris Gris & The Apocalypse’s colour, warmth and blues-rock class.
- The Von Hertzen Brothers’ acoustic and full-band performances.
- Rival Sons’ balance of grit, scale and strong songwriting.
Sunday began with Blue Nation and LN doing what the best early acts do at Steelhouse: getting the day moving without fuss. LN’s pagan rock set was especially welcome for its directness, cutting through any lingering weekend fatigue with nothing wasted and nothing forced. The performance from the band, and especially Ellen “LN” Hirst, was both a visual and vocal spectacle that will live long in the memory.
Then came the secret set, and Florence Black turned it into a proper talking point. Opening with “Ace of Spades” before sliding into their own material, they made the surprise appearance feel like a statement: loose enough to seem spontaneous, but tight enough to show why they are becoming such a reliable live draw and a strong candidate for a higher billing in future.
Darren Wharton’s Renegade followed with a Thin Lizzy set that felt deeply personal. It was not merely enjoyable, but genuinely evocative: a warm, affectionate flashback to youth that landed with real feeling.
Tyketto then brought the melodic class Steelhouse always values, with Danny Vaughn’s vocals easily among the performances of the afternoon, as also demonstrated in his acoustic set.
Ugly Kid Joe and Alien Ant Farm added their own flavours, once again underlining the variety on the bill and helping draw a younger crowd to the mountain.
By the time Steel Panther arrived to close the weekend, the crowd had already been thoroughly worked over. As ever, they were a Marmite booking. They were never going to be to everyone’s taste, and that was obvious again here, but for those fully invested, the set delivered exactly the absurd, shameless entertainment they came for.
The ’17 Girls In A Row” segment, with women heading on stage in a steady stream, became the night’s most talked-about chaos: brash, daft, entirely on-brand and likely to divide opinion long after the amps had gone quiet.
Sunday highlights:
- LN’s direct, memorable early-day performance.
- Florence Black turning the secret set into a statement.
- Renegade’s affectionate Thin Lizzy tribute.
- Tyketto’s melodic class and Danny Vaughn’s standout vocals.
Once again, what Steelhouse 2026 did so well was balance the reliable with the memorable. Not every headliner hit with equal force, and a few sets played as solid rather than transcendent, but the overall shape of the weekend was strong because the undercard kept producing moments that mattered.
Parker Barrow, Mason Hill, The Temperance Movement, Beaux Gris Gris & The Apocalypse, the Von Hertzen Brothers, Rival Sons, Florence Black, Renegade and Tyketto all helped make the bill feel alive in a way that bigger festivals often lose. Steelhouse remains a festival that understands atmosphere, community and placement, and this year’s edition once again proved that the climb up the mountain is worth it.
Only one thing remains to do now: buy next year’s ticket, because the first 1,000 early-bird tickets have almost sold out.