Imagine your favorite death-metal band going full-on bluegrass - that’s the sound of Bridge City Sinners. Punk as hell, roots as deep as the Pacific Northwest. This fiery acoustic five-piece has been on our wishlist for a while, and we’re pretty sure we’re not the only ones. Attentive and frequent RBF-goers might have spotted one of the band members in 2025: fiddler Lightnin’ Luke made a guest appearance during The Devil Makes Three’s show. Now he’s back in Rotterdam with his own band, alongside frontwoman Libby Lux (vocals/banjolele), Michael Sinner (dobro/vocals), Clyde McGee (banjo/vocals) and Scott Michaud (double bass/vocals).

In a revolutionary, completely DIY way, Bridge City Sinners have found the perfect balance between authentic genres like folk, bluegrass, and depression-era jazz on one side, and punk, metal, and hardcore on the other. They never fall into clichés, and they resist the urge to overuse big guns like distorted guitars or double-bass drum blasts. Their street-musician past, working with limited resources, has been a masterclass in skill and mindset. Pure acoustic power is what this band is all about, with the fierce voice of their striking frontwoman as an extra weapon. Her reflective, thoughtful, and universally relatable lyrics hit listeners with maximum impact.

Every once in a while a band comes along that reshapes a genre and gives it a new face. Della Mae is one of those bands.

Founded in Boston in 2010, Della Mae has spent the past fifteen years proving that an all female bluegrass band is not a gimmick and never was. They have played a pioneering role in the explosive rise of female instrumentalists and women led bands, with an influence that now stretches far beyond North America. Their impact only grows stronger through their willingness to speak out on political and social injustices in their home country.

Over the years, Della Mae has been a breeding ground for extraordinary talent. Long time Rotterdam Bluegrass Festival visitors may remember the ecstatic heights reached when band and audience met here before. Fifteen years in,, the group boasts its strongest line up yet. Founding members Kimber Ludiker on fiddle and Celia Woodsmith on vocals and guitar are joined by guitarist Avril Smith and singer and two time IBMA Bass Player of the Year Vickie Vaughn. Combined with the release of their stunning new album Magic Accident in early 2026, their return to Rotterdam feels not just inevitable, but essential.

If there is one Dutch artist you simply can’t ignore right now, it is Douwe Bob. A man of many faces, this flamboyant bohemian pop star keeps firing hit after hit into the charts, is a welcome guest on countless music television shows and, as a versatile live act and born performer, continues to sell out venue after venue, while also appearing at the country’s biggest festivals. He is no stranger to awards either, with multiple honours from 3FM, BUMA and Edison to his name.

But one of the Netherlands’ most successful artists is also a devoted lover, connoisseur and practitioner of American roots music. That became crystal clear again at the end of last year, when he took to Amsterdam’s sold-out Concertgebouw with The Story of Country, surrounded by top musicians and celebrating his love of the original sounds of the genre. With our festival director as witness, Douwe Bob also turned the spotlight on one of its subgenres: bluegrass. His voice and guitar playing are a perfect match for the high lonesome sound and who better to back him up than our friends from Utrecht, the Blue Grass Boogiemen?

After all, they already did just that in 2023. Loyal RBF visitors will no doubt remember that fantastic performance. They also joined him for the aforementioned Concertgebouw show. The only act to have appeared on the bill of every single edition of Rotterdam Bluegrass Festival, something no other artist will ever be able to match, recently celebrated their 35th anniversary. Since the 1990s, at a time when there was barely any attention for the genre in the Netherlands, Blue Grass Boogiemen have been touring at home and abroad, sharing stages with the greats. We are proud to welcome them back once again this year, more relevant than ever and in a truly special collaboration, to show exactly why they have remained among the very best in the genre for so long. Douwe Bob & Blue Grass Boogiemen: a brilliant and ultimately complementary collab to look forward to in a big way.

One look at the long list of friends and collaborators Hogslop String Band worked with over the past year already tells you plenty. Anyone who regularly shares stages with artists like Margo Price, Sierra Ferrell and - unforgettable for those who were there at RBF 2025 - The Brothers Comatose, clearly has something special going on. And yes, that absolutely applies to this Nashville based band.

