Under the coastal sky in Newcastle, Howlin' Country delivered the kind of weekend that reminds you why you fell in love with live music in the first place.
I’ve been to a lot of country festivals over the years - think dusty paddocks, sprawling showgrounds, you name it - but not many have hit quite like this one did on first impression. The location alone is elite: wide stretches of green grass, easy pathways flowing down to bars and food trucks, and the ocean basically next door. It felt open, breezy and intentionally designed for humans who like space to dance without being elbowed in the ribs.
Accessibility? A dream. Whether you were walking from nearby hotels, parking close to the venue, or ferrying in, it felt seamless. Especially for out-of-towners like myself. No logistical nightmares. No chaos. Just good vibes from the jump.
And the crowd? Immaculate. Calm, friendly, genuinely there for the music. No feral energy, no agro behaviour, just thousands of fans singing along and soaking it up the vibes Howlin’ had to offer.
The lineup absolutely carried its weight. Headlined by global powerhouse Lainey Wilson, the festival closed with a set that was equal parts high energy and heart-on-sleeve. She worked the stage like a pro, signing posters, taking selfies, locking eyes with fans whilst rolling through hits like Heart Like A Truck, Watermelon Moonshine, 4x4xU, Hang Tight Honey, and even teasing the crowd with unreleased track Can’t Sit Still. It felt big, but still personal.
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Homegrown favourite Morgan Evans had his own hero moment, bringing out Laci Kaye Booth for a full band performance of Two Broken Hearts that felt genuinely special. There’s something about seeing an Aussie artist command a festival crowd on home soil. His set was polished but warm and filled with plenty of moments that felt like backyard sing-a-longs with your mates.
The international contingency was strong. Flatland Cavalry delivered one of the tightest musicianship displays of the weekend. Their sound carried effortlessly across the field. There’s a quiet confidence to their performance style; no gimmicks, just songs that breathe and a band locked in with each other. It was the kind of set that made you stop mid-conversation and actually listen.
Kaitlin Butts brought fire in a different way with a sharp, charismatic, and completely self-assured stage presence. She balanced vulnerability with punch, weaving in witty stage banter that had the crowd laughing one minute and leaning in the next.
And then there was Kashus Culpepper, a late but very welcome addition to the lineup. His set shifted the energy entirely, it was soulful, blues-tinged and raw. His set offered a powerful contrast to the higher energy moments on the bill.
Stage changeovers clocked in at an impressive 20 to 30 minutes max - the perfect window to grab a drink, refuel on solid food options and reset without it dipping in momentum.
And somehow, even at peak times, the bar lines were practically non-existent. With so many bars spread thoughtfully across the site, you never had to worry about missing your favourite song because you were stuck behind 50 people in a queue. It’s a small logistical detail, but it makes a massive difference to the overall experience and Howlin’ absolutely nailed it.
Over at the Bale House stage, emerging Aussie acts like Lewis Love, The Wet Whistles, Sharnee Fenwick and Sweet Talk proved the future of local country is in very good hands. The dance floor stayed packed all afternoon, it held the kind of energy that makes the “side stage” feel like its own headline moment.
Bottom line? Howlin’ Country nailed the formula: premium setting, killer programming, smooth logistics and a crowd that actually cares about the music.
Safe to say, I’ll be back next year.
