The annual Ealing Blues Festival is excellent. It crosses the whole colour spectrum of the Blues. From Country, Americana, acoustic, solid raw Blues to full on Rock, it is a festival that is friendly, affordable, easily accessible in London and should be far more well attended than it is. For me, with a long-standing local connection, I have gone to this festival over the years come rain or shine. This year the weather was warm and the sun shone.

For all of the talented artists - newcomers against international artists - at this festival’s heart is also the special local connection. The modest Ealing Blues Club merch stand stands today as its historic and present epicentre, with its loyal hardworking ladies and volunteers. The history of The Ealing Blues Club is special. It opened in 1962 by Alexis Corner and Cyril Davies and is the birthplace of British Rhythm and Blues as well as The Rolling Stones. And so many more artists have played there and promoted this vital venue and then there’s today’s intersectionality between the vibrant Eel Pie Club and The Crawdaddy Club, which means that thankfully the West and South West London Blues scene is vibrant and lick-kicking.

For me who grew up in Harrow, this festival is so special. It escalated my love of the Blues, and never did I think that I would be reviewing it and photographing it as I have now done over the past years. From a punter to press at my local festival is so cool. So I want to share my special affection with you in words and in photos. Indeed, all the artists back or front stage have a deep affection for this festival. They are all friendly to each other and crucially so value their audience. Ealing Council and Event Umbrella, together with behind the scenes drivers such as Ian McHugh and Geoff Garbow, should be commended for continuing the cause and for their hard work realising this wonderful festival.

This year I want to pay a special tribute to the much-missed Bob Hokum - aka Robert Salmon, who for years has contributed so much to this festival. On Sunday, his musical disciples - Hokum’s Heroes - also paid tribute to him on the renamed Hokum Stage, with a photo montage of the late great respected Bob behind them. Comprising gang leader Ian McHugh on guitar and vocals, Geoff Garbow on guitar, harp and dulcimer, Christian Parker on lead guitar, Steve Kemp-King on bass and Paul Gordon White on drums, their set was a standout. Also much missed at the festival this year, due to join the Geoff Garbow band, was the living legend sax player and co founder of Marshall Amps, Terry Marshall, who unfortunately was unexpectedly unwell on the day. Terry’s album set with other artists last year was a highlight.

The two-day festival plethora and musical kaleidoscope of acts and artists were all superb. The varied line up across two stages over two days was dizzying in talent and visuals. Saturday’s line up included the newer rich talent of The Conor Hughes Band with raw Blues. Also a special shoutout to the 13-16 year-old Powerjam Project Bluezd Band, who held the crowds attention with a great set playing confidently beyond their years. Indeed, Powerjam, the not for profit charity deserve every support, keeping kids on the right road.

With her gleaming sunglasses reflecting the crowd, as well as her great band including the great sax player, Missy Katy Maquire, Sister Cookie's brand of urban Blues Soul enchanted. The Paul Cook band, with teenager Jack Austin Despy, on stage delivered solid Blues, while Zoe Schwarz’s Blue Commotion with Rob Koral, swayed and sung everything from Jazz tinge to pure Blues. The likeable Jump 66 delivered a fabulous jumping set with their sax player in a great leopard skin jacket, meanwhile Jack Broadbent played raw low-down intimate Blues using a hipster as his slide.

Headlining the Hokum stage was UK Blues Federation award winner Errol Linton with his front man guitarist and showman Richy Green and band, delighting in the late afternoon sun with their brand of Blues with its at times, Jamaica meets London and urban vibe. The headliner on the other Big Top stage was US Grammy award winner Cedric Burnside. His only UK gig, Burnside delivered a blistering Blues set, that was not only outstanding, but it was also a privilege to hear him play.

Sunday’s line up started on the Big Top stage with Leoni Jane Kennedy’s sweet acoustic set, followed by Alix Anthony for some rawer Hendrix type Blues Rock. TJ Holyboy and the Preachers continued that same theme, with both the guys looking visually cool on stage, as did the female backing vocalist with her red lipstick and vibe. With a great lead singer switching the tempo to more Soul and Motown, Bob Knight’s Blues Explosion set saw both Elles Bailey and Sister Suzie dancing out backstage.

Indeed, fun filled and accomplished, as was her band, Sister Suzie in her resplendent sequinned emerald green gleaming jumpsuit, gave a gleaming polished performance, giving it her all. Meanwhile, Toby Lee with his co musical band musketeers delivered as only Toby could, with an uber energetic outstanding set.

Meanwhile, on the Hokum Stage, DJ Gaz was curating between acts and the changeover, as he had done on Saturday with his Rockin’ Blues. Harry Collier was the first to kick off with his set, followed by well respected and local West London Blues hero Papa George, who came on and delivered his unique brand of deep Blues, admiringly watched by the crowd that included Alix Anthony, Leaf Hound’s Peter French and Geoff Garbow.

The two female headline artists delighted, namely Ireland’s Grainne Duffy, who was on tour with her band and their great brand of Country infused Blues, plus the aforementioned Elles Bailey and her band, with her own distinct brand of Roots , Blues and Americana. Bailey, so hard working, so likeable and so talented, is having a phenomenal year, winning the 2025 UK Blues Federation Vocalist and Album of the year Awards.

Now nominated for the public vote of the 2025 AIM Independent Music Awards for best live performer, Elles and her band enchanted the crowd including the talented Demi Marriner on guitar and vocals. Bailey’s standout set among others included ‘Enjoy The Ride’, ‘Leave the Light On’, ‘1972’, ‘The Game’ and ‘Hell or High Water’.

Bailey meaningfully and lovingly curated her set, and got as close as she could to the crowd from the bright electronic backdrop to the sharp stark speaker, singing seated directly into the crowd. The temperature had cooled and when Elles played keys on the emotional ‘Let It Burn’, effectively singing solo with her band watching in the background. From my grass photo pit position, it felt like that the whole set was a mystical experience, with the darkened atmosphere heightening the power of Bailey’s superb band and set.

Then Toby Lee came on to join Elles for an upbeat encore of ‘Sunshine City’, which was wonderful. I love and follow both these likeable artists, and admire their hard work ethic, original music etc., so to see them at my local festival was truly something special. Bailey’s career also rightfully beckons in the USA.

To experience all of these artists play with their compadres over two days was outstanding. Support them and enjoy them all when you can. And come see, hear and support Ealing Blues festival in 2026!

Review and Photos: Denise Lester