Waterworks festival returned to Gunnersbury Park for its fifth edition earlier this month, aiming to redefine the London day festival experience.
Unlike most festivals, who rely on big-name artists, Waterworks rejected the traditional headline format, staying true to what organisers describe as an ethos of investing in the diverse local electronic music scene.
Its lineup reflects this investment, stacked with an array of independent electronic artists, such as London-based DJ and NTS Radio resident Tash LC, many of whom champion their own record labels.
Through her own label, Club Yeke, Tash platforms a global underground of electronic music, from Africa, to the Caribbean and back to the UK.
She said: “The timings and the curation of Waterworks are so well thought out, and supporting similar people each year makes it seem like much more of a community.
“This mirrors the independence I values in running my own label. Independently releasing can give you more access directly to the artist.
“By having more autonomy over your own work, you can connect directly with your community so much better than if you have a package with a major label.”
By foregrounding artists who create their own platforms, Waterworks makes independence and creativity part of its wider festival design – shaping the very fibre of its organisation from crowd control to security strategy.
These are details that do not go unnoticed by attendees.
Alec Van Der Vliet, 23, said: “Everyone working here seems to actually want to be here and cares about the people coming in, security is there to keep things safe without being overbearing.
“The music, the artists, the stages are all about uniqueness and creativity, not just in the sets but also the sound systems, the stage design, and all the small details that make a festival special.”
Waterworks’ seven stages are all located within a two minute walk from one another, hidden in pockets of trees or opening out onto lawns.
From the sea container-style Pressure stage, strung with lights and lasers, to the tucked-away Siren and Cedar stages, each space felt distinct and curated but still close enough to keep the festival flowing.
Katie Cobb, 22, who has attended for three years running said: “The layout has been so consistent but I think that’s one of my favourite things about the festival – they have an audience in mind.
“It’s also got loads of toilets, that is the main thing I’ve noticed. You don’t have to queue for ages.”
Waterworks has managed to expand its following over the past five years whilst keeping its footprint intimate.
Tickets for Waterworks festival 2026 are on sale now.
All pictures taken by Annabel Craddock
Join the discussion