Desertfest delivers an absolutely top class line up of stoner rock, doom and desert rock across three stacked days in the capital. Here is our day three round up.

You can view our day one review, here and day two here.

MIDHAVEN

The weekend had already thrown up several turns from around the globe, but Sunday saw the turn of India’s Midhaven. Hailing from Mumbai, there is a huge crowd in The Underworld for their 2pm performance. The solo opening has an Eastern themed melody. It is this that plays on the rest of the band, one by one. There is a really slow build of tension before the drums crash in and perforate the membrane. When the solo of the first song hits, Karan Kaul (rhythm guitar) has a huge smile plastered across his face. The band, and the crowd, know that they are in for something special.

The Veiler, about an Indian demon, is one of the bands latest releases; it showcases vocals shifting from clean to harsh and back again as they concoct a really brilliant atmosphere. The b and are clearly enjoying themselves, which is always a good sign. Midhaven will definitely be back, and probably higher up the bill. They have some superb material that is delivered with an emotional and emphatic assurance.

TROLL MOTHER

Troll Mother hit the stage at The Dev. Their merch is a hit, and the pub is rammed as the duo take the stage. Their sound is a very raw sound mixing sludge with black metal style growls and shrieks. It’s a ferocious onslaught of noise as the Bognor Regis natives offer up a frightening turn. The spoken word element of their music is unnerving; coupled with their harsh sounds, it makes for what could be the most frightening audio book ever. Their rough around the edges sound is further elevated when they introduce a punkier element to their sound complete with 1-2-3-4 count offs. In the next breath, they’re throwing in jaunty jig style melodies. It’s a real mixed bag and makes for an enthralling mix.

THE GREY

From Bognor Regis, to Cambridgeshire. The Grey are a post rock band that have made quite an impact over the past few years. 2025’s KODOK was a brilliant success for the trio and it is brilliant see The Underworld full for their set. Immediately, the sound The Grey possess is huge. There is a density to their instrumental music that is extremely atmospheric. When they explode in unison, the headbanging on stage is of the highest order (making this writers back wince).

In their riffs, they scythe through the air with a brilliant tone. There end up being a a few gremlins in the system on the guitar front. The drum and bass persist with the deep groove; a huge cheer is reserved for the reintroduction of guitar with bassist Andy Price retorts; ‘You only came for bass and drum didn’t you?!’ They get things ironed out and continue to pummel with great vigour; an absolutely massive success of a set.

EARTHLESS

At The Roundhouse, Earthless are preparing to take everyone on a journey of psychedelic rock. The Quo’s Down Down blares out preceding the band. That was a song released in 1974; this is an age that hangs around the music of Earthless. Their epic opening jam showcases the power of the trio, serving as a passageway to the epic hour of music that is to follow.

The sound is lovely, clean and crisp as Isaiah Mitchell lays down epic, extended guitar solos. Such is the ethereal nature of his playing, the spectres of Hendrix and Gilmour loom large. Straightforward copy this is not; but their influences are channelled expertly. When people say music can take you on a journey, this is the exact definition of that notion. Uluru Rock takes up around 25 minutes of the set, with Violence Of The Red Sea taking up largely the second half of the set.

Earthless’ rhythm section of Mario Rubalcaba (drums) and Mike Eginton (bass) lay the ground work and drive rhythms both fast and slow. The energy of Rubalcaba is particularly impressive with such lengthy compositions. As the band reach the end of their set they produce a most surprising cover of Iron Maiden’s The Ides Of March. As a huge Maiden fan, this is a huge treat and one that I never saw coming as a cover version for the weekend!

THE SWORD

There is a real anticipation in the air as the change around for The Sword sets in motion. It is over a decade since The Sword shone in the UK, and Desertfest is ready for their return. Their huge logo adorns the back drop as they step onstage to a rapturous reception. Tears Like Diamonds is an early highlight as the crowd show that they are clearly stoked to see them again.

They sound as tight as ever, and clearly haven’t missed a beat. With each passing song, the reception gets hotter and hotter. When they take it back to Maiden, Mother & Crone it feels like meeting up with an old friend, but the passage of time is inconsequential. The crowd pogo vociferously as J.D. Cronise sings in his inimitable style. Dying Earth takes things to a more cosmic plain with the earthy synth opening teeing up a huge release of huge riffs. It’s one of The Sword’s more endearing songs and raises the pulse rate more.