Bluegrass musicians are famously fond of jamming together, even though the genre often relies on relatively simple chord progressions. The real magic lies in how those chords are filled in. Hogslop have mastered that art to perfection. Singer and fiddler Kevin Martin, guitarist, harmonica player and vocalist Gabriel Kelley, banjo player and singer Daniel Binkley, and bassist and all round entertainer Pickle deliver virtuosity in spades. What truly sets them apart is how they fuse that musicianship with a wild, almost reckless rock and roll energy.

While the band now calls Nashville home, all members grew up in rural parts of Tennessee and Georgia, where old time music and bluegrass first took root. They were raised on this tradition and hold it in high regard, but that does not stop them from shaking things up. Thriving on genre crossing and musical confrontation, they are at the forefront of a new bluegrass movement that blends unexpected influences like rock and psychedelia into something that can really only be described one way: The Hogslop Sound. One of the most exciting acts around right now. Do not miss them.

Life happens when you are busy making other plans. In Emily Nenni’s case, that saying could not be more accurate. The Nashville based country singer, originally from Colorado, never intended to step onto a stage herself. She moved to Music City with the goal of becoming a songwriter. She succeeded at that, and thankfully keeps those songs for herself. Today, she is one of the most exciting and refreshing voices in contemporary country music, performing night after night in every imaginable setting, whether in her hometown, on the other side of the country or across the Atlantic.

Her sound is rooted in classic honky tonk country, infused with emotional soul and fiery rock and roll. Crying pedal steel, grooving piano and a rhythm section that alternates effortlessly between dragging and swinging form the perfect backdrop for her sweet yet sassy lyrics. She sings about hard lives, wild nights, heartbreak and other universal human conditions that have long been at the heart of the genre.

After countless miles on the road over the past few years, from honky tonk bars and clubs in Nashville to stages and festivals throughout Europe, Nenni has grown enormously as a bandleader, singer and performer. That constant touring has also sharpened her already open minded worldview and her commanding stage presence. With a brand new fourth album set for release this spring, the timing could not be better for her long overdue visit to the Noordplein. Skinny jeans, western shirt and cowboy boots on. Let’s go.

Hackensaw Boys are finally returning to our festival. And for good reason. The standard bearers of Virginia roots music, long beloved in the Netherlands and especially in Rotterdam, are releasing a live album in spring 2026. Shortly after, they will make their way to the Noordplein, because a live album is meant to be experienced live.

Knock Off the Knuckles was recorded during a tour through the Netherlands in autumn 2025. Those shows were part of a major European tour celebrating the twentieth anniversary of their now classic album Love What You Do. A monumental record, blending bluegrass, punk and folk into something timeless and explosive. Several songs from the album have grown into full blown anthems, most notably We Are Many, a powerful yet compassionate call for unity, solidarity and bridging differences. A message that feels more relevant than ever in today’s turbulent world and helps explain the band’s enduring popularity.

That said, what fans truly lose their minds over is the wildly festive musical energy. Hackensaw Boys strike a perfect balance between traditional roots and raw punk spirit. On stage, that energy flows back and forth between band and audience, blurring the line between performer and crowd. No two shows are ever the same and no one knows exactly how a night will unfold. One thing is certain though: everyone involved enjoys it to the fullest, and everyone leaves happier than they arrived.

No matter where you come from, we have more in common than what divides us. That belief lies at the heart of Henhouse Prowlers. And they have put it to the test.

For this Chicago based quartet, making great music is only part of the story. As a band and as Bluegrass Ambassadors, they actively work towards a kinder and more connected world. Over the past twenty years, Ben Wright, Chris Dollar, Jon Goldfine and Jake Howard have travelled to places most touring musicians could never imagine visiting. Through collaborations with the US State Department and their own non profit organisation Bluegrass Ambassadors, they have brought their music to more than thirty countries across five continents.

