On Thursday, July 30th, after the car-packing saga of the century and a quiet debate over my life choices, I set off on the nationwide pilgrimage to Portlaw, Co. Waterford, for All Together Now 2026. Travelling early meant beating the traffic and getting settled before a busy weekend of work. I avoided Google Maps as instructed, navigated the winding roads and slow crawl to the parking facilities, and finally arrived at the Curraghmore estate. A short walk to get my bearings was all Thursday allowed before a blistering migraine put me out of action. After a decent night’s sleep, I rose on Friday armed with my Clashfinder schedule and reliable gym runners, ready for the weekend.
After copious tea from the first coffee vendor I found, I began with a serene walk through Lovers Social, where punters ate, made jewellery, painted canvases, tried pottery and joined a popular hula-hooping class. At the Road to Nowhere stage, PVA played to an afternoon crowd split between sunbathers and barrier-side fans. I then squeezed into the Well for Babyrat, a band I first photographed at When Next We Meet in May and have followed since. Young, energetic and strikingly self-assured, they combine strong musicianship, sharp writing and a nostalgic feel despite having no formal releases on streaming platforms. Their songs have stayed with me; I even sang along to the Babyrat theme after hearing it only once. Zoe Callanan brings an almost Hayley Williams-style vocal punch, while the band’s distinctive setlist, lyricism and irresistible energy mark them as one to watch. I hope promoters and bookers continue to platform Babyrat alongside acts such as the Cliffords, because their appeal is obvious and growing.
Lifted by Babyrat’s energy, I headed to the main stage for Sexy Tadgh. I have photographed this class act several times over the past year, most recently a few weeks ago, and they remain a gift that keeps giving. They know themselves and their audience perfectly, hooking everyone from the dramatic entrance to the final belt of ‘My Parade’. Townie girls at the barrier, Heineken bar staff and media in the pit were transfixed by the GAA teamsheet-style opening monologue, delivered through the off-stage voice-of-god setup as visuals introduced the Sexy Tadgh band. A head-banging run of familiar anthems from the Carlow act followed. It was great to see Sexy Tadgh on a headlining stage; my only complaint was that the set did not last longer.
I then moved between the Flourish with District Music Stage and Something Kind of Wonderful stages for Dry Cleaning and The New Eves, before returning to the main stage for Gurriers. Having photographed them before, I expected unpredictability, but not this level of energy. Dan Hoff moved between the stage, sound monitors and pit barrier, delighting fans at close range. Bassist Charlie McCarthy also crossed the barrier and crowd-surfed back to the stage. It was one of the weekend’s standout performances and will be remembered by punters and media alike.
As evening fell, I caught more restrained but powerful sets from For Those I Love, whose style leans toward spoken word, and Black Nylon, who brought something distinctive to the night’s itinerary. At the Road to Nowhere Stage, Brogeal’s foot-stomping set drew a huge crowd and provided the ideal warm-up for headliner Pulp on the main stage. I watched Pulp from within the crowd, feeling the wave of nostalgia spread around me as they closed a thrilling first night on the Curraghmore estate.
PVA photos:
Babyrat photos:
Sexy Tadgh photos:
Dry Cleaning photos:
The New Eves photos:
Gurriers photos:
For Those I Love photos:
Black Nylon photos:
Brogeal photos:
Pulp photos:
Crowd photos:
Photos & Words – Lisa Hamilton @lisahamiltonphotography