Houghton is a festival that will not only have faithful day-ones coming back each year, but will continue to attract newcomers from around the world due to its infectious atmosphere and top-of-the-range soundsystems.

Houghton – Craig Richard’s 24-hour dance festival, nestled in Norfolk’s Houghton Hall estate, has only been around since 2017, and has faced its fair share of obstacles during this short existence. For three years in a row, the festival was unable to go ahead, either due to unexpected storms or COVID-19 restrictions. These setbacks have in no way hindered Houghton’s momentum, though; each year since its unplanned hiatus, the festival has continued to develop its reputation, with 2025 feeling like a peak in this buzz.

 

In his RA interview back in 2023, Craig said the ethos of Houghton is to “present things as best as possible… and obviously sound is the most important thing.” As soon as you make your way to the stages, it becomes clear that he practices what he preaches. The state-of-the-art sound systems – made in partnership with d&b audiotechnik – are meticulously designed, so that it’s hard to find a spot where the music doesn’t sound immaculate: crisp drums and warbling basses, without the fear of blowing an eardrum.

 

The stages are dotted throughout the arena and forest, with the lake acting as the centrepiece. They’re arranged in such a way that each one feels like it has its own space, a distinct identity and aesthetic. It’s hard not to be drawn immediately towards the Derren Smart stage, with it being positioned right near the entrance and playing host to some of the weekend’s biggest names. Quest kicked things off on the first night with thumpers that nearly knocked our socks off; Ben UFO kept us on our toes by throwing in grime and dubstep flavours; on the Sunday, Joy Orbison offered up a smorgasbord of sounds that proved why he was named DJ Mag’s Best DJ last year.

Over on the cosily-lit Stallions stage, you can find smoother, funkier grooves – Minna on the opening night, with the packed tent swaying in unison to Jocelyn Brown’s ‘Somebody Else’s Guy’, was a particular highlight. Over on The Pavilion, DJ Masda served up a spacey set that intertwined vintage house and techno with futuristic electro, and the stage’s psychedelic lighting and imposing structure were the perfect accompaniment. Palms Trax closed things off on Earthling – a stage that looks like a UFO has just touched down in the forest clearing – and provided a fitting array of hazy, synthy dance tracks to keep the crowd going until the bitter end. Lasers and strobes dancing amongst the towering trees, with the silhouettes of countless heads and hands bobbing through a thick fog of smoke, is an image you’ll come across time and again at Houghton, and that you never get bored of.

 

It’s easy to fixate on the spectacle of these bigger stages, but the more you explore Houghton, the more you realise the variety it has on offer. The Giant Steps tent had an intimate, laidback dancefloor, with beanbags dotted around the outskirts. The Old Gramophone seemed at first to be just a chilled-out bar area with cosy furniture, but the likes of James Massiah and Prince Fatty had people skanking on the sofas. Experimental trumpet performances and ambient electronica could be found at Pinters. Away from the music, you have in-depth discussions on The Armadillo, meditation and yoga sessions at The Orchard, a lake light show from Chris Levine that’s hard to put into words (imagine a hypnotic combination of visuals from Interstellar and Jordan Peele’s NOPE).

There was a refreshing diversity to the Houghton hordes. You had everyone from teenagers looking for the ultimate first festival experience, to seasoned veterans who’ve witnessed the evolution of dance music since the ‘90s rave scene. Regardless of their differences, there’s a sense of unity among the Houghton crowd. The 24-hour license means there’s never a lull to the party – no matter where you go, at any time, you’re almost guaranteed to find a filled dancefloor. Based on the array of people we met throughout the weekend, it’s also apparent that Houghton’s reputation now extends far beyond the UK. On our way up from London, we met Rob, Brian and Hector, who’d flown from Austin, Texas; in the middle of Dr Banana, we got chatting to a guy who drums for the Beşiktaş fans in Turkey.

 

“The idea is not necessarily to grow it,” Craig told RA when asked about the future of the festival. “The idea is to define a loyal following… to work out the capacity and the aesthetic… and then sort of sit there really.” If 2025 is anything to go by, he’s achieved this and much more. Houghton is a festival that will not only have faithful day-ones coming back each year, but will continue to attract more and more newcomers from around the world, due to its infectious atmosphere and top-of-the-range soundsystems.

 

Find out more about Houghton Festival here now.