It Really, Really, Really Did Happen- 20s Part 2

2023 was a year of monumental reunions, with Britpop's resurgence at the forefront.

Blur were the first to reunite in November 2022; they announced a show at Wembley Stadium on Saturday, 8th July 2023. Buoyed by overwhelming demand, Blur soon added a second Wembley date on Sunday, 9th July 2023, turning what was initially planned as a singular, historic event into an unmissable double-header. 

Following the Wembley buzz, the band announced more shows across the UK and Europe, including warm-up gigs in smaller venues, festival headline slots, and even dates in Asia. What started as a single homecoming moment snowballed into a full-scale reunion tour, with each new date feeding the excitement and cementing Blur’s status as a band whose appeal spans generations and continents. The European leg featured several landmark moments, including their first show in Amsterdam since 1998 (I was there!), and headline appearances at major festivals, each show a celebration of one of Britain’s most beloved bands.

Across the tour, Blur didn't just play the hits; the setlists were full of deep cuts. On the night I saw them in Amsterdam, the band played the 1997 b-side 'All Your Life' for the first time ever. 'Chemical World', 'Oily Water', 'Colin Zeal', 'Stereotypes', 'Trouble in the Message Centre' and 'Villa Rosie' all made the setlist. The anticipation for each song felt even more palpable when you know the b-sides are just as good as the hits.

The band were on fire too; Graham Coxon proved he still is one of the finest guitarists of his generation, Damon Albarn is a magnetic, majestic frontman, Alex James perfectly holds it together and Dave Rowntree, despite injuring his leg and playing some shows on crutches, powered through to deliver a drumming masterclass.

The Wembley shows were not only the best shows on that tour. There is a genuine argument that they are the best Blur shows ever. Not just a nostalgia trip;  they were vibrant, emotional celebrations of everything Blur has achieved, powered by a band still firing on all cylinders. From deep cuts to anthems, the setlists were a testament to the strength of their discography and the deep connection they continue to have with fans across generations, making each fan feel truly appreciated.

Across the whole tour, there was a real sense of camaraderie; they had reunited for all the right reasons. At one point, Albarn turns to the Wembley and says, “You’re properly mad, you lot, for sticking with us for so long.” Well, the proof is here. This two-hour performance shows that Blur have soundtracked the audience’s lives with real emotional impact. 

That emotional impact and sense of camaraderie would translate into new music for Blur. Their first in seven years. 'The Ballad of Darren' emerges as some of the band’s most affecting and mature work to date. It’s a short album, but every track lands with purpose. It’s full of feeling, quietly devastating in places, wistful in others. You can feel what the band are going through with each line sung by a more fragile Damon Albarn and every note played by his three best friends. Whatever pain or reflection they’ve brought into the studio, they’re facing it together. That enduring sense of camaraderie, once tested, now feels like the album’s emotional backbone.

"I gave a lot of heart, so did you / Standing in the back row, this one’s for you,” Albarn sings on the final track, 'The Heights', a song that feels like a love letter to those who’ve stuck by the band through decades of change, silence, and comeback. It's not a closing statement; it’s a tribute to the Blur faithful.

'The Ballad of Darren' was born from the four of them finding their way back to each other, but also from the people they’ve lost along the way. Songs like 'Barbaric' explore the complicated fallout of relationships, its shimmering guitars and resigned lyrics capturing that moment where connection frays but memory lingers. 

Lead single 'The Narcissist' is a masterclass in restraint, with its melancholic, mid-tempo build and lyrical introspection a mature meditation on ego, longing, and the ghosts we carry. The track quickly became a fan favourite, its singalong chorus cementing it as one of Blur’s most memorable singles in years and a true highlight of the Wembley shows. Elsewhere, 'Barbaric' stands out for its shimmering guitars and bittersweet resignation, exploring the aftermath of fractured relationships with both vulnerability and a sense of acceptance. Meanwhile, 'St. Charles Square' stands in sharp contrast: paranoid and spiky, it channels post-punk energy through Graham Coxon’s jagged guitars and Albarn’s almost spoken-word urgency. It’s a burst of raw tension in an otherwise reflective album.

This isn’t a record trying to recapture youth; it’s about growing older with grace, loss, and loyalty. And it feels made not for casual listeners but for those who’ve been with Blur for the long haul. That’s reflected even in the album’s title. 'The Ballad of Darren' isn't just a nod to the band’s longtime security guard and everyman Darren “Smoggy” Evans; it’s a quiet homage to the generation Blur came from. “Darren” was a name once so common in working-class Britain that it practically defined an era, but it fell out of the Top 100 boys’ names in 1994, just as Blur rose to dominate the charts. There's something quietly poetic in that.

Pulp, in a momentous event, reunited to commemorate the 25th anniversary of 'This Is Hardcore', the album that marked a significant shift in the Britpop era. This dark, brooding masterpiece, with its themes of disillusionment, fame’s hangover, and cultural burnout, was the sound of the party ending. Now, 25 years later, this sobering yet brilliant work was being celebrated by a band that has aged like fine wine-older, wiser, but still razor-sharp.

Pulp's return was met with fervent anticipation and excitement from fans. The band embarked on a series of summer gigs across the UK and beyond, performing at massive venues, arenas, and headlining festival bills. For many, it was a dream come true, the first chance in over a decade to witness one of Britain's most unique and literate bands back on stage. And they certainly lived up to the hype. From the euphoric renditions of 'Disco 2000' and 'Common People' to the dramatic sleaze of 'This Is Hardcore' itself, the setlists were carefully curated love letters to both their greatest hits and their deeper, darker gems.

What made these shows truly special wasn’t just the music, but the atmosphere. There was a genuine sense of occasion at every gig, as fans of all ages came together to celebrate the return of a beloved band. The visuals and stage production were striking, with clever nods to the band's past and plenty of tongue-in-cheek theatrics from Jarvis Cocker himself. 

The band’s energy was electric, showing no signs of slowing down despite the years away. Jarvis moved with his trademark angular charisma, interacting with the crowd and delivering witty asides between songs. The rest of the band were equally on form, playing with a renewed urgency and joy. It was clear that Pulp weren’t just going through the motions; they were relishing every minute. Fans left the shows not only with a sense of nostalgia but with the feeling they’d witnessed something truly vital and alive, a band still pushing boundaries and connecting across generations.

However, the reunion was bittersweet. In March 2023, long-time bassist Steve Mackey sadly passed away after a long illness. He had chosen not to take part in the reunion before his passing, but his presence was deeply felt. The band paid tribute to him in their performances, honouring his legacy not with silence, but with sound playing on in his memory.

Despite the grief, the tour became a celebration of Mackey, of Pulp, and of the strange, brilliant legacy they helped build. Jarvis Cocker proved once again why he remains one of the most compelling frontmen of his generation. Witty, unpredictable, and deeply human, he still had the crowd in the palm of his hand, part rock star, part storyteller, part awkward cultural prophet. It's not the last we hear of Pulp, though. Their resilience in the face of loss is truly inspiring.

Pulp fancied doing 'More' after the success of the 2023 reunion tour. Announcing a UK Arena tour in February 2025, with shows in Birmingham, Manchester, London, Dublin and Glasgow. The shows followed the announcement that the band would headline Tramlines in Sheffield, and play festivals across Europe. That didn't completely scratch the itch, though. Not content with celebrating 30 years of 'Different Class', they fancied some new music to take out on the road. 

Some new songs had already received live debuts on the 2023 reunion tour, but the band officially announced the album on BBC 6 Music.

“The record has been done for a while”, and the wait between records felt like “a lifetime”, before completing it in three weeks.“Playing live was a big influence on it – that we played and the songs came back to life,” said Cocker. “We did play one new song towards the end of the tour, and no one threw stuff at us or left to go to the bar. We chose to do it quickly. It wanted to come out.”

It would be the band's first new album in 24 years, and also the first time the band would record without Steve Mackey.

'Spike Island' became the album's lead single and sees the band reflect on life-changing and getting older. The song's title is a nod to the historic Spike Island gig that The Stone Roses played in Cheshire in May 1990. The show saw The Stone Roses perform to 28,000 fans at the site of a disused chemical plant, becoming one of the most legendary gigs of all time and seen as the precursor to the Britpop era. Pulp have referred to the Spike Island show in the past – namely in their song ‘Sorted For E’s & Wizz’, which was shared as part of their 1995 album ‘Different Class’

With the lead single, Jarvis Cocker declared, “I was born to perform, it’s a calling.” This reunion and subsequent new music felt as if Pulp had something to say. This self-confidence matches the band in their heyday, when in 1995 they became the poster boys and girls of Britpop. Yet soon he’s reducing his standing as one of the most iconic frontmen of the last 30 years, recognisable by mere silhouette, to simply “shouting and pointing”. The band's confidence was quickly echoed by a shy shrug of Sheffield wit and humility. 

Pulp were never a band to do things by the norm; they had been around for a decade, and Cocker was into his thirties before they had their success with their fourth album ‘His N’ Hers’ and then 'Different Class'.

'More' feels like an accomplished record that doesn't try to replicate those records, but there are moments of 90s Pulp in there, 100%. Second single 'Got to Have Love' harks back to ‘F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E’ and  ‘Slow Jam’ makes nods to their 1998 album 'This is Hardcore'. 

There's a lot here, though; this is firmly the sound of Pulp in 2025, not 1995. 'Grown Ups' is a career highlight, with quirky lyrics about getting older. Travel sick from his rocket ship from youth to now, having moved from Camden to Hackney and “stressing about wrinkles instead of acne”. It's firmly Pulp, but it's from a band older and wiser. The Hymn of the North' is a love letter to the Steel City and never forgetting where you have come from. 

