REVIEW: TRNSMT FESTIVAL 2026

THE TRNSMT 2026 bill certainly raised some eyebrows when it was first announced at the end of last year, especially with regards to its headliners. But what we’ve found over the years is that there’s so much more to the festival beyond the names in the big font. And that was the case once again in 2026.

Friday

Things didn’t exactly get off to a flyer when it came to the weather either. Friday was dreich to say the least – with pounding rain and lukewarm temperatures not exactly helping to send the crowds in their droves. But, while audiences seemed smaller than we’re usually used to seeing on the opening day, artists battled on and things got much brighter in the early evening – helped in part by the World Cup fever that had taken over the city ahead of Scotland’s eagerly anticipated group stage match against Morocco that night.

Friday highlights included BBC Introducing Scottish Act of the Year Alice Faye, whose gorgeous vocals shone bright, and Cliffords, with their widescreen, charged indie-rock sound. Mercy Girl brought stage presence and a dark, propulsive electronic sound to the BBC Introducing stage, while James Emmanuel showcased his incredible vocals and timeless soul tunes – showing exactly why he’s been tipped for such a bright future ahead. Even Nile Rodgers & CHIC couldn’t bring the sun out, but their iconic catalogue warmed up the crowd and brought a party atmosphere, while SOAPBOX did exactly what they do best – diving into the crowd and unleashing pure (damp) punk-fuelled chaos on the BBC Introducing stage.

Our highlight was Wolf Alice, who are surely a bonafide headliner in their own right. Arriving like the calm after the storm, they last appeared at TRNSMT in 2022 – but they’re like a new band now. Ellie Rowsell is a frontwoman reborn, owning the stage with charisma and swagger, while confidently showcasing her vocal range. Material from their 70s, soft-rock-inspired recent album ‘The Clearing’ dominated the early parts of their set, but despite the However, it’s the older songs, particularly set closer ‘Don’t Delete The Kisses’, that seem to really strike a chord with the crowd.

Richard Ashcroft then delivered a memorable, career-spanning set to see the day out. The former Verve frontman has been in high demand since supporting Oasis last year, and he wasted little time in diving into deep cuts from ‘Urban Hymns’. There was some solo material (such as ‘A Song For the Lovers’ and ‘Break the Night With Colour’) on show too, but everyone was there for the classic hits, and he duly delivered. The likes of ‘Drugs Don’t Work’, ‘Lucky Man’, and ‘Sonnet’ undoubtedly received the biggest response of the day, before a rousing take of ‘Bittersweet Symphony’ that saw Ashcroft stalking the stage and hyping the crowd endlessly. An iconic frontman through and through, his ensured the night ended in a buzz before the football kicked off.

Saturday

So, while Scotland didn’t deliver in the World Cup, there was plenty of exciting bands on show on Saturday to keep spirits high. And finally, the sun came out to play which certainly improved the atmosphere across the Green.  First up for us was Brogeal, graduating from the smaller stages to make their debut on the Main Stage. The Falkirk outfit have continued to go from strength to strength since the release of their debut album last year, and they delivered their folk-indebted indie hits with plenty of energy and gusto, getting the day off to a good start.

While crowds still felt quieter than usual, the energy felt a lot higher on Saturday. Other highlights on the Main Stage included Mercury Prize-nominated English Teacher – combining excellent musicianship with quirky, dynamic and often gorgeous songs – as well as TRNSMT mainstays The Snuts and The Last Dinner Party, who brought plenty of charisma, theatrics and mass singalongs. Elsewhere, Sister Madds and Lacuna did well with their early slots, while the 90s-influenced Keo looked and sounded every bit the part with their grungy, hazy indie anthems. Tina Sandwich set the BBC Introducing stage alight, bringing plenty of gusto (and tequila shots) to songs like ‘Fast Cars’ and ‘Sick Girls’, alongside new material like ‘dandelion (wishing)’ – the latter of which got the best reception of the set with its singalong refrain. The crowd steadily grew in numbers throughout the half-hour set, and the band’s infectious energy and quickly fed into those watching. We’ve no doubt they left Glasgow Green with plenty more fans on side.