Those countless encounters with people and musicians around the world have profoundly shaped their lives and worldview. Through workshops, storytelling and shared music making, they carry their message wherever they go. Many dreams have already come true, but these altruistic artists always keep their eyes on the future. Their latest album Unravel blends modern americana, traditional country and bluegrass, rich vocal harmonies and exquisite string work into a record that feels both grounded and forward looking.

They have crossed the Atlantic from Chicago to Rotterdam many times before, and each visit sparks something magical between band, audience and fellow musicians. Whatever form that magic takes this year, one thing is certain: it will be heartwarming, eye opening and deeply inspiring.

Critics and audiences alike love to debate new albums and live shows, and roots music is certainly no exception. Rarely do opinions line up unanimously, but when it comes to the Canadian americana act HORSEBATH, there is a striking consensus. A very positive one, at that. That consensus applies both to their debut album Another Farewell, released last spring, and to their autumn 2025 tour that followed, during which the superlatives came thick and fast. One thing missing from that run of shows, however, was a stop in Rotterdam. We will be making up for that in full this summer.

Like The Band, HORSEBATH hails from Canada, and that is not the only parallel. Just like their legendary compatriots, whose 1968 album Music From Big Pink is widely seen as a blueprint for the broad church of americana, HORSEBATH features multiple songwriters and lead vocalists. They also share that same stylistic range, drawing on a rich spectrum of influences, from the timeless, poetic storytelling of those iconic forebears to the cosmic American music of Gram Parsons, the Tex-Mex of Sir Douglas Quintet, the darker self-reflection of Leonard Cohen, and even echoes of both The Rolling Stones and The Beatles.

The musicians, each from different corners of rural Canada, found much of that inspiration on endless road trips through the vast country, in the adventures they experienced along the way and in all the new sounds and ideas they encountered. Since the success of the album, they have taken in countless new impressions, which bodes very well for the future. Who knows, we may even get a first taste of that at Noordplein, but one thing is certain: this is going to be a great show.

“Sixty Million TV Viewers Can’t Be Wrong.” It is the title of Elvis Presley’s album documenting his legendary appearance on The Ed Sullivan Show in the late 1950s, but it is also a phrase that suits Hillary Klug remarkably well. With nearly two million followers on Facebook, half a million on TikTok and videos amassing staggering view counts, she is a true social media phenomenon. Her clips, featuring fiddle playing combined with traditional Appalachian dance styles such as buck dancing or clogging, have taken the internet by storm. But make no mistake: Hillary Klug is not just a viral miracle. Her skills are nothing short of extraordinary.

Originally from Fayetteville, Tennessee, Hillary began teaching dance and fiddle while still in high school. After completing her degree in English, she discovered her talent for dancing and playing fiddle simultaneously. She moved to Nashville to sharpen that combination, performing for years as a street musician in the country music capital. That did not go unnoticed and led to performances all over the world, collaborations with artists such as Rhonda Vincent and Dom Flemons, and roles in major productions including Dollywood and Cirque du Soleil. The full list is long. If you want to check her entire résumé, prepare to keep scrolling.

Beyond her ability to dance and play fiddle at the same time at the highest level, Klug is also a fantastic singer songwriter and storyteller. Several of her albums reached high positions on the Billboard Bluegrass charts, and she co-wrote music for the award winning film Wild Rose. It is an honour to welcome this multi-talented phenomenon to Rotterdam. See her live and prepare to have your mind blown.

Fantastico! Our favourite Italians are returning to Rotterdam! Anyone who hasn’t missed an edition of RBF in recent years has probably already seen this virtuosic quartet steal the show. And you might be thinking, Italians? Because when you see and hear them play, you’d never guess their background: in every way, this band looks and sounds 100% American. More precisely, they channel the America of the 1950s and the original bluegrass sound of that era, back when Bill Monroe had just put the genre on the map. The Truffle Valley Boys have managed to capture and embed the energy, excitement and enthusiasm surrounding the brand-new style from back then into their own sound.