This song was the catalyst for the album and is one of the highlights. When making this album, Pulp were assisted by producer James Ford, and with his knack for making the music sound more alive, he brilliantly used synths and strings. 'More' is everything Pulp fans should expect from the band, but also some things that you wouldn't. Just as Ford did with 'The Ballad of Darren' for Blur, he makes this album sound modern and contemporary while keeping the band's soul and heart. It's brilliant. 

Glastonbury 2023 saw the ‘Monkeys’ back on the farm for the third time, ten years since Arctic Monkeys’ last headline slot. Although for some it was a lacklustre performance, it nonetheless captured the band at a fascinating crossroads. Arctic Monkeys are no longer just the brash upstarts they once were; their set reflected a new era of maturity, with Alex Turner’s unique presence as a frontman at its core. Turner, more enigmatic than ever, brought a theatrical, almost lounge-lizard quality to his performance, weaving between vintage showman and indie icon with magnetic ease. The band’s willingness to subvert expectations- slowing down some classics, reimagining arrangements, and leaning into their more recent, cinematic sound- divided opinion, but also demonstrated just how far they’d come artistically.

The band played through a career-spanning set, just days after illness had threatened to cancel their headline slot. It was a testament to their resilience and commitment to the fans, with Alex Turner addressing the crowd with gratitude for their patience and support. The set featured songs from their latest album, 'The Car', and worked back through their previous six albums, giving older tracks a new lease of life and showing the evolution of the band's sound and confidence. 

Highlights included a brooding, cinematic version of ‘Sculptures of Anything Goes’ and the lush drama of ‘There’d Better Be a Mirrorball,’ both from 'The Car.' Turner’s delivery was magnetic; equal parts swagger and vulnerability, drawing the crowd into the album’s noirish world. ‘Body Paint’, perhaps their finest recent composition, felt especially powerful live, its late-song crescendo sending ripples through the crowd and reaffirming Arctic Monkeys’ continued relevance.

Older songs were transformed, too. ‘Pretty Visitors’ came armed with a tense key change towards the end, while ‘Cornerstone’ grew with power and audience participation as it gathered momentum. ‘I Wanna Be Yours’ cleverly incorporated lines from ‘Star Treatment’, blurring the eras of the band and showing just how far they’ve come. The ferocity of ‘I Bet You Look Good On The Dancefloor’ and ‘R U Mine?’ cap off a show that felt fraught until the moment the first noises slunk out of Turner. 

The set was a masterclass in reinvention, balancing crowd-pleasing moments with artistic ambition and a willingness to keep moving forward. They stand alone in their field, out of all of the bands that came out of Britain in the early noughties. Arctic Monkeys stand out as true superstars.

It was quite a good year for guitar music at Glastonbury. Blossoms and Rick Astley became Britain's best tribute band and proved you can still like The Smiths even with Morrissey’s controversial views. It was a mad, unique idea first seen in 2021 with two small gigs, but trying it at Glastonbury was a huge gamble, and it paid off. A 16-song set that contained all of the heavy hitters, played by six huge fans of the band. In a time when being a fan of The Smiths can be seen by some as controversial, Blossoms and Rick allow fans to enjoy and revel in those brilliant songs again.

What made this collaboration so special was the sheer joy and energy both Blossoms and Rick Astley brought to the stage. Rick’s vocals were powerful and surprisingly faithful to Morrissey’s distinct delivery, and the band nailed the jangly, melancholy sound that defines The Smiths. The crowd was swept up in euphoria, singing along to classics like ‘This Charming Man’, ‘Heaven Knows I’m Miserable Now’, and ‘There Is a Light That Never Goes Out’. 

The performance wasn’t just a nostalgic trip; it was a celebration of music’s ability to outshine controversy and bring people together. For many, it was one of the most memorable and life-affirming sets of the festival, a reminder of the lasting power of great songs and the unifying spirit of live music.

Courteeners played the festival for the 8th time, and it seemed like a return to form. Having seen them live several times, Liam’s voice can be a bit hit and miss, but Glastonbury was a big success for the band. Their set was packed with anthems old and new, igniting huge singalongs and reminding everyone why they’ve become festival favourites over the years. The crowd’s energy was electric, feeding off the band’s enthusiasm and tight musicianship. Standout moments included rousing renditions of ‘Not Nineteen Forever’ and ‘Are You in Love with a Notion?’, with the audience belting every word back. The band looked genuinely moved by the response, clearly relishing the moment and proving they still have plenty left in the tank. 

Friday also saw a secret set from ‘The Churnups,’ who we found out to be Foo Fighters. It was the band’s first performance in the U.K. since the tragic loss of drummer Taylor Hawkins. They were given an afternoon slot on the Pyramid Stage, with an hour allocated. Safe to say they smashed it. No gimmicks, no time to stop. They played the hits, and fans were impressed. A true rock masterclass.

It may well be the first time Dave Grohl has been required to shut up and play the hits: their hour run-time puts to bed any stretch-out jams or story times. It’s refreshingly zippy for a Foos show. Nine songs is what they have time for, the quickest, breeziest Foo Fighters gig of this scale in donkey's years. It’s a rare sight: serious urgency underpins every song, particularly opener ‘All My Life’ and ‘No Son of Mine’. Even ‘Learn To Fly’ and ‘The Pretender’ are delivered with a tightness and energy that makes the set feel like one big adrenaline rush, the band barely pausing for breath between songs.

Despite the brevity, the emotion in the air was palpable; Grohl, visibly moved, takes a moment to pay tribute to Taylor Hawkins, dedicating ‘Aurora’ to his late bandmate. The crowd responds with chants and raised hands, creating a powerful sense of unity and remembrance. The set surges towards its finale with a euphoric ‘Best of You’, the entire field roaring along, before Grohl leads the band into a stunning, emotional rendition of ‘Everlong’. As the opening chords ring out, the crowd’s energy reaches its peak; there’s a collective sense that this moment is something special. 

‘Everlong’ is more than just a closing song; it’s a communal release, a bittersweet anthem of survival and memory. Grohl, holding nothing back, delivers one of his most heartfelt performances, his voice cracking with emotion and gratitude. The crowd sings every word, hands in the air, many visibly moved. It feels less like the end of a gig and more like a shared catharsis, a tribute both to Hawkins and to the enduring, healing power of live music. As the final notes fade, the band take their bows, visibly emotional, with Grohl lingering on stage, soaking in the love and support of the Glastonbury crowd. It was a true Glastonbury moment, a set that was both a celebration and a memorial, packed into sixty unforgettable minutes. 

2022 had seen Paul McCartney take to the Pyramid Stage for the second time; in 2023, it was a Pyramid debut for one of the most important British musicians ever. Elton John, the Rocket Man, would take his final flight, well, in the UK at least. A performance that didn't let up. It was hit after hit. He knew what he was doing, and he attracted one of the biggest crowds the festival has ever seen! It will go down as one of the best Glastonbury performances we have ever seen.

Celebrating the past, present and future of UK music, Elton crafted a Glastonbury set that was both a tribute and a torch-passing. Not content to simply play the hits, he used his moment in the spotlight to give a platform to newer artists, inviting Jacob Lusk from Gabriels to lend some sweet soul to 'Are You Ready For Love' and Rina Sawayama, who absolutely slayed Kiki Dee's part on 'Don't Go Breaking My Heart', bringing a fresh energy to these timeless classics.

Brandon Flowers adds some Vegas glamour to 'Tiny Dancer'. It's Elton's stage presence and the songs fans are here to see, though, and none are missing. It is a set of wall-to-wall bangers. 'Crocodile Rock' is massive. 'Saturday Night's Alright for Fighting ' is feral. 'I'm Still Standing', the summit. And then, 'Don't Let the Sun Go Down on Me', dedicated to George Michael on what would have been his 60th birthday, a moment that touched every heart in the crowd.

'Candle in the Wind', 'Someone Saved My Life Tonight' and 'Pinball Wizard' all made the setlist, and even the most casual Elton fan was gripped. Each song was met with rapturous applause and emotional singalongs; the Pyramid Stage transformed into a sea of waving arms and teary faces. The atmosphere was electric and deeply moving, as generations united to celebrate the Rocket Man’s legacy on a scale rarely seen.

By the time the epic firework finale of 'Rocket Man' had finished, there could be no doubt that Elton's performance was not only the best of the weekend but one of the best headline slots for years. The closing moments, bathed in golden light and fireworks, felt like a communal goodbye; fans lingered long after the last note faded, soaking up the enormity of what they’d just witnessed.

It was not just a standout moment, but a historical one, marking the perfect farewell to one of the greats and etching its place in the annals of music history. The set was a celebration of Elton's six-decade career, and a reminder of music’s power to unite, uplift, and leave a lasting mark on the world. 

“I’m so happy to be here,” he says, profoundly touched. “I’m never gonna forget this.”
None of us will. Sir Elton left everything on the field. It was a Glasto set for the ages from a true all-time great. We’ll never see his kind again. So long, Rocketman – and thank you.

Glastonbury wasn’t the only big festival, though. 

August Bank Holiday weekend at Bramham Park in Leeds and Little John's Farm in Reading was once again the heart of the UK festival calendar, and 2023 was a genuine celebration of guitar music, especially among the headliners. Foals, Sam Fender, The 1975, and The Killers each brought their own unique energy and significance to the stage, making the weekend a showcase for both fresh talent and festival legends.

