Embedded Files
GROUND RULES 2026 - An Expert Compilation of the UK’s Dance Scene
GROUND RULES 2026 - An Expert Compilation of the UK’s Dance Scene
Some festivals feel like business; Ground Rules feels like a party.
Back in November, I was at a Singularity UK event in Brixton when I was handed a flyer with a burst of hand-drawn aliens in the centre and details of a new, grassroots festival around the edges. I was told, ‘If you like good music and good vibes, this is where you want to be.’
With a brilliantly crafted atmosphere and an amazing line-up, the weekend fulfilled its promise. But what is Ground Rules Festival? And what made its breakout year such a success?
Though Ground Rules hasn’t been around for very long, its roots run deep. Seven years ago, the London-based collective Singularity UK was founded by a group of friends who share a love of raving.
The collective went on to release music and throw events across the UK and in Europe, platforming big players such as Janaway, Cheetah and Sliva Snipa, whilst championing soundsystem culture in the city and keeping the old skool alive with vinyl and test-press nights.
Singularity expanded its reach through projects such as Da Demolition Squad, Racket Recordings, Albion Audio, and, most recently, Ground Rules Festival, headed by organisers Ariel (The Bass Injector), Benji, Guido (Gudio YZ), and Guy.
Held at Deene Park, Corby, the previous location of Illusive, the explosion that is Ground Rules took place against a backdrop of rolling hills and lush trees. The 1,600-strong crowd navigated the small site with ease and brought incredible energy to the 4 stages.
The passion for the music was clear, with the Crash Site tent platforming Old Skool Jungle, Drum and Bass and Hardcore, majority on vinyl, from the likes of Tim Reaper, Scritts, Shirley Temper, Louise Plus One and Hughesee, to a crowd entirely locked in on the sound. Between the white walls and laser lights, Time To Rush delivered a closing set on Friday night that was lightning in a bottle.
Another standout was the Tierra Firma stage, which, powered by Firmly Rooted, platformed dub, disco and live acts. People gathered under the heat of the day to be astounded by Thempress’ South-Asian-inspired 140 set. The digital experimentalism of Lifeloose was captivatingly fun, and Tokio Station, the live Jazz/Jungle collective, gave a euphoric closing set before a pink sunset.
Once this stage closed at 9pm, everyone’s favourite touring Mongolian Yurt, The Living Room, took over, as crowds flooded to groove to house beats. During the day, the yurt functioned as an excellent community space, hosting workshops such as Sound Sanctuary's Harm Reduction talk and Jenny Sparks Production Masterclass.
Choosing to forgo a vendor’s strip, the festival had a stall giving away free anarchist zines. Founded by organiser Benji’s late brother Romain, Gutter Gear is a great project that disseminates information by sourcing and distributing political writing. More sources are available online at The Anarchist Library.
The alien mascots found on the flyers were featured throughout the decor. Comic strips posted to Ground Rules’ Instagram page told the story of an extraterrestrial group of party-heads on their way to an event when their spaceship crash-lands, prompting them to throw a rave. This theme was both fun and unintrusive, allowing the festival to platform visual art, and honour the aesthetic of 90s raves. Through a large, UFO sculpture, festival-goers could peek into a miniature scene of flashing lights and aliens in front of rig stacks. This image spoke to the broader undertone of the festival - at a time when festivals feel like a business, Ground Rules is more interested in throwing a party.
Gridlock captured this sentiment perfectly. With a name in reference to the endless traffic queues leaving a free party, this open-air stage blasted Hardtek, Baseline and Acid from acts such as Spongebob Squarewave, Mum’s Against Donk and Kyber Drop. Bodies bounced before the rig, whilst others sat comfortably around the sides. Scaffolding held up a large, Teknival-style art installation that has already become iconic, depicting a city skyline of orange and purple buildings enveloped by the grip of an alien overlord. His head would flash between green and raging red, commanding the crowd to move, whilst acts like the Hell Bunnies and Clamour Clowns danced beneath.
During Krunx’s live set, I noticed the DJ booth was empty; instead, he was found towards the back of the crowd, highlighted by spotlights whilst people danced beside, admiring his table of synths. I chatted to a nearby crew member, who sported a beaming smile whilst reflecting on the decision to build a set-up that highlighted his friend’s talent. ‘Most of the people you see in high vis,’ he said, ‘we all went to school together [...] it’s a party!’
Chris Liberator closed out Gridlock to a sea of dancers, eyes closed and arms up in the air. The stomping bass and elevating acid synths had people hanging themselves off of the subs just to get closer to the sound, as the crowd pulsated with a spirit that spoke to the essence of raves.
The festival’s free nature came at no cost to its quality, as the crew’s professionalism shone through. For instance, Ground Rules maintained strong communication with the local council, who were concerned about a returning festival, allowing locals to visit the site beforehand and access a help-line so that complaints could be acted upon swiftly. Each detail on site, from the seamlessly managed walkabout acts, to the games of large Connect 4, Jenga, and a playable Roland 303 sculpture, we carefully selected and not over-done.
With friendly security, shaded seating areas, an ambient tent to wind down in and plain gates that attendees could graffiti on, Ground Rules created a comfortable environment, and in return, they fostered a crowd that was fun and excitable, as well as safe and respectful.
Any shortcomings that might have appeared over the weekend, such as a lack of waterpoints, seemed due to circumstances out of the organiser’s control and are expected to be rectified by next year.
My sole critique would be the placement of the Crash Site stage. As Old Skool is a primary facet of Singularity, I was expecting this sound to be more central to the festival. The closed nature of the Crash Site stage seemed to isolate it, whilst the hot weather contributed to making it a less popular choice.
Described as the result of the crew ‘compiling all of [their] best raving experiences,’ Ground Rules demonstrates a true understanding of the diversity of sound and culture cultivated by the UK’s underground.
The weekend carried a strong sentiment of friends pulling together to make something special, as DJ’s played their sets with smiles and then got stuck into the crowd. As proven time again, the vision and execution of the Singularity crew are continually brilliant.
As the crew gathered on the Terra Firma stage for the Last Dance, they dropped mention of the festival returning for another year, and given the success of their debut, we look forward to seeing Ground Rules festival continue to flourish.
Google Sites
Report abuse