My Woodbridge Diary: 2025

On September the 20th 2025, Andrew Heath of Driftworks, Adrian Newton of Evergreen Music, James Osland of Elm Records and I, alongside James Armstrong (Slow Clinic) and Adrian Lane & Bryan Styles, were part of the Woodbridge Ambient Festival in Suffolk. We presented a Saturday afternoon event called The Ambient Label Hub, where we demonstrated the sorts of music we release through live performances, and shared our record label merch and expertise with a casual and steady crowd throughout the day.

Our three hours focused on what small independent record labels have to offer artists, since the festival attracts many who create Ambient music themselves. During the weekend, James Osland was filming, and he has produced a wonderful short documentary film called 'Independent: A Documentary' which you can watch on YouTube below. This includes beautiful, slow moving footage from our event and some of the wider festival, as the labels and artists share some thoughts on what running or releasing on a record label means to them.

Below the documentary, I thought I'd pull together all of my main memories from what was a very long day, totalling 20 hours if I include travel! I promised those who couldn't make it, particularly those based overseas, that I'd share as much as possible from the event and whilst this process has taken longer than hoped, it's also nice to immortalise these special moments in the form of a blog post...

EARLY START

The Ambient Label Hub event started at 2pm, but I wanted to try and be in Woodbridge as early as possible so that I could experience the wider festival and meet some of the guys, none of whom I'd ever met before - apart from online. So I set off at 6am, had one or two stops for coffee, and arrived at 10am.

After parking up I met Andrew and James Osland, who were staying at a beautiful B&B not far from the venue. We arranged to meet some of the others for breakfast and headed off in the direction of Whisstock's place. On the way we bumped into Jan Pulsford the organiser and said hi and then we decided to have a bite to eat at the Whistlestop Cafe on station road. We met up with Adrian Newton, and his wife Lynn joined us a little later. We also met Alex Caminada who is a member of our Inner Echo community, and someone Andrew knows well from Stroud. I had yet another double espresso, and a superb fried breakfast - which turned out to be our only meal until much later.

WHISSTOCK'S PLACE

After breakfast, a good chat and a good laugh, we headed to Whisstock's Place where DJ Tom Greig was playing a set. He was equipped with turntables and some top notch records and I enjoyed his eclectic taste. The sound filled the area really nicely, and there were lots of people milling around. It was right next to the Longshed, where they were building a great big wooden boat. Upstairs they were hosting a sound discovery session for young children, which I thought was a really nice touch - I'm sure if my kids were there they'd have willingly got involved with that.

Opposite the Longshed there was a bar called The Boathouse and I popped in to take a look at their fine range of craft ales. It may have been 12pm but I couldn't resist and ordered a weak IPA which was a really nice tipple to enjoy as we sat and soaked in Tom's Ambient vinyl set. Speaking of vinyl, the Boathouse also sold records! I decided to show some restrain and steered clear. Back outside, I saw that Richard from Gifts From Crows was there - someone I'd chatted with before the event and expected to catch up with. I introduced him to the wider 'crew' and we had a good chat, about his less than pleasant accommodation in Ipswich, Spotify and expectations for the day.

By this time Tom Rogerson and Will Fergusson had set up a pair of keyboards and began to perform Steve Reich's legendary 'Piano Phase' which was mesmerising to watch. We could have been there all afternoon, but time was ticking and we had a show to put on...

SETTING UP

After the dramas of trying to get our cars parked, Tom Rogerson met with us at the beautiful Shire Hall to open up and provide access. Our event was set to start at 3pm and I must say, I've never known panic like it - trying to unload everything, set up merch, getting gear set up, making sure things worked visually. It was getting a bit intense! Adrian Lane was there with his friend and clarinettist Bryan Styles, and they were set to be the first performers after our short introductory address. People were starting to come into the building just before 3pm and it was all a bit hairy. The room filled up in no time and I'd nipped out to take a video of the venue from outside, as I walked in. Then realised... I was supposed to be with Andrew doing a short intro to declare the event open! It's a comical moment, all captured on camera...