Midway through Foals’ buoyant opening night headline set at Reading Festival, frontman Yannis Philippakis gives a quick pep talk: “There’s a future headliner out there watching this; you’ll be up here in 5, 10, 15, 20 years where we are now.”

It serves as a reminder of just how formative these festivals can be, and how the Oxford-raised band were inspired similarly over their early times at Reading & Leeds by the behemoths on stage in front of them. 

Foals brought their 'Life is Yours' tour to an end at Reading the year, and it was the band's best to date. The accompanying album arrived in summer 2022 as lockdown restrictions eased and the first full festival-season programme returned. Tonight, those songs have played a part in sanding off the edges of a once-feral energy into something looser, groovier: ‘2 am’, ‘Wake Me Up’ and ‘Summer Sky’ alongside their pastel-hued visuals are a welcome distraction to the roaring train line that runs parallel to the Reading festival site. Gone is the apocalypse-paranoia of their ‘Everything Not Saved Will Be Lost’ double-album suite; instead ‘2 am’ speaks of being “Lost in the sugar rush, violet sky / Beachside candy cane, blue tongues in summer rain”. 

Throughout the show, the band evolve. At first they’re a kind of cosmic disco, lacing elemental grooves and future funk with their spidery guitar lines on 'Mountain At My Gates', '2001' and a party-starting 'My Number'. Then an insidious element creeps in: from lustrous beginnings, 'Spanish Sahara' blooms like a ravenous flytrap, while 'In Degrees', initially a tropical New Order, gradually develops into a high intensity. By the end they’ve metamorphosised into hard-rock beasts, with 'Inhaler' as heavy as Hendrix and 'What Went Down' virtually Zeppelin in heat and heft.

The energy in the arena was electric, with fans bouncing along to every beat and chanting lyrics back at the band. The seamless blend of old and new tracks showcased Foals’ evolution, but also their ability to unite generations of festival-goers in one massive, joyful moment. There was a real sense that Foals had arrived as one of the UK’s great live bands, owning the stage with confidence and passion. Yannis Philippakis, ever the charismatic frontman, prowled the stage with infectious energy, connecting with the crowd and encouraging the young audience to dream big; reminding everyone that Reading & Leeds is where festival stories begin. For many fans, it was a standout set of the weekend, a testament to how far Foals have come and how much further they still have to go.

Sam Fender took over with a performance that felt like a coronation. After a year that included sharing the stage with Bruce Springsteen and selling out St James’ Park, his Friday night headline slot was monumental. 

This is a set for the ages, a headline set that will be remembered for a very, very long time. 'Seventeen Going Under' was a huge album for Sam, and this performance was his way of seeing just how important it was. Festivals, in general, are special occasions for those in the audience; this is important because the audience can see themselves in Sam and the lads on stage. Sam was once that punter in the crowd.

These songs matter too, from 'Dead Boys', which sees Sam introduce it as a song about my hometown… "a drinking town, with a fishing problem." The track is always phenomenal live, but it felt extra special being performed in front of such a young crowd. There were countless moments like this during the performance, but this track, as well as ‘Spit Of You’, were certainly two of the most powerful points.

The show’s pacing was masterful, moving from intimate and raw moments to those of full-throttle euphoria. Songs like ‘Getting Started’ gave the crowd a surge of optimism, while the chaotic mid-set duo of ‘Spice’ and ‘Howdon Aldi Death Queue’ sent the audience into a frenzy of mosh pits. 

A “nice little sing-along” is putting it lightly for how he describes ‘Get You Down’, and the biggest crowd of the weekend so far more than oblige in hollering back every syllable.

It was a set that captured the full spectrum of emotion and energy. Sam Fender’s ability to command the massive crowd was clear from the first note. The connection between artist and audience felt almost tangible, with every song delivered as if it might be the last time. Fender’s vocals soared, brimming with conviction, pain, and hope, and the band behind him played with a ferocity and tightness that left no doubt they belonged on the biggest stages.

'The Dying Light’ and the stonking firework finale of ‘Saturday’, ‘Seventeen Going Under’, and ‘Hypersonic Missiles’. The lad from North Shields and his mates left everything on this hallowed stage tonight.

It talks about things that the audience are facing but also gives those members of the audience hope. They too could be stood on that stage, he needed to headline. He belongs on these stages; Glastonbury is next, you'd like to think. Sam and the boys from Shields may just be the voices of this generation. 

The Killers brought their signature Las Vegas flair, transforming the Reading stage into an electrifying, larger-than-life spectacle. From the moment Brandon Flowers and the band launched into their set, the field became one enormous indie disco, with thousands of fans moving as one to every beat. 

Songs like ‘Somebody Told Me’, ‘Spaceman’, and of course, the ever-epic ‘Mr. Brightside’ ignited instant singalongs; these weren’t just performances, they were communal celebrations, with voices echoing far beyond the festival grounds.

What truly set their headline slot apart was the relentless energy and showmanship that The Killers brought to every moment. Flowers proved once again why he’s one of the most charismatic frontmen in rock, strutting and spinning across the stage, leading the crowd with a mix of charm and confidence that turned every song into a highlight. The band’s musicianship was razor-sharp, each anthem delivered with precision and passion.

Opening with the underrated Springsteen-space rush of ‘My Own Soul’s Warning’ from 2020’s stellar and vivacious ‘Imploding The Mirage’, The Killers strut with the confidence of a band who know that they'll be headlining festivals like this for a very long time. They most definitely have the songs for it. ‘When You Were Young’ into ‘Jenny Was a Friend of Mine’ into ‘Smile Like You Mean It’?

“Some songs are band aids, this one’s a prayer,” offers Flowers of a graceful outing of ‘Running Towards A Place’. And some songs are paper pint cup thrown to the moon, such as ‘Somebody Told Me’ and lowkey favourite ‘Spaceman’.

A standout moment came when a lucky fan was invited on stage to drum during ‘For Reasons Unknown’. The band shared the spotlist with  “Ozzy, from just outside of Bath after he'd caught the frontman’s eye with his sign. The lad lags a little (“more cocaine than marijuana,” advises Flowers) but what the kid lacks in speed, he more than makes up for in razzmatazz, and Reading is entirely behind him. 

The stage production only amplified the sense of occasion; bold neon lights, bursts of confetti, and slick visuals brought a touch of Vegas to Reading, making the night feel truly special.

Introducing the now 20-year-old ‘All These Things That I’ve Done’, Flowers tells us that “the boys who wrote that song stand before you as men”. Whatever, the spirit of this music is timeless. Case in point: the neon celebration of the encore. After the hedonism of ‘The Man’ and mass-singalong to ‘Human’, the wedding indie disco staple of ‘Mr Brightside’ is splayed out into an epic triple threat tonight – starting with a burst from the minimal, elegiac, chrome sheen of Jacques Lu Cont’s ‘Thin White Duke Remix’ before the usual banger rendition and closing with a never-ending drum wig-out from Ronnie Vannucci Jr.

It’s a fitting showstopper of showmanship to a set that could run as a Vegas residency for the rest of time, but for tonight The Killers were very much ours. The ticker-tape and added pomp was the cherry on top, but sometimes all you need is a little bit of ‘Glamorous Indie Rock And Roll’.

By the time the final notes faded and the stage lights dimmed, it was clear that The Killers had delivered one of the most memorable headline sets in Reading’s recent history. Their ability to unite a crowd of thousands in pure joy is the mark of a truly great festival act, and their 2023 performance will be remembered for years to come.

Just before The Killers took to the stage, The 1975 headlined for the second consecutive year, acting as the super subs (again), this time replacing Lewis Capaldi. So they decided to throw a birthday party to celebrate ten years of their self-titled debut. An album that by that point would have been passed down to the teenage crowd, from older siblings, cousins and perhaps even a few parents. 

An album defined by its giddy, very teenage feelings of discovery and fearlessness, that has influenced countless artists in the now thirteen years since its release. It's a nostalgic record, and the band knew not to mess with that formula. Re-engaging with their history by allowing tracks to elongate into tender jams, from the twitchy groove of ‘She Way Out’ to the chugging pop hum of early favourite ‘Talk!’. ‘Menswear’, too, is still a brilliantly observed drama about your mate getting married and all the chaos and carnage that comes with that. 

‘Chocolate’ and ‘Sex’ are both performed with a devotional zeal as Healy gives a particularly impassioned vocal on the latter; this is a controversy-free performance that reminded a generation why they loved The 1975 then and why they still love them. 

Turning back the clock to give fans exactly what they want. Alongside the hits, the band play some deeper cuts; 'Pressure', the criminally underrated banger, gets a run-out, as does 'M.O.N.E.Y' and the anthemic 'Talk'. The crowd have either waited a long time, or never got to hear them the first time round. It's the perfect formula. While the debut wasn’t sonically groundbreaking, it laid the foundations for the bangers that’d come in their more experimental records as the years went on, proving that if they just wanted to do big pop bops, they could.

After the debut album run-through, the band returned to play some bangers from their later records, including the 'Robbers' sequel 'About You', and the Radiohead meets Britpop anthem ‘I Always Wanna Die (Sometimes)’. The set was a triumphant one, not quite as good as the one the year before, which acted as the warm-up to their 'At Their Very Best Tour'. 

