July 25, 2025 |
Since its inauguration in 2017, Houghton Festival has established itself as the electronic music lover’s Super Bowl. Founded by dance music legend Craig Richards – whose accolades also include being a founding resident at Fabric (where he played over 700 Saturday night sets before transitioning to less regular sets in 2018) – the four-day festival is known for its stacked line-ups, billing everyone from sought-after circuit-swirlers to out-and-out heroes of underground music. A love letter to the wealth of sounds that fall under the umbrella of electronic music, Houghton’s intention “to celebrate and represent the best of the best with passion and certainty” has never wavered.
Aligning with Richards’ other passion for visual arts, which he’s nurtured since graduating with a degree in illustration from Central Saint Martins, Houghton also commissions a fresh series of installations and sculptures every year. Peppered across the grounds of Houghton Hall, some live there permanently, like Richards’ own 8m-tall steel sculpture in dedication to the late, great Andrew Weatherall, whereas others come and go with the years. With many exploring the possibilities of when light and sound coincide (Lighthaus Studio’s Side by Side featured two ladders suspended from the trees that lit up to the beat of the rhythm around them), Houghton Festival is a feast for the senses that its dedicated punters can’t wait to chomp down on. Here, we hear from Richards about why he wanted to start his own festival, what makes Houghton different and what lies in its future.
1. Why did you want to start your own festival?
After years of playing at clubs around the world, I had a vision of how a festival should feel and look when music, art and environment are given equal importance. Houghton was born from a desire to create something done correctly, no cutting corners, where the setting, sound and programming all work in harmony. I wanted to curate a space that encourages exploration and offers moments of music discovery. A space where people leave the festival feeling inspired.
2. What makes Houghton different from other festivals?
It is a four-day sonic pilgrimage on the grounds of Houghton Hall, where the schedule gives people the opportunity to experience a diverse cultural offering. From twelve visually unique stages of music to inspiring talks at The Armadillo, exploring the world-renowned sculpture park of Houghton Hall, to the wellness programme at The Orchard, where hand-picked teachers, therapists and healers offer yoga, breathwork and sound baths.
In addition, the floating restaurant The Turntable and Napkin offers a four vibrant Mexican-inspired set menus – each thoughtfully crafted to offer the ultimate Pagoda dining experience. The art tours of Houghton Hall are complemented by the festival’s own art programme which grows each year with 2025 being the most ambitious offering to date.
3. What goes into curating the music programme for Houghton? How do you decide who makes the cut?
Curating Houghton is like assembling an audio collage. We think deeply about how each artist contributes to the atmosphere of the weekend. It’s never just about names or trends, it’s about energy, tone and how someone plays a particular space at a particular time. I seek balance, with established legends and underground newcomers, DJs and live acts, introspective and ecstatic. Giving a space for artists to have the freedom to experiment, to play differently, more deeply and more honestly.
4. Houghton has a strong visual art component that compliments the music. How do you feel this elevates the experience and when deciding which artists to work with, what do you look out for?
My background in visual art means I view Houghton as more than just a music event, it’s an evolving creative project. The art transforms the landscape and the mindset. It invites you to look and think. When choosing artists, we look for those whose work complements the tone of the festival, often site-specific. We are incredibly lucky to have the sculpture park on our doorstep, featuring works by Damien Hirst, Anish Kapoor and Henry Moore. We aim to complement that offering with new commissions that feel at home in this dreamlike setting. We aim for the visual identity of the show to offer something different within our world. No two pieces of artwork are the same and all feel slightly different in what they say and how they are presented.
5. Who are some upcoming artists playing at this year’s edition that everyone should try and see?
We’re proud to present the festival’s biggest number of debuts so far. Artists like Moin playing in the soundscape black box of the warehouse present a nod to the direction the festival is going. Others like Mark Ernestus’ Ndagga Rhythm Force have been on our wish list for years and present a unique moment in the programming across the weekend. In addition, returning artists such as Reggie Watts and Nik Bärtsch show the festivals want to present a diverse spectrum of music. As always, the joy of Houghton lies in discovering something unexpected.
6. What’s in Houghton’s future? How do you want the festival to grow?
We hope Houghton evolves year on year with a wider musical offering, more art programming to be side by side with the music and of course a continually elevated experience for everyone involved. We’re cultivating a space where artists and audiences can lose themselves and find something new. The future of Houghton is about staying true to the vision while always pushing it further.
Photography courtesy of Houghton Festival.