But this quartet doesn’t just endlessly spin in the past - they give it a fresh twist. By the time they roll into Rotterdam Noord, a brand-new full-length album will be waiting in the trunk of their tour bus. They recorded it at the famed Flipsville Records in Sweden, a completely analog studio with nothing but vintage 1950s gear. A true haven for musicians who love vintage equipment, allowing the band to give their songs the signature sound we, and they, love so much. Their performance in Rotterdam is part of the album release tour, so get ready for a full-on presentation, of course in the classic bluegrass setup around the microphone. Che bello!

Breaking rules in country music since 2015 - that could be the tagline for Texas six-piece Vandoliers. A band that has built a career on pushing boundaries and welcoming everyone, perfectly in tune with the philosophy of Rotterdam Bluegrass Festival.

A raw mix of roots styles - country, Tex-Mex, folk, and blues - combined with energetic punk has always been Vandoliers’ trademark over the past decade. Their latest album continues that tradition, while also showing the musical growth the band has achieved since their first release. Lyrically, too, there’s been evolution: Life Behind Bars (2025) offers an intimate look into frontwoman Jenni (Gin-ee) Rose’s life and her journey through addiction and gender dysphoria - a journey that culminated in her coming out as a trans woman. A courageous move that addresses these themes head-on, while the band’s unbridled positive energy remains intact. Even the most melancholic tracks carry a certain exuberance. Whatever happens, Vandoliers keep spreading joy with unstoppable drive. And we can’t wait to see them do exactly that on the Noordplein!

A band guaranteed to turn heads and win hearts: DUG. This irresistible duo from Dublin makes you fall in love almost instantly. Armed with nothing more than banjo, resonator guitar and percussion played under and around their feet, Conor Lorkin O’Reilly and Jonny Pickett create a sound and atmosphere so rich and overwhelming that there is nothing left to do but surrender to it.

Musical traditions from both sides of the Atlantic resonate throughout their music, with echoes of great American troubadours and icons of Irish folk. That is no coincidence. Pickett was born and raised in California, where he took his first steps as a singer songwriter. O’Reilly was born in Edinburgh to an Irish mother and Scottish father and spent nearly ten years making music in New York State before moving to Ireland in 2022 to begin a new musical chapter. The two found each other in 2023, but you would be forgiven for thinking they have been making music together all their lives.

With the sound and energy of a full band, exceptionally well developed musicianship and enthusiastic, humorous interaction with the audience, the duo quickly built a reputation as one of the most exciting live acts of the moment. With their debut album Have At It! released in 2025, they brought that same spirit to a wider audience with remarkable momentum. The release led almost immediately to an invitation to perform at the prestigious showcase festival ESNS in Groningen in early 2026, where long queues formed outside the venue. Luckily, there is plenty of space on the Noordplein. Chances are that after their show, half the square will be wandering around in a state of total euphoria, wearing a T-shirt that reads “I DIG DUG”. While supplies last.

In 2024, they were one of the standout favourites at Rotterdam Bluegrass Festival. To the delight of many, this whirlwind gang of Argentine birds of paradise returned in 2025 to joyfully put our festival grounds to the test once again. So the shock was immense when news reached Rotterdam that band member Pablo had suddenly passed away. What followed online was a flood of heartfelt responses, full of love, condolences and beautiful shared memories. But after the shock and sorrow, one thing also became clear: the show must go on.

The rest of the band soon realised that the best way to honour their beloved fiddle player and instigator was to pick up their instruments again. They turned the loss of Pablo into their greatest strength: hitting their audience head-on with their fiery musicality. And we are more than happy to give them our stage for exactly that.

Angry Zeta’s streetwise potpourri of punk, bluegrass, country and folk feels tailor-made for a Rotterdam crowd. Their DIY mentality, relentless drive and commitment, always at a full hundred percent, matches the Rotterdam attitude just as completely. This colourful procession of freeform folkies has stolen our hearts for good, and it feels absolutely right to welcome them back to Rotterdam for the third year in a row. 