In the end, 2023’s Reading & Leeds headliners captured the perfect blend of past, present, and future. Foals inspired the next wave, Sam Fender gave the everyman a voice, The Killers brought the party, and The 1975 provided the emotional finale; proving that guitar music and the spirit of the British festival is very much alive and well. Festivals are a vital part of the musical landscape in the UK. What Yannis said from Foals is true: these places can help birth the next generation of musicians; it's easy to imagine that some of the kids in the crowd at Reading that year may have gone on to start bands based on what they saw and heard. 

The 1975 went into Reading & Leeds off the back of their ‘At Their Very Best Tour’, a run of shows that solidified their reputation as one of the UK's most daring and compelling live bands. The tour, which included two massive nights at Finsbury Park, was a masterclass in modern pop-rock theatrics. The stage design was ambitious and cinematic, featuring a sprawling, multi-level set that resembled a surrealist living room, complete with neon signs, vintage TVs, and abstract props that highlighted the band's playful, meta approach to live performance. 

The tour saw the band blend virtually all of 'Being Funny in a Foreign Language' with the greatest hits of The 1975. Every transition was meticulously crafted, with songs flowing into one another through clever staging, interludes, and playful asides. Matty Healy's infamous antics punctuated the show: one moment, he was sprawled across the piano or sharing a cigarette with a mannequin; the next, he was delivering earnest monologues about culture, politics, and the absurdity of fame. 

Whether you found it captivating or chaotic, it was never boring. The performance was part gig, part performance art; anchored by the band’s tight musicianship and underpinned by Healy’s unpredictable charisma. It left the audience with the sense that no two nights would ever be the same.

The crowd was treated to euphoric performances of singles like 'If You’re Too Shy (Let Me Know)', the anthemic 'Love It If We Made It', and the show-stopping 'The Sound', with Matty Healy famously commanding the crowd to “jump” as the infectious chorus exploded and the entire arena pulsed with energy. ‘Somebody Else’ brought a wave of bittersweet emotion, while the raw intensity of ‘Sex’, the yearning of ‘Robbers’, and the cinematic crescendo of ‘I Always Wanna Die (Sometimes)’ delivered some of the most powerful moments of the night. Deep cuts and unexpected surprises, like a stripped-back 'fallingforyou' or the irresistible groove of 'TOOTIMETOOTIMETOOTIME', kept long-time fans on their toes. 'Love It If We Made It' was a particular highlight, its urgent, socially-charged message amplified by Healy’s impassioned delivery and the arena’s unified response, voices rising in unison, turning the song into a cathartic, communal moment.

These shows rewrote the arena rock rule book, and proved that The 1975 are quite simply the defining band of their generation.

The band's Finsbury Park shows were particularly significant, marking their biggest headline performances to date and underscoring their ability to command a festival-sized crowd outside the typical arena setting. With surprise moments, bold visuals, and a setlist that spanned their entire catalogue, The 1975 proved they are not just a band, but the architects of a new kind of pop spectacle, one that blurs the line between concert and performance art, and leaves fans both exhilarated and thinking long after the final note.

Just as they had done in 2023, The 1975 hit the road in early 2024 with their 'Still At Their Very Best' tour. This tour firmly cemented them as one of the country’s biggest and most important bands. Selling out four nights at the O2 Arena in London is no small feat. Birmingham, Glasgow, Manchester, and Cardiff also got dates, proving the band’s widespread popularity and impact on the UK music scene. 

The mad thing is, they got better on the 'Still At Their Very Best Tour'. I got to see them on both tours, and it was breathtaking; what they did was unlike anything I've ever seen before and doubt I'll see again. It was sensory overload, with a visual spectacle throughout both shows, and wall-to-wall bangers. The band planned 25 songs when I saw them the second time; their discography is huge, and they can dip into it to pull out autotune anthems, country songs, punk, 80s synth pop, state of the nation addresses, and Britpop bangers. They are the best band of the 2020s.

Away from live shows, 2023 delivered some great records. Noel Gallagher's High Flying Birds would release their fourth studio album, 'Council Skies'. A deeply reflective and sonically rich record, it found Noel revisiting the sounds and sentiments that first made him great, while still pushing his songwriting into subtly new territory.

'Council Skies' finds Noel Gallagher in a reflective, deeply personal mood, delivering his most introspective and evocative album since going solo. The title itself conjures images of the wide, open skies that stretch above council estates, at once a symbol of hope, escape, and the sometimes claustrophobic reality of working-class life in Manchester. 

Here, Noel returns to the themes and places that shaped him, but with the wisdom and vulnerability that comes only from experience. Gone is the old bravado, replaced by honest self-reflection: the lyrics explore identity, time, nostalgia, and the quiet ache of middle age. Yet, despite its backward glance, 'Council Skies' never feels like mere nostalgia. Instead, it’s the work of a songwriter revisiting his roots with new perspective and maturity, painting familiar scenes with fresh colour.

Musically, the album is a tapestry of classic Gallagher trademarks: jangling guitars, shimmering acoustics, and those soaring, arms-aloft choruses, but with a renewed sense of restraint and sophistication. 'Easy Now' stands out as a modern Noel anthem, its melody soaring with heartfelt sincerity, echoing the emotional punch of Oasis-era favourites like 'Stop Crying Your Heart Out' or 'Little by Little'. Tracks like 'Love Is a Rich Man' offer breezy pop uplift, with hooks that stick, while the lush, string-laden title track 'Council Skies' weaves together melancholy and warmth, drawing inspiration from both The Smiths and Burt Bacharach.

There’s a newfound intimacy throughout the album. 'Open the Door, See What You Find' pulses with optimism and a gentle nod to the past; its laid-back, swinging drum pattern subtly recalls the groove of 'Supersonic', a wink to fans who have followed Noel from his earliest days. Lyrically, it’s an invitation to rediscovery and reconnection: one of those instantly likeable moments that feels both fresh and familiar.

But it’s 'Dead to the World' that emerges as the record’s emotional core; a cinematic, slow-burning ballad unlike anything else in his catalogue. Introspective and orchestral, it finds Noel at his most fragile, shedding the swagger for quiet devastation and understated beauty. It’s a song that lingers long after it ends; not just a highlight of 'Council Skies', but a career best.

As with Arctic Monkeys’ 'The Car' in 2022, Noel deploys strings and arrangements sparingly, adding emotional heft without ever tipping into melodrama. The result is an album that feels elegant, soulful, and unmistakably human; full of heart and lived experience, but never overwrought.

Ultimately, 'Council Skies' is a testament to what has always made Noel Gallagher essential: the ability to write songs that capture hope, longing, and the passage of time with honesty and melodic brilliance. It’s the sound of an artist embracing his past, but not being weighed down by it; hopeful, honest, and timeless in its grace.

Damon Albarn was a busy man in the early part of the 2020s, and his project Gorillaz wasn’t going to take a step back while he was working on Blur material. In fact, Gorillaz released 'Cracker Island', complete with Stevie Nicks and Tame Impala collaborations and a song that sounds like everything Damon Albarn has ever done in the form of 'Skinny Ape'

A record that shows the band's influence on popular music, past, present and future. There is no complex concept or industry-defining moments, just a collection of some of the band's best tracks, each a testament to Gorillaz's restless creativity and genre-blurring approach.

'Cracker Island' is full of highlights that showcase this spirit. Production on 'New Gold' began back in 2020, in a period of creative restlessness for Gorillaz. Originally planned for 'Song Machine, Season Two', the track was shelved with that project and didn't appear on 'Song Machine, Season One' due to delays. Its eventual release felt like a meeting of musical minds: co-produced by Greg Kurstin and Tame Impala's Kevin Parker, it marked Gorillaz's first collaboration with Parker and their reunion with Bootie Brown of The Pharcyde, their first together since 'Dirty Harry' in 2005. 'New Gold' is woozy and psychedelic, anchored by a distorted guitar line in 6/4 time. Bootie Brown's sharp verses, Parker's dreamy hook, and Albarn's understated vocal create a sense of motion and unpredictability. Debuted live at All Points East, it captured the collaborative, genre-melding spirit of the album.

Lyrically, 'New Gold' is a critique of modern life's fleeting rewards: plastic surgery, viral fame, social media validation; glittering but empty. Bootie Brown's verses cut through these illusions, Parker's chorus hints at their dangers, and the bridge lands the point: 'New gold, fool's gold / Everything will disappear.' For longtime fans, there are callbacks everywhere: references to Shaun Ryder and 'DARE', 'Revolving Doors' from 'Plastic Beach', and the existential unease of 'Feel Good Inc.'

But it's not just 'New Gold' that stands out. 'Oil' is a dreamy, synth-laden collaboration with Stevie Nicks. Her vocals intertwine with Albarn’s in a song full of yearning and nostalgia, shimmering with a lush, retro-futuristic glow. 'Silent Running' is equally compelling, featuring Adeleye Omotayo’s soulful voice alongside Albarn’s, gliding over a propulsive, synth-driven groove, and exploring memory, escape, and the search for meaning in an overwhelming world. Both tracks are among the album’s most emotionally resonant moments.

The title track, 'Cracker Island', is a festival-ready anthem, driven by an infectious rhythm and hypnotic bassline. Its lyrics evoke the surreal, sun-drenched dystopia that Gorillaz paint so well, a place where cults and escapism thrive, and where the search for meaning feels urgent and futile. The song's groove is irresistible, cementing it as a new classic in the band's catalogue.

'Baby Queen' slows things down, offering dreamy introspection. Albarn sings of a chance encounter with Thai royalty at a Blur show in the 90s, reflecting on time, innocence, and the surreal nature of fame. With its airy synths and gentle melodies, 'Baby Queen' is one of the most personal and affecting songs on the album.

