[REVIEW] Gilles Peterson’s We Out Her Festival continues to shine as one of the UK’s most heart-thawing experiences

Nestled within Dorset’s rolling countryside lies a nexus of UK jazz, soul and beyond. Expertly curated with an expansive spectrum of music and culture, WOH has mastered a magical alchemy that draws together people of all ages and walks of life into a glistening, love-bound community.

To say a trip to We Out Here had been highly anticipated would be an understatement. For the last few years I’ve been hearing a combination of chatter and plain-old love-filled ravings about BBC presenter and DJ, Gilles Peterson’s all-encompassing music institution. So when Oculate got the call to head down to the 2025 edition, I couldn’t have packed any quicker. 

One thing I had been told about WOH, was that the festival’s welcoming embrace to new and returning visitors is second to none. From the get go these glowing reviews were affirmed, as this infectious energy seemed to stretch as far back as the carpark. While we trudged in with one too many camping bags, punters in colourful garbs and smiles from ear to ear were throwing us words of encouragement: “Only 10 more minutes girls!” “You’ve got this!”. And as the 30 degree sun made the journey from car to campsite quite the ordeal, another festival goer helped us with our bags and others happily lent us mallets and camping tools we’d forgotten in a hurry. A warmth had already begun to bubble in me, and we hadn’t even got to the music.

Walking into the arena, WOH’s sensitivity to its community was unmistakable. With high-quality clothing sellers, international and niche food stalls aplenty, rides and children's entertainment in no short supply, I was shocked at what a boutique festival could really achieve and even do better than some of its larger, more commercial counterparts. There’s something for everyone. Set out in a big open space, where it’s not hard to see practically all the weekend’s opportunities in one glance, we felt spoiled for choice yet with none of the overwhelm.

The Brawnswood stage was where we started our journey. Tucked away toward the back of the grounds and fitted with an elevated eatery it was already buzzing as the early evening rolled around. It was a colourful scene, with all ages dancing and embracing Brighter Day’s frontman, IZCO’s, high-vibrational set, which rippled through the space. Here we also saw another highlight of the weekend, in the form of soul songstress Demae, whose immaculate vocals thrived within Brawnswood’s intimate setup, creating the illusion of a private show in the centre of someone’s living room.

One of my favourite moments at WOH took place on the Lush Life stage which, true to its name, echoed the festival’s musical abundance as it hosted acts like Léa Sen, Rosie Lowe, Lex Amor, Nubiyan Twist and more across the weekend. But it’s West London native, Bashy, whose performance really made an impact. Performing more than just his songs in a poignant and layered presentation through his life and artistry, tears were shed, young fans were uplifted and attention was solely on this defining UK talent. Aren’t we glad we made it down for this!

WOH may have thrived in its small, close-knit corners, but the mainstage proved just as vibrant. Here you could see the full spectrum of WOH’s crowds, as joyful parents, grandparents, young party goers, kids and babies alike came together to dance to acts like MJ Cole, Noname, Nala Sinephro, Jalen Ngonda, Rotary Connection, Kokoroko, and personal highlights Pa Salieu and Loyle Carner, as well as many more.

Pa Salieu’s set can only be described as a warming family affair (literally), as he brought out young family members to hype up a crowd already in a constant state of love and movement. Finally came the time to watch Loyle Carner, the last mainstage performance on Sunday. Carner came to “fill big shoes,” as he put it, when stepping in as a last-minute replacement for Michael Kiwanuka, and WOH was not disappointed. A crowd brimming with devoted fans, reciting every lyric, watched as he weaved through a combination of his jazz-infused classics and newer rock-tinged releases from his latest album hopefully!. This performance seemed to shine in technicolour, thanks to his band and perhaps the buzz from such a successful weekend.

While the days at WOH were packed with a fully satiating mix of jazz, soul, rap and dance music, the metaphorical fullness of our bellies only deepened as the sun began to set. The Bowl and The Grove promised a rapturous night that would stretch into the early hours. Both stages clearly catered to punters eager to move and dance until the festival’s close and each evening we were offered a full spectrum of electronic music including incredible high-energy sets from IZCO B2B Bakey, Peverelist, Horse Meat Disco and Mia Koden. 

The Bowl, in particular, seemed to emerge as a fan favourite. After bumping into several familiar faces on the first day, we kept hearing about its late-night allure and something that, in my eyes, shone most vibrantly on Saturday with a B3B from Luke Una, Hunee and Antal. Bathed in a red hazy glow, The Bowl became all dance, no rest, as the trio powered through a mix of Latin House, joyful grooves and Balearic soul.

As the weekend came to a close, it was hard not to feel that We Out Here had delivered on every glowing review I’d previously heard and then some. A festival built on community, discovery and pure musical joy, we really left the Dorset countryside with our bags a little lighter and our hearts a lot fuller.