With a fresh take on classic country, folk and blues, Canadian singer-songwriter Cat Clyde takes listeners on a journey through different worlds with her songs. In one track, her velvety voice offers an intimate glimpse into her deepest emotions; in another, honky-tonk piano and slide guitar lead you through the swinging doors of a lively saloon.

Cat Clyde draws on a wide palette of influences, not just musical: growing up in rural Ontario, Canada, she feels a deep connection to nature, a source of inspiration and wisdom that informs her artistry. Her music feels timeless and familiar, with nods to greats like Patsy Cline, Lead Belly and Bobbie Gentry. Soulful blues and gentle folk flow from her warm, smoky voice, at once tender and raw. With her contemporary approach to traditional genres and poetic songwriting, Cat Clyde creates an intimate atmosphere that lingers long after the music ends. Especially live, at the Noordplein, you’ll experience firsthand how her songs grab you from the very first note and don’t let go.

Born in Missoula, Montana and raised in the rural town of Esmont, Virginia, Jonny Fritz is, geographically speaking, the perfect blend of country and western. He himself prefers to call it dad country, like a theme park designed especially for dads. But what on earth are we supposed to imagine by that?

Jonny Fritz is something of a clown within country music, in the very best sense of the word. He writes fantastic country songs that teeter right on the edge of absurdity. Everyday details that most songwriters would never dream of turning into subject matter, the importance of garbage collection day, characters visiting a rundown motel, the consequences of eating a chili dog in the morning, become little gems of songs in his hands, all wrapped in glorious twang.

By now, the former marathon runner has moved to Los Angeles, become a successful realtor, had a child, survived the devastating fires in his new hometown, helped lay the artistic foundations for a thriving new venue in Sonoma County and developed into a highly gifted and prolific leatherworker. It is almost absurd how many different lives he seems to be living at once, so it is hardly surprising that he went nearly ten years without releasing new work. But now this joker with a golden pen is back with the album Debbie Downers on Nick Shoulders’ label Garhole, where the many hats he wears in everyday life are reflected in his trademark hilarious and musically brilliant fashion. With Jonny Fritz at Rotterdam Bluegrass Festival, expect as much laughter as musical pleasure.

Rotterdam’s skyscrapers may not be quite as tall as the ones in New York, but one thing is certain: this trio from the Big Apple feels right at home in our city. Max Capistran, Sasha Dubyk and Avery Ballotta, better known as Damn Tall Buildings, already paid us a visit in 2024. Towards the tail end of that festival weekend, this radiant trio delivered a Sunday night set that instantly chased away the dark clouds gathering overhead and sent the die-hards straight to the dance floor. As if they had some higher power on their side and maybe they do. For this eternally optimistic trio, the sky is definitely not the limit. With their latest album The Universe Is Hungry (October 2025), they’re aiming even higher.

After ten years of playing together all over the world, from intimate rooms to major festivals, they have shaped their sound into a one-of-a-kind blend of American roots music. Of course there’s bluegrass, but also old-time, blues and jazz woven into their colourful, heartwarming musical patchwork. Their self-penned songs and the way they perform them are uplifting, soulful, melodic and harmonious, but also thoughtful, virtuosic, rhythmic, sometimes moving and often bursting with energy. And it is all delivered with an open, inviting attitude towards the audience, something that clearly grew out of their many years as street musicians, fighting to win over every passer-by. Joining in, physically and or vocally,is not mandatory, but it is pretty much unavoidable. You’ll find out soon enough.

Kaia Kater is one of the most compelling and distinctive folk artists of our time, writing beautifully crafted songs and performing them with mesmerizing finesse. Born in Montreal to Grenadian Canadian roots, she draws inspiration from Quebec, the Caribbean and the Appalachian Mountains.

Her refined banjo playing, jazzy vocal style and layered songwriting reflect the richness of her background, from her ties to the Canadian folk scene and her studies in West Virginia to the stories of her father’s migration from Grenada to Canada and her recent work as a film composer.