Then comes 'Skinny Ape', a track that functions as a sonic memoir of Albarn's entire career, and nowhere is the Blur-Gorillaz divide more openly collapsed than here. The opening minutes belong entirely to Blur: the sparse, unhurried acoustic guitar and the quiet, slightly melancholic vocal delivery are closest in spirit to 'Think Tank' (2003), Blur's most introspective and experimental album, and to 'The Magic Whip' (2015), the reunion record that found them in a reflective, almost elegiac mood. There is none of the dense layering or collaborative bustle that defines most Gorillaz records; just a man, a guitar, and a feeling. Albarn's vocal phrasing in the first half also recalls the wry, observational quality of 'Parklife' and 'The Great Escape' era Blur, that very English habit of holding emotion at arm's length while letting it seep through the cracks anyway.

Then the song detonates. The second half belongs entirely to Gorillaz: crashing drum machines and dense electronic production arrive with the same blunt force as 'Song 2', Blur's most visceral and least typical moment, which itself felt like Albarn testing how far he could push before the band broke. It's no coincidence that 'Skinny Ape' feels like both bands at once; Gorillaz was born directly out of Albarn's restlessness with Blur.

By the late 1990s, Britpop had run its course, and Blur's fame had grown suffocating. Gorillaz gave Albarn the freedom to go further than Blur's identity would allow, but 'Skinny Ape' suggests that the distance between the two was never as great as it seemed. Here, they exist in the same four minutes, the same song, almost the same breath.

Taken together, these tracks reveal Gorillaz at their most adventurous and emotionally nuanced; still restlessly inventive, still able to surprise, and still capturing the sounds and anxieties of the modern world better than almost any other band. This album is a reminder of why Gorillaz remain so vital, their best work as much about collaboration and experimentation as about Damon Albarn’s singular vision. As the NME states, “A band that was once considered mucking about on the periphery of pop are now very much defining the present and inspiring the future." You could be doing much worse for album eight, eh?

Sleep Token, one of Britain’s most interesting and intriguing bands, is a group of masked and cloaked musicians whose identity is currently unknown. Don’t let this captivating dynamic deter you, though. In 2023, Sleep Token released 'Take Me Back to Eden', an album that ripped up the rock rulebook and captured the attention of both critics and fans. The record is a sprawling, genre-defying journey, effortlessly blending alt-metal, pop, R&B, electronic, and progressive influences into something that feels both epic and deeply personal. 'Are You Really Ok' is stadium-sized and emotionally raw, while 'Aqua Regia' leans into a sultry, near-R&B sound. The title track, 'Take Me Back to Eden,' stands as one of the most ambitious songs they've ever written, building from atmospheric introspection into a cathartic crescendo, and 'The Summoning' became a viral sensation, mixing crushing heaviness with funky, melodic detours. Every track showcases the band's fearless songwriting and dynamic musicianship.

The album is the culmination of a steady ascent that began with their earlier records, 'Sundowning' and 'This Place Will Become Your Tomb.' Both albums established Sleep Token's reputation for pushing genre boundaries, combining atmospheric anthems like 'The Night Does Not Belong to God' with synth-pop-tinged metal bangers like 'Alkaline' and the genre-fluid 'Dark Signs.' With each release, the band built a dedicated following, and by 2024, they had made the leap to arena shows; a remarkable achievement for a band whose music defies easy categorisation.

Sleep Token’s headline arena tour at the end of 2024 was a landmark moment. The band’s live shows are immersive experiences, complete with stunning visuals, hypnotic lighting, and a sense of mystique that sets them apart from their peers. The setlists spanned their entire discography, turning songs like 'Take Me Back to Eden', 'The Summoning', and 'Are You Really Ok' into communal, almost spiritual experiences. 

No longer the underground outsiders, Sleep Token are quite comfortably one of the UK's biggest rock acts. Arena shows are now part and parcel of their story, and with each new release, their legend only grows. They are exceptional musicians, with a catalogue of songs that blend genres effortlessly, and for a band whose identity remains shrouded in mystery, their impact on the modern music scene has never been clearer.

November 2023 marked a significant musical milestone: the release of a new song by The Beatles. 'Now & Then', which the band had initially attempted to record in the 1990s without success, was finally brought to life on November 2nd. This resurrection of a long-lost gem was made possible through the unwavering dedication of The Beatles, aided by Peter Jackson and new vocal isolation technology.

The creation of 'Now & Then' is a story in itself; one that spans decades and showcases the band's enduring spirit of innovation. Originally written and demoed by John Lennon in the late 1970s at his New York apartment, the song was revisited by Paul McCartney, George Harrison, and Ringo Starr during the Beatles Anthology sessions in 1995. While the original attempt was shelved due to technical limitations, the idea lingered for decades. With the help of cutting-edge artificial intelligence developed for Peter Jackson's documentary 'Get Back', Lennon's vocals were finally isolated and given the clarity needed to finish the song. Paul and Ringo recorded new parts, George's guitar work from the 1995 sessions was incorporated, and the result is a moving, seamless blend of past and present Beatles.

The release of 'Now & Then' was met with a wave of global anticipation and emotion. For many fans, it was more than just a new song; it was a chance to experience the magic of The Beatles one last time, to hear Lennon, McCartney, Harrison, and Starr together in the 21st century. The song itself is steeped in nostalgia and longing, with Lennon's voice, brought back to life after all these years, serving as a poignant reminder of what made The Beatles so special. The arrangement is classic Beatles: melodic, heartfelt, and subtly innovative, with Paul and Ringo's contributions adding depth and warmth. The lyrics, reflective and bittersweet, speak to the passage of time, the endurance of love, and the ache of things left unsaid.

As with most things The Beatles did, 'Now & Then' did not just fade into obscurity; it took off, breaking countless records. The song became the band’s 18th Number One single in the UK and broke streaming records in the 21st century. It became the fastest-selling single of 2023 and the fastest-selling vinyl of the century so far. 

The Beatles have etched their name in history once again. They now hold the record for the longest gap between a band's first Number One single, 'From Me to You' (released in 1963), and 'Now & Then' (released in 2023). Their career, spanning over 60 years, is a testament to their enduring influence on the music industry.

The gap between The Beatles' last Number One single, 'The Ballad of John & Yoko', and 'Now & Then' is also a record-breaking 54 years.

Critics and listeners alike praised the song for its emotional weight and the sense of closure it brought to the Beatles story. For a new generation, 'Now & Then' was an introduction to the enduring magic of the band; for lifelong fans, it was a moving farewell and a reminder of just how profoundly The Beatles have shaped music and culture.

'Now & Then' is more than just a song; it's the final page in the story of the world's greatest band. It’s the closing chapter in music's most extraordinary story: a story in which four lads from Liverpool took on and transformed the world, filled with chaos, tragedy, beauty, controversy, sadness, joy, friendship, and soundtracked by some of the greatest songs ever written. 'Now & Then' is a farewell for those still here and a tribute for those lost along the way, a testament to the eternal resonance of The Beatles' music and legacy. Even now, decades after their heyday, The Beatles continue to unite generations and prove that, in music, endings can be just as profound as beginnings.

The year 2024 kicked off with a new sensation in the UK music scene. 

February 2024 marked the release of The Last Dinner Party's debut album, 'Prelude to Ecstasy.' This boundary-pushing, genre-defining record is a unique blend of cinematic strings, 70s guitars, and Fleetwood Mac-style vocals. 'Caesar on the TV Screen' offers a fresh perspective on the Roman Empire and Soviet-era politics. The album arrived nearly a year after its dizzying debut single ‘Nothing Matters’, the track that launched the band on a journey to Brit Awards and huge shows.  Its Roxy Music-like stomp and fatalist lyrics serve as their own dark, escapist fantasy. “And you can hold me like he held her / And I will fuck you like nothing matters,” so goes the chorus.

In fact, when the band dial things down, like on ‘Beautiful Boy’ which peaks almost instantly with a panpipe section, the energy shift is noticeable. These more muted moments aren’t a slight on ‘Prelude To Ecstasy’ as a whole; if anything, they go to show that the band manage to cram a surplus of ideas into the majority of the material here.

Even at its most overwrought- the rhythmic attack of ‘My Lady Of Mercy’; a chunk of wallowing reverb in ‘Burn Alive’, presumably to evoke misery and displacement – there’s a melodic confidence throughout that’s a rare find in a debut. 

In fact, when the band dial things down, like on ‘Beautiful Boy’ which peaks almost instantly with a panpipe section, the energy shift is noticeable. These more muted moments aren’t a slight on ‘Prelude To Ecstasy’ as a whole; if anything, they go to show that the band manage to cram a surplus of ideas into the majority of the material here.

‘Prelude To Ecstasy’ does a lot, and goes to a lot of places, both thematically and musically. It goes to too many places to conceivably be called a concept album, even though it sort of looks like one and sort of sounds like one, with all its decadence and theatricality. But the concept at its core, maybe, is just The Last Dinner Party, building their identity with every emotional and musical block they can find and make fit – it’s a delightful, towering debut. Despite all of the hype and the eclectic nature of sounds on the record, this is a great collection of songs, purpose-built for arenas and festivals by a band who know just how good they are. 

Two legends also joined forces in 2024 when Liam Gallagher and John Squire, former frontman of Oasis and the legendary guitarist of The Stone Roses, finally collaborated on a full-length album. The anticipation was sky-high: here were two icons of Manchester music, both with storied legacies, promising a fusion of anthemic rock swagger and psychedelic guitar wizardry. 