THE AMBIENT LABEL HUB

Before long, the panic disappeared as Adrian and Bryan started to perform. Their set was loud, powerful, haunting and it really suited the environment of this 450 year old building. It was an incredible way to open the event and I had a moment to myself, as I looked around, feeling pretty moved by it all. Adrian performed some cinematic sounds via MIDI keyboard and laptop; I recall a choral, sort of Gregorian chant aesthetic joined by light electronic voice effects reminiscent of the late Johann Johannsson's Orphee. Bryan joining on clarinet was an incredible accompaniment too and when the instrument dropped into the lower notes, it really carried the room. It was strange, as we had agreed to keep the volume low at the event to allow people to move round and talk rather than feel that they needed to sit and listen - but this was the kind of music where you just couldn't help but be gripped.

Contrasting beautifully, James Osland took to the stage to share a beautifully minimal and evolving set of Ambient drones and this provided a little space for people to either sit and meditate upon these wonderful sounds, or to take a look round at the merch on offer from the labels. I stood behind the Whitelabrecs merch table and enjoyed chatting to a few people.

Then once James had finished, Adrian Newton introduced a Q&A session where Andrew, James O and I took questions from the audience, many of whom were artists. We introduced our labels, gave some thoughts on why small independent labels can help artists in the Ambient scene, before we discussed a few industry topics. These included things such as how to make the most of Bandcamp, how to promote music, how to approach record labels with a demo, the role of cover artwork, the financial side and lots more. It was very much a fascinating two way conversation to be part of, within the room, and I felt it could have gone on for longer. I always feel so ready to help artists, with anything I've learnt and I could quite easily have talked about it all afternoon.

After the Q&A, the show must go on and the music needed to return! We wanted to provide a nice balance between supporting artists with conversation, and demonstrating the music we have to offer with our performances. James Armstrong stepped up, after a pretty testing journey up. He played guitar with pedals, and there was a real warmth and positivity emanating around the room. I could sense that people were really connecting with James’ set, with one or two couples even embracing. I’ve never really seen live Ambient music - it’s always been a solitary, personal thing for me. I know how it can move people emotionally but to witness it moving others was, well, also moving! During James’ set a few of the artists in the crowd were chatting with us and it was really nice to meet a mixture of people I’d crossed paths with online, and had never met. Hearing about the things they were working on, some of the ideas they had and the challenges they faced, it was so inspiring and also, pretty weird to be having the sorts of conversations that I only ever really have online. I’m not a particularly extroverted person, but I do really enjoy meeting and talking to others. Particularly about music! So it was really special to take this online world I’ve been absorbed in for all these years, into a physical space.

After James Armstrong’s set, up stepped Andrew and Adrian Newton, performing live as a duo improvising. Andrew’s newly acquired reel to reel was behind him as he set about working some magic with his laptop and Arturia MIDI keyboard. Adrian sensitively overlapped Andrew’s sounds with his own and it all filled the room with yet more magical, high quality Ambient music. All day I’d been thinking about how talented this bunch were, building a live performance workflow and executing it all so flawlessly. I wondered if I’d ever get round to getting a live set up together… and then, it was my turn to ‘perform’. Well, play other people’s music via a set of turntables and a mixer.

It felt really strange, I must say - as I hadn’t done any kind of DJing in over 10 years! And, that was with Deep House. When playing to a crowd back in the day, it was very much a performance, with dancing, constant tweaks of the EQ and the odd trick to get the crowd going. This time it was very different… with ambient music, I didn’t know what to do in the few minutes each track was playing! The crowd was dwindling as people started to get ready for the evening shows, so it didn’t matter too much. I allowed myself a moment to pause and reflect as the bright afternoon sun gleamed through the windows, and I looked back at a room of my friends kicking back after such a special day. I was listening to some of my favourite records, and sharing them with the room on a decent sound system, looking forward to kicking back myself as we got ready to go to the evening main event at St Mary’s Church. A couple of the guys said goodbye outside, leaving Andrew, James Osland and I chatting. James and I both groaned at how hungry we were…

PIZZA

Andrew wanted to get his gear secured safely and miraculously, after not having much for breakfast, he wasn’t as hungry as James and I! So he headed back, whilst we went off to Prezzo for some pizza. It was a very welcome pizza, and we chatted for a good while about our exploits running our record labels. It was great to finally sit down, and with good company in James whom I’ve known since 2017 when he released on my old netlabel Audio Gourmet. He does a terrific job running Elm Records, with beautiful photography and a consistent brand and it was also a pleasure to join him on the inaugural show on his Moor Thoughts podcast series. It was getting dark, and time to head off to the church to join the others - albeit a little late! As we locked up, Tom Rogerson had given us a few recommendations of where we could get food - and he reassured us, that it was okay to come and go as you please for the evening show.