International media such as NPR’s Tiny Desk, The Guardian, Rolling Stone and No Depression have praised her work for sounding both deeply rooted and strikingly modern. If you are looking for true authenticity in folk and bluegrass, musically and lyrically, Kaia Kater is unmissable.

A drum kit built from an old television set as the kick drum and tin cans as toms, a xylophone made of empty detergent bottles played with worn-out flip-flops, and a one-string guitar built from an empty jerrycan and a stick: it is incredible what a wildly impressive sound Kin’Gongolo Kiniata manages to create with handmade instruments built from scrap.

Also known as “a crushing sound”, which is the literal translation of the band’s name. In Lingala, Kin’gongolo Kiniata refers to the rattling sound of empty oil barrels once rolled through the streets of Kinshasa during power cuts in the not-so-distant past. In more musical terms, Kin’Gongolo Kiniata can be described as experimental Afropop in which the energy of Western punk collides with rhythms rooted in countries south of the Sahara.

Kin’Gongolo Kiniata stands out not only because of its truly unique sound, but also because of its activist, socially engaged lyrics. Tackling themes such as homelessness, war and survival, their songs express a deep longing for recognition, change and social justice, while at the same time celebrating the tremendous resilience of their fellow city dwellers. It gives their music both political weight and emotional force. Songs full of hope and perseverance, driven by a raw urban sound. Intense and authentic, bursting with life and impossible not to dance to.

If a British band puts one cover on their new album, and it just so happens to be written by a Dutch artist - the one who has played Rotterdam Bluegrass Festival the most - that definitely scores points. Rob Heron & The Tea Pad Orchestra had already earned that good rapport, otherwise the Newcastle outfit wouldn’t be returning to Rotterdam more than ten years after their last show. It was high time for a new invitation, especially since so much has happened since 2015.

With their mix of rockabilly, blues, country, swing, soul, doo-wop, honky-tonk and more, they had the RBF audience dancing from side to side back then. Four albums and two EPs later, the band’s musical range has only grown. This is partly thanks to bandleader Rob Heron’s vast vinyl collection: a passion for 7-inch singles with obscure blues and country, but also calypso, boogaloo and other exotic records. These influences seep into the band’s sound, now further energized by the addition of saxophonist/clarinetist Ben Powling. The lineup also includes Rob Heron (vocals/guitar), Tom Cronin (mandolin/harmonica/guitar), Ted Harbot (double bass/bass) and Paul Archibald (drums). Their typically British dryly humorous lyrics and performance do the rest.

Oh, and the cover in question? ‘Happy Hour’, written by Arnold Lasseur of Blue Grass Boogiemen, released in 2019 on the album of the same name in collaboration with Tim Knol - who also played in Rotterdam that year - and included on Feet First, the band’s latest record from 2024. That the Brits’ show will be one big happy hour goes without saying. In fact, that’s probably an understatement.

The mood in Rotterdam is already looking good. Our mayor has bravely promised to abseil down the Euromast if turnout in the recent municipal elections was higher than last time. It was, in fact, higher, so if that leaves her wanting more and ready for a real adrenaline rush afterwards, she is more than welcome at the show by The Hooten Hallers. And so is the rest of Rotterdam and far beyond, because this is one of those bands you really have to witness to believe.

For nearly twenty years, The Hooten Hallers have been tearing up the asphalt and the guardrails with their exuberant blend of blues, garage rock, country, punk and jazz. That rich mix of styles already sets them apart, but the line-up they perform with is even more unlike any other band out there. This powerhouse trio is driven by the heavy growl and scorching guitar playing of John Randall, the forceful drumming and piercing falsetto of Andy Rehm and, last but certainly not least, the outrageously fat bass lines coming from Kellie Everett’s baritone sax. It is Morphine meets ZZ Top with a dash of George Thorogood and a pinch of Tom Waits.

More than half a million kilometres and two decades of singing along together in a van have now led to the band’s seventh album, aptly titled Van Jams Vol. 1. It is a collection of songs from across a broad musical history, tracks that have deeply resonated with and influenced the sound of The Hooten Hallers. Songs from rock, punk, country, soul, R&B and indie, all played with the signature sound their fans love them for. Energetic, raw, harmonious, danceable and unstoppable. When The Hooten Hallers come to town, it is a party. We know that from experience since their Rotterdam show in 2018. Be there for it, again, or for the first time.