The result was a self-titled album that split opinion but delivered plenty for fans of both bands to chew on. Lead single 'Just Another Rainbow' set the tone: instrumentally, it shimmered with Squire’s signature guitar flourishes and a wall of sound production, but the lyrics divided listeners, some finding them simple or even nursery rhyme-like. However, the next single, 'Mars to Liverpool', was widely praised; a melodic, heartfelt tribute to their musical and geographical roots. The song features some of Squire's most evocative playing in years, while Liam delivers a vocal that echoes his early '90s sneer and sensitivity. 'Love You Forever' brought a taste of Hendrix-inspired riffing and saw Gallagher firing off snarling lines. Possibly aimed at his brother Noel, while 'Raise Your Hands' and 'One Day at a Time' proved the pair could still write big, singalong hooks.

The album was rounded out by tracks like 'I'm So Bored', which channels classic Britpop attitude, 'Mother Nature's Song' with its hazy psychedelia, and 'Make It Up As You Go Along', a looser, jam-driven affair where the chemistry between Liam and John really shines through. The lyrics across the album touch on nostalgia, resilience, and the passage of time, underscored by Squire’s versatile guitar work, ranging from jangly, Stone Roses-esque melodies to heavier, bluesy solos. 

To launch the record, Gallagher and Squire hit the road, choosing intimate venues rather than arenas or stadiums. These smaller shows allowed the new material to breathe and gave fans a rare chance to see the two legends up close. The gigs were a reminder of why both artists have inspired generations of musicians and fans, and while the album wasn't universally acclaimed, it contained enough flashes of brilliance to satisfy anyone who cares about the enduring story of British guitar music.

The tour that followed the release of this record also received both good and bad press. I find myself firmly in the “bad press” camp for this one. Gallagher and Squire were charging £80+ for tickets, yet they only played a 50-minute set, with no Oasis or Stone Roses songs. Fans were essentially paying to hear the album and a Rolling Stones cover. If you ask me, that’s a little bit ridiculous.

Jamie Webster would release '10 for the People,' his third album. A collection of songs for the people who had gotten him to this stage. 'Better Day' acts as a thank you to the fans who have helped him get this far. All of the songs, however, tell a story of the people. 'Something to Eat' and 'Voice of the Voiceless' see him at his most political, with some hard-hitting lyrics. It's another excellent record from the Liverpool songwriter. He manages to sum up the plight and peril faced by many with a catchy pop tune. The ballads are still there, too. 'Lovers in the Supermarket' and 'Dolly Bird' are some of the most beautiful things Jamie has ever written. The first, in particular, is a tale of an elderly couple who are still absolutely besotted with each other. All these years later, it's wholesome and beautiful, written and delivered with a heavy heart.

Keeping it in Liverpool, Red Rum Club released album number four, 'Western Approaches'. The title itself is loaded with meaning: Western Approaches refers to the strategic military zone in the Atlantic Ocean just off the coast of Britain, famously crucial during World War II. But it also points much closer to home for the band; it’s the name of a building in Liverpool that once housed British naval intelligence. In this way, the album title captures a blend of local history, global context, and the spirit of watchfulness and resilience, which runs through the album like a steady undercurrent.

This is an album about weathering the storm, whether that storm is personal, political, or emotional. There’s a maturity to the songwriting, a sense of perspective that comes from experience.

The band explores new depths and moods throughout the record, with standouts like the brooding, infectious 'Black Cat,' the reflective and anthemic 'Hole in My Home,' and the shadowy, trumpet-laced 'Undertaker, each revealing a different facet of their sound. 'Daisy' brings a dose of sun-soaked optimism and swagger, while 'Afternoon' delivers a wistful, late-day warmth, showing the band's ability to shift from cinematic drama to breezy euphoria within the same album. 

It still sounds unmistakably like Red Rum Club: sweeping horns, cinematic flair, and soaring choruses. Still, there’s more patience, more nuance, more vulnerability. In many ways, 'Western Approaches' feels like Red Rum Club’s most complete and personal work. It’s rooted in their city, their sound, and their evolution as a band, a Liverpool record through and through, but with its eyes on the horizon.

Two female-led bands would release two of the best albums of the year. Galway four-piece NewDad made a major breakthrough with their debut 'Madra' in January, a confident and assured collection of shoegaze-infused indie that marked the band out as something truly special. From the shimmering opener 'Angel' to the lush closer 'Change My Mind', the album is full of atmospheric soundscapes, swirling guitars, and melodies that linger long after the final note. 

'Sickly Sweet' stands out as one of the catchiest singles of the year, brimming with hazy guitars and bittersweet hooks, while 'Where I Go' is a swirling, anthemic highlight, showcasing the band's knack for blending dreamy textures with raw, relatable vulnerability. 'White Ribbons' and 'In My Head' push further into the band's atmospheric, reverb-soaked territory, Julie Dawson's vocals floating with both strength and fragility. 'Dream of Me' adds a slow-burning, late-night longing to the record, while 'Let Go' and 'Break in the Weather' see the band experiment with more angular, dynamic arrangements. 

Throughout the album, there are seams of doubt, uncertainty, and frustration within the lyrics, giving the record a real emotional depth and a sense of lived-in honesty. The band's ability to balance introspective, confessional songwriting with lush, expansive sonics recalls the best of Slowdive and Wolf Alice, but NewDad are never content to simply imitate. Instead, they carve out their own sound and identity, full of potential and promise. 'Madra' is a brilliant debut; one of that year's best indie releases, and a statement of intent from a band poised to become Ireland's next great guitar act.

English Teacher blew many of us away in 2024, capturing the Mercury Prize for their extraordinary debut album, 'This Could Be Texas'. The record is a brilliant collage of indie, post-punk, and art-pop, drawing influences from everywhere and blending the surreal with the everyday. From the very first moments of 'Albatross', a song that builds from tense minimalism into a soaring, cathartic anthem, the album establishes its emotional range and ambition. 

'The World's Biggest Paving Slab' is a standout, offering an ode to the little people with huge ideas, wrapping ordinary details in big, anthemic hooks. 'Albert Road' resonates deeply, speaking to anyone who remembers bittersweet moments of boredom, frustration, and teenage daydreaming in working-class neighbourhoods. It’s a song built on vivid, everyday details: the cracked pavement, the hum of distant traffic, the ache to escape and the comfort of what’s familiar. Lily Fontaine’s lyrics paint a nuanced portrait of growing up in a place that can feel both confining and formative; the song moves from nostalgic warmth to subtle melancholy, capturing the push and pull of wanting to leave while knowing you’ll always carry your roots with you. 

Musically, 'Albert Road' weaves gentle guitar lines and understated percussion, building a dreamy, reflective atmosphere that perfectly matches its themes. The result is a track that feels personal and universal, grounded in lived experience yet open enough for anyone to see themselves within its story. 'R&B' is a witty, sharp rebuttal to misplaced stereotypes and presumptions about frontwoman Lily Fontaine’s place in the industry: “Despite appearances, I haven’t got the voice for R&B.”

Elsewhere, the band flex their creative muscles with songs like 'Mastermind Specialism', which tumbles through shifting time signatures and poetic lyrics, and 'Broken Biscuits', whose jagged rhythms and social commentary showcase English Teacher’s knack for making the personal political. 'Nearly Daffodils' and 'The Best Tears of Your Life' are both bursting with vulnerability and vivid imagery, balancing everyday melancholy with a sense of hope and resilience. Throughout the album, Fontaine’s vocals are magnetic, by turns biting, vulnerable, and defiantly confident; while the band’s inventive arrangements keep the record surprising and fresh from start to finish.

'This Could Be Texas' is not just a collection of brilliant indie songs, but a landmark debut that captures the spirit of a new generation, brave, witty, and unafraid to dream big while staying grounded in the realities of modern British life. English Teacher have announced themselves as one of the most vital new bands in the country, and it feels like they’re only just getting started.

It's a landmark statement by a band poised for big things, a band working with brilliant songs that have dared to dream. 

Catfish & the Bottlemen made a much-anticipated return in 2024, almost three years after their last appearance at 2021’s Neighbourhood Weekender. Their comeback was marked by the release of 'Showtime,' a single that signalled both change and continuity. With the departure of founding members Johnny Bond and Bob Hall, the lineup reshuffle brought a new dynamic and left frontman Van McCann with something to prove. 'Showtime' saw the band embrace a glossier, more anthemic sound; still recognisably Catfish, but with a subtle shift toward stadium rock ambition. Lyrically, the song hinted at resilience and the desire to move forward, while musically, it was built for big stages and singalongs. 

The band’s first show back in Liverpool was their biggest headline gig to date and a clear statement of intent. Backed by The Mysterines and Sundara Karma, Catfish delivered a set that leaned heavily on crowd-pleasing favourites like 'Kathleen', 'Cocoon', 'Soundcheck', and '7', while also introducing their new direction. Despite the anticipation for fresh material, the setlist stayed mostly familiar, with the band choosing to hold back on new songs.

This approach drew a mixed response: longtime fans relished the nostalgia and the band’s tight, energetic performance, but some critics questioned their reluctance to showcase more of the new era. Still, the band’s chemistry, especially McCann’s charismatic delivery, remained a highlight, and the live show reaffirmed Catfish’s reputation as one of Britain’s most reliable festival acts. 

It wouldn't be the first big Catfish show of that year, though, and their biggest shows of the decade were yet to come.

