Twominds Festival 2026
Spencer Beach Holiday Park, Christchurch
March 13th-15th
A bookend of the summer festival season in Aotearoa, Twominds Festival celebrated it with a bang. A meeting point of creative scenes across Ōtautahi Christchurch, and beyond, Twominds brought together a like-minded crowd for an indie and electronic event unique to the festival’s manifesto; a 6-stage weekend of dance euphoria. And euphoric, it was. With a crowd three times bigger than the last, and a line-up boasting reunions, reappearances, and local and international heavyweights, the sold-out Twominds Festival proved the importance of leading with heart – and the power of a team mostly in their twenties.
Located amongst the trees at Spencer Beach Holiday Park, a 30-minute drive out of central Christchurch, the drive to the festival felt like an escape from the city. A two-day event, the Friday night before could be deemed a success as we walked past quiet campgrounds of a crowd just waking up. Dusty-eyed duos and groups in bikinis and jorts could be seen walking towards the beach, ready to brave a midday swim.
We were perhaps too bright-eyed and bushy-tailed compared to our full-weekend counterparts. Heading up the path towards the main site, we joined a relaxed crowd in the shade at the Treehouse, a mirrored stage surrounded by cream white canvas, with a disco ball hanging among leafy trees. Local Christchurch musician Minnie Robberds (There’s A Tuesday) played The Mutton Birds’ “Anchor Me”, supported by Will McGillivray (Goodwill) as we arrived, in between songs from her new solo project. Amber Carly Williams, another well-loved local musician, played next. “What a beautiful day to be at Twominds,” she said.
The Beach Stage was in its first official year, and hosted by local alternative radio station RDU 98.5FM in a nod to their “50th year championing the underground”. Local DJs, such as Peter Green and legacy RDU show Hauswerk, spun the decks as people either had a boogie, lazed around, or went for a swim.
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As time flew and the day hit mid-afternoon, Casual Healing on the Terrarium stage kept the good vibes flowing; “Feel this one with me,” Casual Healing spoke out, after he got the crowd to sing harmonies of “chur”. The stage, which could be considered the festival’s main, had levelled up from previous events and was covered by what looked like clear plastic and lush, green foliage, a real-life terrarium like its namesake. It was tranquil for the afternoon, and perfectly matched for the hip-hop, rnb, dub, and reggae sounds that followed after; Tom Scott, Salmonella Dub, and the UK-based Mungo’s Hi-Fi feat. Eva Lazarus. After dark, it went full bush doof, with heavy-handed jungle, garage, and drum and bass.
At the Flux Stage, we were transported to a grungier, more industrial landscape. Shipping containers stacked up on top of one another headed the space, with hand-painted smiley faces, steel rails, and two artfully placed LED screens setting the tone for an evening of house, techno, and UK garage. My first foray into the Flux Stage was Sample, a DJ duo from Auckland, pumping out breaky and minimalist beats that got your two-step going.
Bass from the Forest Stage could be heard ‘womp-womping’ out of the pines. The forest gremlins were waking up. Set amongst analog visuals, artwork, couches, and a dancefloor, the Forest stage is local DJ Goose and his platform Ferg’s Emporium’s lovechild. “Cosy and weird” is how it has been described. With zines made in collaboration with Gremlins, and a curated early-AM poetry line-up, it’s a haven for the intersection between local electronic music, art, and media. It acted as both a chill-out zone and a dancefloor, a safe space for the trippers or those needing to sit down and rest while still in the middle of it.
As twilight descended, the gears shifted. The bass got heavier, the music was louder, and the stages came alive with psychedelic-inspired visuals that lit up the dark. A pop-up gig at the skate ramp concluded just as we were walking past, with a guy on the drums and another on the saxophone, giving their thanks as applause carried out. HYAN x NANKA at the Flux Stage brought a fun, unique UKG x Tech-House x Alt Hip-Hop crossover as Nanka yelled out “geezer” more times than I could count. A remix of Madonna’s “Get Into the Groove” went down a treat amongst a crowd getting down.
My highlight of the night was Eden Burns x Christopher Tubbs, who turned the Treehouse stage into what I imagined a chic and sleek 20th-century underground club would look like. Bathed in a warm, orange glow, the crowd spun under the disco ball as Burns and Tubbs went B2B on house and disco. Crowd favourites Craigslist followed, as did Twominds, while the Terrarium, Flux, and The Forest cranked up the bass with the likes of the UK’s Shy FX, Australia’s CC: DISCO!, and Christchurch locals Junus Orca and Social Sport. The Lodge, a stage for campers only, brought some fast late-night bpm with a stacked Hang the Saints and Froth takeover. There was something for every punter; it was a smorgasbord, a total electronic feast, whether you were a young, old, new, or seasoned head.
Twominds Festival is special, and the way in which it brings together a like-minded crowd is the kind of magic only an event and a collective with DIY and intimate beginnings can do. While every year it grows, it hasn’t forgotten its roots, and it continues to offer a platform and playground for local creative scenes, and crowds, to make their mark or simply enjoy it. I was amazed at how friendly everyone was, from the bartenders and the security guards, to the volunteers and the team on the beach clean-up. While admittedly some signs to important spots could be helpful, there were plenty between the stages with reminders on good crowd etiquette and how to look after yourself and your mates. During the night, I could see people helping each other out, pointing strangers in the direction of the kiosk or particular stages, or sitting with the ones who looked like they had had a bit too much to drink. There were Accessibility Platforms and a handbook, too, for those needing extra support to ensure a good time.
It felt like a festival where everyone was on the same page and valued similar things: community, the underground, and good dance music. It felt safe, spacious, and curated. A total meeting point for the senses, and a festival to get out there and be curious.