You might not expect it right away, but Rotterdam and New Orleans have something fundamental in common: both cities lie below sea level. That is fairly unusual by American standards, since there are not many places in the US where that applies. It must have helped inspire New Orleans native Johanna Rose’s brand-new album Chain Smoking Below Sea Level (2026). Which, reassuringly, is one hell of an album.

She calls her style gutter jazz, and her profession bass slayer. Johanna Rose, singer, songwriter, upright bassist and, like practically every musician from New Orleans, street performer, creates a sound that lives somewhere between stardom and life in the gutter. Smoky, sensual, chaotic and balancing on the line between beauty and rawness. Her songs land hard and warm without warning, carried by a voice that cuts one moment and softens the next, and by bass lines that feel at once like a heartbeat and a high-wire act. It is New Orleans jazz with a crooked grin: rooted in the tradition of original American music, yet always itching to break free from it.

This summer, Johanna Rose will sail across the Atlantic with The Dreamboats in her wake, strings and horns in tow, for an appearance on our very own Congo Square. Uninhibited, bursting with energy and armed with just as much humour, this group is set to take over Noordplein without mercy. Let it happen.

“If you don’t have a good time when The Hot Seats play, check your pulse. You might be dead.”
This quote from a journalist who caught them live should already be recommendation enough. But just to be sure, and because we can, let’s pile on a little more praise.

The best bands are born in bars, especially when, like The Hot Seats, they go on to play that bar weekly and steadily become better and better, both individually and as a unit. The fact that they are also a close group of friends who instinctively feel and complement each other musically and theatrically is what leads reporters to come up with quotes like the one above. The Hot Seats are known for their wild antics, entertaining sense of theatre and hilarious, dada-esque humour. Did someone say Frank Zappa? Essentially, they are delightfully unhinged. But if you can look past that joyful eccentricity, you will discover an enormous amount of musical talent hiding behind the madness.

Even they seem unsure how to label it. Is it old-time, bluegrass, ragtime, jug blues or classic country? That is why they simply call it string band music. And honestly, who cares? The fact is that a Hot Seats show is one big celebration. Audiences all over the world have discovered this already, from living rooms to bars, square dances to theatres and festivals of every shape and size. Anticipation for their show on the Noordplein is running high.

The Pozo Saloon in California. Ever heard of it? We had not either. Yet this more than 150 year old bar, tucked away in the mountains, is legendary. Country greats like Willie Nelson, Dwight Yoakam and the late Merle Haggard once played there. It is also where the SLO County Stumblers were born.

SLO stands for San Luis Obispo, one of California’s fifty eight counties and home to Pozo. In 2018, bassist Jerry James organised an Old Time Music Gathering at the historic saloon and invited a group of fishing buddies and local musicians to form a front porch band for the occasion. Although the quartet had played together before, what happened on that porch was far too good to be a one off. And so the SLO County Stumblers came into being.

Banjo player Daniel Bohlman, fiddler Casy Meikle, guitarist David Baine and bassist Jerry James strike the perfect balance between taking the music seriously and not taking themselves too seriously. Known for their hyper energetic live shows, they draw heavily from the golden age string bands of the nineteen twenties and thirties. Fiery fiddle, soulful vocals, blistering clawhammer banjo, booming bass and raw rhythm guitar whip audiences into a dancing frenzy every single time.

Attention for one of Europe’s most striking newcomers in authentic 1950s rhythm & blues and rock ’n’ roll: Cat Lee King & His Cocks. Hailing from Bonn, the band has quickly made a name for themselves in their home scene and this summer they’re crossing the border to Rotterdam.