 

Special mention must go to Madra Salach, who were our standout act of the day. The Dublin outfit have cultivated a strong word-of-mouth following in recent months, taking their experimental Irish folk sound to new audiences all over Europe. They are even more impressive live; their music is raw and electric, swelling with strong, powerful instrumentals in between lyrics. And with a truly magnetic frontman in Paul Banks, their final track ‘The Man Who Seeks Pleasure’ was enough to give us goosebumps, filled with raw emotion and a moving sense of defiance. Go see this band if you can.

Before we knew it, it was Kasabian’s turn to deliver a classic headline set. In 2023, the new-look outfit, with Serge Pizzorno as frontman, played the rain-soaked festival as sub-headliner – and it was firm proof that they were even better without their original frontman Tom Meighan. But this was their turn to take the top slot, and from the moment Pizzorno swaggered onto the stage in his oversized fur coat, he had the crowd on side. Newer material like ‘Your Call’ and ‘Release The Pressure’ held their own, but it was all about those classic anthems – from ‘Club Foot’ right through to ‘LSF’, ‘Vlad the Impaler’ and euphoric set closer ‘Fire’, which sparked scenes of pure chaos as a mass jump-along swept across the field.

Sunday

The weather held out on Sunday to deliver the nicest and busiest day yet. With blue skies aplenty and a crowd ready to enjoy themselves, it was a reminder of everything that made TRNSMT’s early years such a success – and a welcome sign of what’s still on offer. This was helped by the brilliantly eclectic day three line-up of course, starting with the Mercury-nominated Jacob Alon who delivered a stunning performance on the Main Stage. Their gorgeous falsetto soared over the Green, the perfect vibes for the early sunny afternoon. Elsewhere, we saw Westside Cowboy put in a suitably raucous and uplifting display at King Tuts. Their debut album comes out next month, so make sure to check it out.

Later, we caught an impeccable, career-spanning set from Two Door Cinema Club, now bonafide festival veterans and brilliant at it, while on King Tuts, Shay O’Dowd looked like he had all the credentials to follow in the footsteps of headliner Lewis Capaldi. With soaring vocals and catchy indie-pop hooks to match, he has the natural charisma and pop songwriting nous to suggest he may climb up these line-ups in the future.

On the same stage, BIIRD were worth the wait after a lengthy sound check. The all-female Irish supergroup, led by Lisa Canny, were a breath of fresh air and truly joyous to watch. Bringing Irish folk tradition forward in their own guise, we were treated to a myriad of instruments, Irish dancing, lilting vocals and a big party atmosphere as they encouraged everyone to ceilidh dance. A brilliant closer that will undoubtedly take over bigger festival stages in the coming years.

Sunday belonged to another artist entirely, though. Lewis Capaldi may have been the official headliner, delivering a rousing set packed with heartfelt anthems and his trademark self-deprecating humour, but it was CMAT who truly stole the show. Emerging on the stage in the early evening wearing a brilliant yellow and brown polka dot number, we were treated to 60 minutes of pure joyous, silly fun. With the voice and songs to match her infectious on-stage charisma, she had the crowd in the palm of her hands – from the opener ‘Jamie Oliver Petrol Station’ to the TikTok-famous ‘Take a Sexy Picture’ to the utterly euphoric ‘Stay For Something’, with a cover of ‘Caledonia’ even thrown in. With magnetic stage presence and razor-sharp humour to match, she told she crowd she felt at home in Glasgow, and it felt like she really meant it. It hardly needs saying at this point, but CMAT is a genuine star, and if she continues on this trajectory, headline festival slots surely await.

And with that, another TRNSMT comes to a close. Whether the festival will return next year remains unclear, with organisers remaining pretty tight-lipped. What is certain, however, is that this year’s event was scattered with standout performances, exciting emerging talent and an atmosphere that grew stronger with each passing day. The appetite is still there for a huge festival in Scotland, but what form that takes in the years ahead is still to be seen.