The 2024 Teenage Cancer Trust gigs delivered a stellar lineup, headlined by the legendary Noel Gallagher, supported by Stockport’s finest, Blossoms. 
Other headliners included  The Chemical Brothers, Young Fathers, The Who, and Squeeze.

Noel Gallagher’s set was a dream come true for Oasis fans. Among the highlights was the live debut of High Flying Birds’ rendition of 'Stand By Me', a beloved Oasis classic performed for the first time by the High Flying Birds. The setlist also included fan favourites like 'Talk Tonight' and 'The Masterplan', alongside soaring versions of 'If I Had a Gun...' and 'AKA... What a Life!'. Noel also paid homage to his songwriting legacy with 'Dead in the Water' and a rousing singalong for 'Don't Look Back in Anger'. The set served as a celebration of both his solo career and his time in Oasis, with the crowd in full voice throughout. The Royal Albert Hall setting added a sense of grandeur and intimacy, making the Teenage Cancer Trust gig one of the stand-out moments of the year for British music fans.

Blossoms provided support on the night, adding to the sense of occasion with their own vibrant set of indie pop anthems. Fresh from the release of their fifth album, the Stockport band delivered crowd-pleasers like 'Charlemagne', 'Your Girlfriend', and new favourites from 'Gary'. Their energetic performance set the perfect tone for the evening, and their slot alongside Noel was a sign of the mutual respect that exists between two generations of Northern guitar music. The Teenage Cancer Trust gig at the Royal Albert Hall was a special moment for both bands: a night packed with musical gems, collaborations, and a shared sense of community that left the crowd with memories to treasure for years to come.

Young Fathers delivered one of the most electrifying performances of the year with their headline set at the Teenage Cancer Trust concert, cementing their reputation as one of the UK’s most inventive and powerful live acts. Taking the stage with confidence and urgency, the band leaned into the intensity and genre-defying spirit that has defined their ascent, especially following the release of their acclaimed album 'Heavy Heavy' the previous year.

Their set drew heavily from 'Heavy Heavy', with standout tracks like ‘Rice’, ‘I Saw’, and ‘Geronimo’ resonating across the Royal Albert Hall. Each song was delivered with raw emotion and a sense of communal celebration; Young Fathers seamlessly blended hip-hop, gospel, soul, and experimental pop, bringing the crowd to its feet. Older favourites, including ‘Shame’ and ‘In My View’, ignited the room and showcased the band’s evolution from underground innovators to Mercury Prize-winning headliners.

Throughout the night, the band’s dynamic energy and tight musicianship were matched only by their connection with the audience. The performance was a testament to how far Young Fathers have come and a reminder of their singular voice in British music: fearless, genreless, and always urgent. Their Teenage Cancer Trust set was not just a highlight of the year, but a powerful affirmation of their place at the forefront of contemporary music.

A show that is a testament to the band's underlying brilliance. If you haven't given Young Fathers a listen, I urge you to; you won't be disappointed.

The Ks released their brilliant debut album in April 2024. 'I Wonder If the World Knows'. It felt like a long time coming; having released their first single ‘Sarajevo’ in July of 2017, the band's fans waited a long time to hear their debut album, but it was definitely worth the wait. It's dynamic, charged and will resonate with listeners. In the same way Oasis and Arctic Monkeys did, The K's turn stories into bangers, and they aren't just a one-trick pony.

The album’s opening track, ‘Icarus’, features soft, orchestral strings before coming alive into a snarling, fearful track, with hard-hitting lyrics: “Feathers burn cause I get too high, Icarus falls out of the sky”. The album is full of these hard-hitting moments; the band is not afraid to tackle social or political issues, addressing the world they live in as well as more localised problems closer to home. 

Self-doubt, identity, and addiction are all covered throughout the album, and its striking lyrics. 'Hometown' tackles life for working-class lads in a small Northern Town with dramatic effect: "I keep on havin’ all these dreams/No they’re not like other people’s". 

"Oh, how he wept, oh, how he wept, oh, how he wept/‘Cause he’s emptied all his wages/Into the pockets of the boys that he hated". These stories are real and lived in. This isn't fake; the band is writing about things they've seen and experienced growing up in Earlestown.

Two beautiful ballads, 'Hoping Maybe' and 'Lights Go Down', provide a new perspective of the band, allowing them to stretch their musical legs and reveal a more subtle, emotionally nuanced side. The lyrics do the heavy lifting here, capturing moments of longing, reflection, and hope, and showcasing the songwriting partnership of Jamie Boyle and Ryan Breslin at its most honest and affecting.

Throughout the record, The K's balance anthemic rock energy with heartfelt balladry. Songs like 'Throw It All Away' stand out for their soaring choruses and relatable lyrics about letting go of the past, while 'No Place Like Home' is an ode to hometown roots and the comfort of familiar places and faces. Both tracks are instant crowd-pleasers, resonating with listeners at a crossroads between nostalgia and ambition. 

This record is an absolute triumph, and the band can only go from strength to strength. The tracks on this album, from energetic anthems to poignant slow-burners, perfectly capture who The K's are and what they are all about: honesty, resilience, and the power of great songwriting to unite and uplift.

Glastonbury.
It is the world's biggest festival, a cultural institution that has delivered countless iconic moments over the decades. From Pulp stepping in as super subs in 1995 to The Killers teaming up with Johnny Marr in 2019, Glastonbury has consistently created unforgettable memories. Stormzy's Union Jack bulletproof vest in the same year redefined what a modern headline set could be. Jay-Z shattered expectations by bringing hip-hop to Somerset in 2008. Beyoncé dazzled with her pop-tastic spectacle in 2011, proving that Glastonbury could embrace all genres.

Glastonbury 2024 was quite comfortably the worst lineup in my lifetime.

LCD Soundsystem delivered a Friday night Pyramid pre-headline set that, while not quite legendary, still provided a whole lot of sunset-friendly raving, culminating in a euphoric, communal rendition of 'All My Friends' as the sun dipped behind the Pyramid. That moment, with flares, hugs, and a crowd climbing onto shoulders, watched from the sidelines by Noel Gallagher and Dave Grohl, no less, felt like a true Glastonbury memory in the making. Jungle, too, brought their genre-blurring dance party to Worthy Farm, turning their set into one of the most joyous, high-energy shows of the weekend. 

Jungle delivered one of the standout sets of Glastonbury, turning the Park Stage into a massive open-air dance party that drew one of the biggest crowds of the weekend. Their reputation as a must-see live act was on full display, as tens of thousands packed the hillside to catch their Saturday night set. With a setlist that spanned all four of their albums, Jungle kept the energy sky-high from start to finish. The band opened with 'Busy Earnin’' and 'Dominoes', immediately getting the crowd moving, and built their set around festival favourites like 'Time', 'Keep Moving', and the euphoric 'Back on 74'. Newer tracks like 'Candle Flame' slotted seamlessly alongside older hits, while 'Talk About It' and 'Truth' sent waves of groove through the field. Their signature mix of funk, soul, and electronic dance brought a dazzling light show and relentless groove that had everyone dancing well into the night, making Jungle a true highlight in an otherwise underwhelming festival lineup.

And then there was Fontaines D.C., who, on the Park Stage, proved why they’re one of the most vital bands of their generation: Chatten skipping in circles around his mic, the crowd belting back every word, flares and confetti in the air, and a mighty singalong to 'I Love You', the kind of set where you know you’re witnessing a band on the cusp of something seismic. This show felt like the start of their 'Romance' era, a fireworks display of emotion and innovation that left the Park Stage crowd buzzing. 

The Last Dinner Party made an impression too, but overall, the lineup still felt underwhelming compared to previous years. Coldplay feels like a lazy booking. They have headlined the famous festival four times, but the band's recent material hasn't been up to much. It is even their only UK festival headline this summer.

In the years before, we have had McCartney, Arctic Monkeys, Elton John, Sam Fender, Billie Eilish, Lana Del Rey, Haim, Elbow, Kendrick Lamar, Foals, Pet Shop Boys, Olivia Rodrigo, The Libertines, Rick Astley, Blossoms, Jamie T., plus so many more. It just feels like a massive disappointment for Glastonbury. They could have gotten another legend back. Pulp for round two? Or promoted one of the newer artists. Sam Fender, Lana, and even Foals. 

Although the festivals in 2024 weren’t the strongest on record, it didn’t stop some of the biggest venues in the UK from being sold out by some huge artists.

The Killers brought their 'Rebel Diamonds' show to the UK with a massive arena tour. They celebrated 20 years as a band with a bombastic greatest hits show.

It allowed the band to bring Las Vegas showmanship and a collection of indie bangers to the UK's cities. Changing the setlist every night, fans were left wondering what would be played. Fans would get all of the classics from 'Read My Mind' to 'Spaceman', 'All These Things I've Done' and of course 'Mr Brightside'. They also gave some newer songs a little runout. Despite playing new songs, they did not disappoint. Their 2024 arena tour felt like a celebration of two decades at the top, and the atmosphere was supercharged wherever they went. 

The band’s flair for the grand occasion was only matched by the devotion of their fans; every show became a communal event, especially during those final moments with 'All These Things That I've Done' and 'Mr Brightside', where arenas would erupt into mass singalongs and flares would light up the crowd. Every night felt like a victory lap; Brandon Flowers strutting across confetti-strewn stages, fans donning feathered jackets, and the band leaning into the glitz and glamour that only The Killers can deliver. In cities up and down the country, you could feel the sense of nostalgia and collective euphoria, with generations of fans, many who’d first heard ‘Mr Brightside’ at school discos, now belting it out with the same passion years later. 

