Terminal V moves to Glasgow for its 10th anniversary, with three days outdoors at Clydeside Live
Terminal V will celebrate its 10th anniversary at Clydeside Live, a new open-air site on Glasgow's docklands, from Friday 4 to Sunday 6 June 2027. It is the festival's first three-day edition and its first fully outdoor Scottish event, with a new waterside main stage. Early bird tickets went on sale at 10am on Friday 2 October.
Scotland's biggest techno brand is changing city for its birthday. Terminal V, which spent its first nine years at the Royal Highland Centre in Edinburgh, will hold its 10th anniversary edition in Glasgow, at a new open-air site called Clydeside Live, from Friday 4 to Sunday 6 June 2027.
The move brings two firsts. The 2027 edition will be Terminal V's first three-day festival and its first fully outdoor event in Scotland. Organisers EE Live, the Scottish events company behind the brand, are also developing Clydeside Live itself, pitching it as the largest open-air events space in the city, set on Glasgow's historic docklands with the industrial past still visible around it.
The production is being rethought for the new home. A new main stage will sit on the water's edge, and The Hangar and The Greenhouse, two stage names regulars will know from Edinburgh, are being reimagined as outdoor setups. It is a long way from where the festival started: a one-day, 2,000-capacity event in a single warehouse room at the Royal Highland Centre in 2017.
No artists have been named yet. Organisers say the first acts will follow soon, and Terminal V's past editions have leaned hard on techno and hard techno headliners, so expect that to shape the bill again. Early bird tickets went on sale at 10am on Friday 2 October.
For agents and managers, the dates are worth putting in the calendar now. Early June is busy across the European festival circuit, and a three-day Terminal V adds two extra days of slots in the UK at the start of the season. Acts already routing through the UK and Ireland that weekend have a natural anchor, and newer Scottish and northern English DJs should watch how the local support slots are filled across three days rather than one or two.
The bigger signal is about infrastructure. Promoters who build and control their own sites can shape dates, capacity and production around the brand rather than around a venue's calendar. That model is spreading, and artists booked into it often find the advancing, set times and production riders handled by one team from start to finish.