TOM ROGERSON & FRIENDS

We entered the church as Loula Yorke’s set had not long started, having missed Will Fergusson’s. Loula’s modern modular synth set up filled the ancient church with electronic sound, with its natural reverb softening the edges beautifully. It was Ambient music, but with movement, with edge and I really enjoyed it. It was full of energy and just the powerful bolt I needed to wake me up after such a long day. I stood listening to the set at the back of the church and straight after, I congratulated Loula in person at the merch table, where I bought a copy of one of her records.

Next was a friend of Loula's, clarinettist Charlotte Jolly. The sound being more traditional, contrasted the electronics that preceded and Charlotte’s playing was incredible. She performed impeccably and at times, great speed. Being a big fan of Modern Classical and Jazz music, this set was right up my street and indicated the evening would see a wide variety of performances.

Following Charlotte after a short break, Peter Chilvers and Ted Morcaldi stepped up and by this time, I’d moved to a front row seat next to Andrew, and an artist who had been sketching the performers. I was aware of Peter’s work with Brian Eno on the Bloom app, and had taken a listen to his music before the event, enjoying his Dust 4 album which had dropped on Curious Music just before the Woodbridge festival. I hadn’t discovered Ted’s music, and as a duo they set about building up a live soundscape of Ambient piano, with electric guitar and what looked like a Chase Bliss amongst other pedals. It was a really beautiful composition which I could have sat and soaked in for hours.

After the previous set, more variety followed as multi-instrumentalist Laura Cannell stepped up with a range of recorders, violins and related instruments I’d never seen nor heard of. When I bought Loula’s vinyl at the merch table, Laura was there and I congratulated her on her album ‘The Visible Light Of Other Worlds’ and said I’d already bought a copy. It’s a fantastic album which I’d been enjoying in the run-up to this event, so I was looking forward to hear Laura perform live. She shared a collection of traditional songs, most if not all of which were her own work, using a range of instruments. But what made it all so special, was the stories she told in between and then there was some participation by us in the crowd! We all had to hum a drone in the key of F as Laura played recorded, and Charlotte joined on clarinet. It was good fun and nice to join in a bit.

Last but not least, Tom Rogerson took to the stage to sit at the grand piano. I had listened to Tom’s music before the event and enjoyed his quality compositions. But I realised that night that Tom’s greatest strength is taking music to the physical dimension, as a performer. Becoming a pianist takes incredible skill and determination but whilst no two pianist will sound the same, as a studio album the results tend to feel familiar, with it being such a popular instrument. I don’t see a lot of live music, but I had seen countless talented people play piano at train stations. I knew I’d enjoy the music, but I’m not sure I could be quite so prepared for what Tom was about to do. He built up a performance on the piano which felt intense, theatrical, minimal at times, and with a mic and some wordless vocals, he filled up St Mary’s church with such incredible energy.

HEADING HOME

After a few goodbyes, it was time to head North on the car journey home. I was absolutely exhausted and the drive seemed to take forever. Driving tired + Ambient music is seriously dangerous. So, I stuck on some Dance music for most of the journey. This was a very strange full circle moment for me...Almost 20 years prior I often found that I could not face Dance beats after DJing in loud clubs, leaving at silly o'clock. Not long after, I discovered Ambient music and this was the beginning of a massive turning point for me musically... one which of course, eventually led to Whitelabrecs! So I had to smile on the journey home about how the script had flipped. But, what a day...perhaps next time I ought to stay and experience a little more of the festival.

This is just my experience of the Woodbridge Ambient Festival in 2025 - I imagine the others I met on the day will have loads of their own moments to share. If you'd like to learn more about the festival, your best bet is the website which you can check out HERE.