Rebellion Festival 2026: the Breakdown
Fifty years of punk and thirty years of Rebellion Festival is quite a combination. For one weekend, Blackpool becomes a meeting point for generations of punks, bringing the young and the less young together to bang heads, share beers and lose themselves in everything from original punk legends to the freshest talent coming through.
I only managed a couple of days before a cancelled hotel booking cut my trip short, but even in that short time it was impossible not to get caught up in the madness. With a lineup featuring punk greats such as The Stranglers, Buzzcocks and UK Subs, alongside a seemingly endless supply of new bands, there was something wild happening everywhere. The Fringe, spreading out across Blackpool’s venues, adds another dimension entirely, with gigs constantly kicking off in places such as Bootleg Social, The Washington and Shake Shack. You turn a corner and there’s punk coming at you from somewhere.
The atmosphere is what makes Rebellion so special. Everyone is buzzing, comparing plans and discussing who they’re going to see next. There’s a genuine sense of community, and nowhere was that more obvious than at the venues around the city.
SLAPRASH
Manchester’s SLAPRASH opened the night at Bootleg Social with a frantic burst of raw energy. They launched straight into their set, including their latest single ‘Chokehold’, with bassist Huw Lloyd bouncing around like an absolute maniac while sister Amelia hammered the drums.
The pair were incredibly tight, feeding off each other’s energy throughout. Their performance was relentless, and before you knew it, the set was over. Judging by the reaction from the crowd, they could happily have played for another hour.
Cowboy Hunters
Glasgow’s Cowboy Hunters followed with their riotous punk-rave sound, blending multiple genres with cynical humour and a collection of absolute belters.
They stormed through ‘Money For Drugs’, ‘Perfect (Exceeder)’, ‘Gemma’ and ‘Have a Pint’, riling the crowd up with cheeky banter between songs. The audience responded to every beat, with the pit getting increasingly wild. I genuinely witnessed breakdancing in the middle of it all, which tells you pretty much everything you need to know about the atmosphere.
DOG ROTTEN
South East London’s DOG ROTTEN brought a different flavour to Bootleg Social, combining infectious punk rap with working-class storytelling.
They had the crowd engaged immediately, firing tunes straight into an audience that was more than happy to bounce along. The energy went through the roof when legendary Riskee and The Ridicule frontman Scott Picking joined them for a rap-off, sending the room into an absolute frenzy.
It was a perfect example of what makes The Fringe so good: bands crossing paths, audiences mixing together and unexpected moments happening throughout the night.
Riskee and The Ridicule
If you’ve ever been to a Riskee and The Ridicule gig, you’ll know the madness starts from the second they walk on stage. The crowd and band completely match each other for energy, with everyone singing every lyric while bodies fly over each other and the mosh pit goes wild.
Scott Picking wastes no time getting into the barrier, belting out songs and handing the microphone to the crowd, who sing their hearts out to ‘Molotov Cocktails’ and ‘Body Bag’. It's ceiling-high energy from beginning to end, with the whole room becoming part of the performance.
Riskee brought exactly the same intensity to The Empress Ballroom at the Pavilion. Considering the sheer size and height of that place, that's saying something. The connection between band and crowd was there from start to finish, creating that same feeling of unity and controlled chaos that makes their live shows so good.
SPLIT DOGS
Bristol’s SPLIT DOGS came out swinging at The Empress Ballroom, with front woman Harry commanding the crowd from the very beginning.
She tore around the stage with moves that would make Tina Turner proud, keeping everyone entertained while simultaneously keeping the photographers firmly on their toes.
Blending raw punk with garage and heavy metal, the band tore through ‘Gutterball’, ‘Animal’ and ‘And What?’ to a packed-out Empress Ballroom. The crowd were absolutely there for it, matching the band’s energy and proving once again that the bigger Rebellion stages can still feel every bit as wild as the smaller Fringe venues.
Meryl Streek
Seeing Dublin’s Meryl Streek is always a cathartic experience. There really is nobody else quite like him. Raw punk and political messaging collide to create something completely original, and his intensity makes it almost impossible to look anywhere else once he starts.
During ‘The Start’, news samples referencing the Catholic Church scandals involving babies found in septic tanks were used, immediately establishing that this isn’t simply punk for the sake of noise. There’s something to say, and Streek makes sure you hear it.
Songs such as ‘Death To The Landlord’, highlighting Ireland's housing crisis, carry a message that feels increasingly universal. The crowd stood staring straight ahead, taking in every word. It's confrontational, uncomfortable and hypnotic, but that's exactly what makes it so powerful.
And that's Rebellion. History, politics, humour, anger, celebration and sheer bloody noise all thrown together.
Whether you're watching punk legends like The Stranglers, Buzzcocks and UK Subs or discovering the next generation at venues around Blackpool, there is always something happening. The Fringe makes the whole city feel like an extension of the festival, with punk energy coming at you from every corner.
I only had a couple of days before my trip was unexpectedly cut short, but even that was enough to get completely caught up in it. Everyone is buzzing, everyone has somewhere to be, and everyone has another band they desperately want to see.
You don’t just attend Rebellion; for a few days, you get swallowed up by it. And honestly, that's exactly how punk should feel.