SET among the gorgeous Norfolk countryside, Craig Richards’ Houghton festival is clear in what it sets out to do: provide exceptional music, sound, art and environment.

Despite there being around 10,000 people on site, its dance floors manage to remain intimate, and walking around the festival there is a distinct feeling that you are among people who really care about the music.

That starts with the sound. It is extraordinary. Whether you’re at one of the larger stages or in a smaller tent, the clarity throughout is remarkable. Houghton understands that hearing – feeling – music properly is part of the experience.

The same rationale applies to the environment. Sculptures and art installations are scattered throughout the forest, lake and fields, making even the walk between stages add to the sense you are some where people have taken real care over designing.

This year I finally got to see The Quarry, a stage previously out of action due to the weather. Built into a pit and complemented by dramatic lighting, it quickly became one of my favourite places in the festival. Bobby, who is involved in curating the festival, had it rocking on Friday night, while Dave Harvey provided some of the best tunes I heard all weekend during the day on Saturday.

And then there is the programming, which makes sets Houghton apart in a crowded festival market. Most of the sets are extended, allowing some of the world’s best DJs to really show off what they’ve got.

While there are simply too many names that deserve a mention, Jane Fitz at The Earthling on Saturday night was a particular highlight. Coming after Franceso Del Garda had the place jumping, Fitz’s set was hypnotic and beautifully controlled. She seemed to have the entire crowd exactly where she wanted them, pulling people in and bringing the energy up and down as she pleased.

She wasn’t the only female DJ who killed it. Sonja Moonear got the party started on Thursday in her usual bouncy style, while Ogazon provided a wonderfully smooth entry into Sunday evening. Elsewhere, XDB and Hamish & Toby’s smooth sunrise set on Saturday and DJ Masda’s mind-boggling electro on the Sunday demonstrated just how far Houghton’s programming can stretch.

While I had a pretty good idea of where I wanted to be for most of the weekend, part of the beauty of a festival is stumbling across something unexpected. For me, that moment came with Phil Smart. Walking past the Stallions stage in the afternoon on Friday, a few friends and I were drawn in by a single track and ended up staying for over an hour.

There are, admittedly, less glamorous parts. The dust this year was relentless, perhaps a consequence of a summer of heat, and despite doing my best to wear a mask all weekend, I’ve returned with a chest full of Norfolk. The state of my back and knees is also a reminder that four days of dancing is not without consequence.

More seriously, an official statement from the festival on Tuesday confirmed that there was a death this year. While the details have not been released, the news comes as a sobering reminder that behind the music, dancing and escapism, festivals are high-intensity environments with real risks.

Ultimately, Houghton feels increasingly rare. I’ve been to a fair few festivals now, and as I was driving home on Monday, I found myself thinking about the way older generations talk about raves before the Criminal Justice and Public Order Act of 1994, or the “old-school” days of Ibiza. It seems to me that, in years to come, Houghton regulars will talk about this period in the same way.

A combination of extended sets, extraordinary sound systems, inventive stage design, exceptional programming and a crowd that is consistently up for it puts Houghton, for me, in a league of its own.

It is now a staple in my calendar, and I will certainly be back for another go next year.

www.houghtonfestival.co.uk