Live Review: Space Jams Festival @ Inman Valley 09-11/10/26

There's something special about Space Jams. Tucked away at Alma's Hem Amphitheatre on Ramindjeri Country in Inman Valley, the boutique South Australian festival has a knack for making the outside world feel a million miles away, replacing it with a little pocket of creative expression, musical discovery and genuine community. Returning for 2026 with an expanded weekend format, Space Jams felt busier than ever, yet retained an effortlessly welcoming spirit that makes it such a pleasure to be a part of.

Friday night set the tone, with Sister Moonshine delivering a sultry rock 'n' roll introduction along with Ollie English before ravers ventured into the Space Cave for a short night of house and techno as gentle rain drizzled outside. Housed within an intimate tipi, its interior dressed with native plants and surrounded by the darkness of the grounds, the setting evoked the feeling of stumbling upon a European underground club somehow transplanted into the Australian bush.

Across the weekend, thoughtful details continued to reward closer inspection. Decommissioned traffic lights and ornate lampshades hung among the gum trees, creating little pockets of light that lent the grounds the atmosphere of a deserted island, its inhabitants having gathered to build something together. It's an aesthetic that feels entirely in keeping with the festival's ethos, where the music provides the backbone for a broader celebration of creativity and togetherness.

The expanded format also brought a welcome abundance of food options, with Gang Gang's burger offerings a particular highlight, alongside plenty of choice for vegetarian and vegan punters from Wild Woofired Pizza. Friday brought some damp weather, but Saturday more than compensated, with intermittent sunshine illuminating the grounds before a particularly beautiful sunset. Meanwhile, children roamed freely, making friends, climbing, playing and occasionally challenging one another to arm-wrestling contests. It was a joyous reminder of the kind of environment festivals can create when they feel genuinely open to everyone.

Musically, the weekend was rich in discovery

READ MORE: Live Review: Lime Green Festival @ Cloisters UniBar Adelaide 18/04/26

Marina Anthea delivered one of the festival's most affecting sets, inviting the audience into an intimate world of personal stories about relationships, situationships, friendships and everything in between. Drawing on her background as a jazz vocalist and classical cellist, her intricate harmonies and gentle, melodic vocals provided a delicate framework for songwriting that felt disarmingly honest. There was a vulnerability to her performance that never felt contrived, each song offered with a respect for its subject matter that made the experience all the more affecting.

Dojo Rise brought their uplifting blend of reggae, rock and indie soul, while Caressa channelled the sun-soaked harmonies and Americana-tinged rock 'n' roll of the 1970's, providing further evidence of the breadth of talent on offer in the afternoon.

Parvyn offered a different kind of spellbinding experience. Her genre-drifting compositions weave classical Indian raga melodies into soul, jazz and fluid, reflective pop, all anchored by ethereal, inimitable vocals. Yet for all the intricacy of the music, there was an accessibility and humility to the performance that made it immediately gripping. Her backing band were equally impressive, but guitarist Josh Bennett was particularly astonishing. His understated phrasing, full of unexpected turns and expressive restraint, occasionally recalled the late Jeff Beck. As it happens, Bennett later revealed that he had opened for Beck at a show at Thebarton years earlier. It felt entirely appropriate.

Then there was Live Slug Reaction, whose mischievous charm was matched only by their musicianship. The Adelaide five-piece serve up a gloriously unpredictable fusion of jazz-funk, rock and electronic influences, with a sound that at times evokes classic British progressive rock and at others the Zappa-esque absurdity of musicians delighting in their own ability to wrong-foot an audience. They had the crowd completely baited, hanging on every note as the music twisted, lurched and veered off in unexpected directions, only to land somewhere euphoric. It was playful, technically accomplished and utterly infectious, the sort of performance that reminds you just how exhilarating live music can be when musicians are willing to take risks.

Timberwolf also delivered one of the weekend's most promising sets. Watching Christopher Panousakis perform, it's difficult not to feel that you're witnessing an artist on the cusp of something much bigger. His songwriting and production instincts are already remarkably assured, and there’s an absorbing quality to his performance that suggests his reputation could extend well beyond South Australia in the years ahead.

READ MORE: Review: Local Noise Festival @ UniBar Adelaide 21/02/26

The weekend began to culminate in a highly anticipated appearance from DEM MOB, the hip hop collective born in the remote red dirt of South Australia's APY Lands and the first to rap in Pitjantjatjara. More than a musical outfit, DEM MOB use hip hop as a vehicle for cultural identity, education reform and political resistance, challenging the systems that marginalise First Nations youth while advocating for education as a tool for empowerment.

Their arrival drew the largest crowd of the day to the Amphitheatre Stage, with younger fans in particular making their excitement known as the group took to the stage. The boys proved consummate performers, commanding the audience with a captivating set of hip hop infused with First Nations languages. There was an undeniable sense of pride and cultural connection woven through the performance, lending it a resonance that extended beyond the music itself. Watching so many young fans respond with such enthusiasm felt particularly fitting for a group whose work is so deeply invested in the possibilities and futures of First Nations youth.

Following this belter of a set, Sons of ZÖKU arrived armed with material from their latest album, Everywhen, delivering a more introspective and slightly brooding performance than in previous outings. The greater space afforded to instrumental passages proved particularly effective, drawing the audience into the kind of transcendental musical experience that Space Jams seems uniquely equipped to facilitate.

Space Jams has clearly grown, and the busier grounds and expanded programme made for a more substantial festival experience than last year. Yet its greatest achievement remains its ability to make that growth feel organic. Nothing about the weekend felt like a rush to become something bigger for the sake of it. Instead, the additional space and performances simply offered more opportunities to discover something unexpected, connect with people and lose yourself in the music.

For all the impressive names and standout performances, it’s the atmosphere that lingers longest. Space Jams feels less like a festival that happens to take place in nature and more like a temporary community that nature has agreed to host. And with artists as diverse, adventurous and compelling as those assembled this year, there’s every reason to hope that little world continues to grow.

Want more pics of the gig? Check out our full photo gallery here.