Their repertoire is a tasteful mix of well-known and lesser-known covers alongside original material, ranging from soulful, sentimental blues to swinging rhythm & blues and wild, high-energy rock ’n’ roll. A perfect combination of warm nostalgia and fresh energy. While charismatic frontman and self-taught Cat Lee King leads the band with pumping honky-tonk piano and his signature raspy voice, lead guitarist Thomas ‘Tommyboy’ Jackson Croole - with his 19 years the band’s youngest member - tears into the blues guitar, all propelled by a super-tight, irresistible rhythm section: Lucas ‘Lucky’ Luciano on double bass, Sidney Ramone on rhythm guitar, and René ‘The Dude’ Lieutenant on drums.

Anyone who loves old-school rhythm & blues and rock ’n’ roll, full of fiery musicianship and incredible showmanship, needs to see this band live!

Welcome to The Church Of The Fallen Reverend. VAN TASTIK, an American-born roots artist with a story to tell and a way of telling it you will not forget, invites you on a remarkable journey. We are heading into the depths and the darkness, in search of light, and to celebrate the moment together, connected through music. Let’s go.

VAN TASTIK’s performances are equal parts melancholy and energy, all delivered with an unfiltered dose of passion. He does it as a one-man band, armed with a raw resonator guitar, pulsing bass drum, hi-hat, snare, unusual percussion and, of course, his powerful voice. His lyrics, often dealing with life’s struggles, frequently strike a chord of recognition, while his shows are marked by a singular atmosphere. There is humour, audience participation, loud hollering and stomping, as though you have wandered into a forgotten travelling revival church from the early twentieth century.

VAN TASTIK fuses elements of folk, metal, blues, jazz, rock, punk and gospel into what he himself has labelled dark delta rock. He has already brought that sound to major festivals and shared stages with kindred spirits, travelling the world in the process, before finally arriving at our stage via a stopover in hell.

Landing a performance at the prestigious European Bluegrass Music Association festival in Prague within just a few months of forming, now that is what you call promising. Or rather, exceeding expectations before they even had the chance to become expectations. That was in March of this year. Just over three months later, The Lonesome Malones can add another highlight, and we say this with all due modesty, to their rapidly expanding CV: a performance at Noordplein.

Spontaneous late-night jam sessions formed the foundation of The Lonesome Malones, quickly growing into a tight-knit collective united by a shared love of the bluegrass tradition. You can hear that essential sound in their music, and at the same time it feels fresh and surprising. Purebred and refreshing, you might say, because these newcomers excel through lightning-fast skills on banjo (Satria Karsono), mandolin (Jasper Schalks), guitar (Steven Verrips) and upright bass (Fadzli Zahari). Their glorious vocal harmonies add even more shine. And of course they have mastered the traditionals, but original material is also part of the set. The bluegrass cognoscenti in Prague already saw it. Now the audience at Rotterdam Bluegrass Festival can look forward to what will no doubt be a very welcome introduction to The Lonesome Malones.

The Porchville Stringband: an elegant name for an elegant ensemble. This new band from Delft plays bluegrass in its purest form: acoustic, unfiltered, straight from the heart and right down to the bone.

The six-piece, with an equal number of men and women in the line-up, brings universal stories of love, longing and loss. They move effortlessly from restrained and fragile to energetic and gripping, sometimes all within the same song. Essential to that is the dynamic between the two lead vocals, a back-and-forth that lays bare the emotion at the heart of the songs. They are supported by sparkling mandolin, driving guitar, colourful banjo playing, the solid foundation of upright bass and a fiddle that cuts through it all.

Last year, audiences already got a first introduction to one of the band members, when singer Maxime Baas was invited on stage by The Brothers Comatose during their set. Now it is time to experience the full band. With a sound rooted in tradition yet carrying a raw edge, The Porchville Stringband is sure to leave a lasting impression on Noordplein.

New on this year's programme: the Women’s Songwriter Circle.

Celia Woodsmith, a songwriter and vocalist with the band Della Mae, will lead a circle that features women songwriters of the festival and their unique experiences and approaches to the craft.

Expect an intimate "in-the-round" singing session with multiple female singer-songwriters sharing songs and the stories behind them. Featuring artists to be announced.