What is great about The Sword is that they can nail the straight up rock and roll and head down doomy avenues on a sixpence. Tres Brujas is a classic from the catalogue which nearly takes the roof off, and Cloak Of Feathers helps top a stunning return.

A note must be made of Kyle Shutt’s shuffling guitar stance as he augments Cronise’s guitar with his own rhythm and lead lines. He is clearly having a blast, as are the rest of the band. Interaction with the crowd is minimal, but it is clear how beloved this band are. Please don’t leave it another decade before hopping over the pond.

CLUTCH

‘Alright kiddos…let’s get down to it!’ says Fallon as Clutch walk on after their customary intro of Chuck Brown’s We Need Some Money. Clutch are pros of the highest order. There is no bullshit in their delivery and the fat in amongst their discography is minimal. It’s a 1-2 from Psychic Warfare as X-Ray Visions and Firebirds get the crowd going. When the band are introduced through the latter, the crowd goes wild in hollering ‘Scorpioooo’ back to Fallon. Sometimes, you get a sense that certain shows are going to be special; like Green Lung the night before, everything feels like it is aligning.

For the next 80 minutes or so, Clutch deliver a masterclass in feel good rock and roll, with an aplomb second to none. Slaughter Beach and Profits Of Doom offer irresistable grooves, Neil Fallon stalks the stage like a fly trying to get out of a closed window, goading the front lines of the crowd in a similar way to the way Nick Cave builds that connection.

‘For a long weekend, you look fantastic!’ remarks Fallon in his ever building rapport with the crowd. Aptly, Mob Goes Wild gets an early airing. It’s one of Clutch’s party pieces and just ramps up the already bristling atmosphere. In putting together a setlist, Clutch take turns amongst the band to select the setlist so the entire set is a surprise as things change from show to show. Granted, some songs are heard more than others, but the excitement and anticipation of what is to come next is great. It is a rare treat in the modern concert going experience.

NOT THINKING ABOUT MONDAY ARE YA?!

There is a real sense of Clutch throwing the kitchen sink at this performance. ‘Not thinking about Monday are ya?’ asks Fallon. ‘Fuck that! Throw caution to the wind!’ he urges. Later in the set, Fallon also bemoans the early call they have for their next port of call. ‘We’re at Heathrow at 6.30 so anything to put that off…’ he says. London is absolutely fine with this notion.

Pure Rock Fury showcases a superb solo from Tim Sult and the satirical and scything Army Of Bono is a nice surprise. Whilst Clutch are all fire and fury, Walking in the Great Shining Path of Monster Trucks showcases their doomier side with the dark and deep riff slowing the pace a little. It gives the frenetic Fallon a moment to pause.

It doesn’t last long as he is back at it for Nosferatu Madre. The chorus line, ‘No stars above to guide me
No sunrise shall I see again,’ is emphatic. For three days watching bands, the crowd is still full of energy. Sometimes, you see bands and the stars just seem to align with everything clicking. This feels like one of those nights. Clutch play up a storm, but the crowd give everything they have and the band clearly feed off this.

HOW TO SHAKE HANDS

Drifter Returns breaks the run of familiar material as it is a new number. The track is, unsurprisingly, very Clutch sounding. The positivity of ‘Today’s all we got’ in the lyric makes it a really uplifting addition. ‘You guys are super duper,’ says Fallon. The feeling is mutual.

How To Shake Hands is a real sleeper of a hit in the Clutch repertoire. As the lyric goes, all we want is straight talk, and no jive. Fallon is animated across the stage, playing into the presidential figure depicted in the song.

Electric Worry and Impetus close out the main set in glorious fashion. The former, like ‘Mob’, is one of Clutch’s real party pieces. Throw in Earth Rocker and you have a dynamite ending to a main set that isn’t quite finished yet. An absolutely white hot Roundhouse welcomes the quartet back for a closing double of D.C. Sound Attack and the classic tune, Spacegrass.

Clutch are one of the most enigmatic, hard working, consistent and fun bands. Their no frills approach is refreshing; it still looks and sounds like four dudes just jamming in a garage. With an unmatched authenticity, they are the perfect band to close out Desertfest 2026. Their headline performance is one that will stick with this writer for a long time, and I am sure that is true of everyone that was in attendance.

You can view our day one review, here and day two here.

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