These 2024 shows weren’t just about the hits; they were a reminder of how The Killers have soundtracked so many lives, with anthems for every stage and every heartbreak. Their ability to unite a crowd remains unmatched, with many leaving the arenas hoarse, emotional, and already desperate to do it all again.

Having seen the show myself, I can say they reinforced their position as the top of the indie mountain. One of the best bands in the world.

A band with the catalogue of anthems that The Killers have, it was a surprise that the band opted for arenas instead of stadiums! 

Liam Gallagher also took to the arena stage to celebrate 30 years of 'Definitely Maybe' with a nostalgia-filled run-through of the album and its B-sides. The 2024 tour saw him perform the full tracklist: 'Rock 'n' Roll Star', 'Shakermaker', 'Live Forever', 'Up in the Sky', 'Columbia', 'Supersonic', 'Bring It On Down', 'Cigarettes & Alcohol', 'Digsy's Dinner', 'Slide Away', and 'Married with Children'. In true Gallagher fashion, he delivered each with the same ferocity and swagger as ever, not just rehashing the past but making the songs sound urgent and alive. B-sides and rarities like 'Fade Away', 'Cloudburst', 'Listen Up', 'I Will Believe', and 'Half the World Away' (which was written and sung by his brother Noel) were also in rotation, making every night feel like a treasure trove for Oasis devotees.  

Getting to hear that album in full was a special moment for any Oasis fan. For many, it is their best work, the sound of a band who were ready to take over the world. The songs on that record are timeless, from the swagger of 'Rock n Roll Star' to the universal anthems 'Live Forever' and 'Supersonic'; these tracks have resonated with fans for years. Liam gave a new generation of fans a chance to hear them live, and didn’t shy away from the deep cuts. The crowd’s energy was electric during classics like 'Columbia' and 'Slide Away', and you could feel the collective nostalgia during 'Shakermaker' and 'Cigarettes & Alcohol'. He also dusted off some obscure tracks and B-sides for this tour, with 'Listen Up' and 'Cloudburst' becoming unexpected highlights and 'I Will Believe' bringing back memories of the band's earliest days. 

‘Up in the Sky’ was a real highlight, a hidden gem in the Oasis discography. ‘Digsy’s Dinner’ received a good reception, and the chorus was well-executed. ‘Bring It On Down’ is Oasis at their punk best, and you can tell that Liam was enjoying singing this one. ‘Cloudburst’ and ‘I Will Believe’ got a run-out in the middle of the set; until this tour, these songs must have only been played a handful of times. The encore would often include ‘Half the World Away’, a moving moment for fans, and a raucous ‘Whatever’ to send everyone home buzzing. On some nights, he even threw in 'Whatever', 'Acquiesce', or 'Slide Away' as extra treats, sending arenas into delirium.

Liam proved that 30 years on, 'Definitely Maybe' still means the world to him, and that he is, still all these years later, the defining 'Rock n Roll Star'.

Bloc Party made a welcome return this year, celebrating 20 years of 'Silent Alarm' with a new-look lineup and fresh material. Their live shows were a real highlight, not just for the energy and nostalgia but for setlists that truly told the story of the band; balancing the anthems that made them indie icons with rarities and surprises for the die-hards. It was clear that Bloc Party were performing with renewed purpose, and their set choices reflected a deep appreciation for both their legacy and their fans.

At their show at Birmingham’s O2 Institute, and throughout the summer, including appearances at Glastonbury and sell-out gigs in London, Belfast, and Dublin, Bloc Party delivered setlists packed with classics and surprises. Fans were treated to a career-spanning run of songs, including 'So Here We Are', 'Like Eating Glass', 'Plans', and 'Hunting for Witches'. Rarities made a return too, with 'Mercury', 'Price of Gasoline', 'Blue Light', and 'One More Chance' all played for the first time in years. The band also played recent favourites like 'Traps' and 'Different Drugs', and kept the energy high with 'Banquet', 'Song for Clay (Disappear Here)', and 'Helicopter'.

The setlists felt carefully curated, opening with the shimmering tension of 'So Here We Are'; the band wasted no time launching into the urgent pulse of 'Like Eating Glass', a track that still sounds as vital as it did two decades ago. Newer tracks like 'Traps' and 'Different Drugs' slotted seamlessly alongside older material, showing how the band’s sound continues to evolve without losing its core identity. The inclusion of 'Mercury' and 'Price of Gasoline', both rarely played in recent years, was a treat for longtime fans, while the likes of 'Banquet' and 'Helicopter' brought the kind of mass singalongs that only Bloc Party can summon. There was an added emotional weight to 'Plans' and 'Blue Light', both performed for the first time since 2019, reminding everyone why these deep cuts have always resonated so strongly in the live setting.

The encore sections were just as special, featuring the live debut of 'Flirting Again', as well as 'Skeleton', 'The Love Within', and an emotional rendition of 'I Still Remember', played for the first time since 2009. Fan favourites 'Flux', 'She's Hearing Voices', 'Ratchet', and the euphoric closer 'This Modern Love' rounded out the night, making these shows a true celebration of Bloc Party’s legacy and evolution.

The encore sections were just as special, featuring the live debut of 'Flirting Again', as well as 'Skeleton', 'The Love Within', and an emotional rendition of 'I Still Remember', played for the first time since 2009. Fan favourites 'Flux', 'She's Hearing Voices', 'Ratchet', and the euphoric closer 'This Modern Love' rounded out the night, making these shows a true celebration of Bloc Party’s legacy and evolution.

As for summer gigs, Noel Gallagher has been hitting the road, bringing Council Skies to stadiums, castles, and palaces. Fans have been treated to a mix of his solo material and all the Oasis classics. His outdoor gigs have been a hit, and this tour has seen Noel play in some different towns and cities, with shows in Wigan and Warwick, offering a fresh experience for fans outside the usual stops.

Summer 2024 was a landmark chapter for Noel Gallagher’s High Flying Birds, one that felt both triumphant and tinged with a sense of farewell. In addition to his headline open-air shows, Noel brought his band to some of the summer’s biggest festivals, delivering memorable sets at Y Not, Splendour in Nottingham, and Victorious in Portsmouth. Each festival appearance became an event in itself, with crowds singing along to 'If I Had a Gun…', 'AKA… What a Life!', and, of course, the Oasis classics like 'Don't Look Back in Anger', 'The Masterplan', and 'Little by Little' that continue to unite generations of fans.

There was a special significance to these shows: they were the last High Flying Birds shows for the foreseeable future. That revelation brought an added intensity to each performance; fans knew they were witnessing the end of an era, at least for now. The band's chemistry was at its peak, and Noel seemed to savour every moment, relishing both the massive festival crowds and the more intimate settings in towns like Wigan and Warwick. His sets blended the best of his solo career; tracks from 'Council Skies' and earlier albums, with a generous helping of Oasis anthems, ensuring every show felt like a celebration of his entire songbook.

The reason why they were the last High Flying Birds shows would be revealed in August 2024.

Jungle also played some huge summer shows in 2024. With four albums under their belt and a Glastonbury performance for the ages behind them, they've been bringing one hell of a party to UK cities. The release of 'Volcano' last year, featuring hits like 'Back on 74' and 'Candle Flame,' as well as a win at this year's BRITs, has only helped grow their fan base.

Their 2024 live shows have been nothing short of euphoric; packed-out venues from Halifax's Piece Hall to Manchester's Castlefield Bowl and London's O2 Arena, each night turning into a full-blown dance party. Jungle’s setlists have become masterclasses in groove, seamlessly blending old favourites like 'Busy Earnin’' and 'Time' with new anthems that showcase their evolved, funk-infused sound. Their Glastonbury set this year was a true standout: a kaleidoscopic spectacle of light and sound with a packed crowd losing themselves to the infectious rhythms of 'Dominoes,' 'Holding On,' and the now-iconic 'Back on 74'. Special guests and live musicians brought even more energy to the stage, blurring the lines between concert, rave, and communal celebration.

It’s not just about the music, either; Jungle’s visual production and onstage choreography are next-level, building on their reputation as one of the most exciting live acts in the world right now. Their sets at festivals like Glastonbury and Lovebox have become must-see moments of the summer, and their ability to get even the most reserved crowds moving is unmatched. With each show, they’re proving that British soul, funk, and dance music is thriving in 2024, and that Jungle are firmly at the centre of the movement.

Alongside Young Fathers, they’re creating some of the most interesting and exciting music in Britain right now.

TRNSMT rolled back into Glasgow and brought sets from hometown hero Gerry Cinnamon, Liam Gallagher, and Calvin Harris. It was a real melting pot of acts, featuring seasoned artists like Courteeners, The Vaccines, Blossoms, and Rick Astley, alongside the future of guitar music represented by Nova Twins, Wunderhorse, and The Last Dinner Party. TRNSMT's influence on the music industry was evident, with the festival shaping the future of guitar music.

I heard mixed reviews, with some questioning the crowd's energy for certain acts. Watching footage of Courteeners, I can see what they meant. Despite that, TRNSMT remains Scotland's premier music festival, not only managing to pull in some of the biggest acts in the world but also celebrating and supporting local talent. Scottish acts received some of the most coveted spots on the lineup, a testament to the festival's commitment to its roots and the local music scene.

Wunderhorse released 'Midas', their anticipated follow-up to 2022's 'Cub', and with it, the band made a remarkable leap from selling out pub gigs to commanding festival stages like Glastonbury. Where 'Cub' was very much a Jacob Slater solo vision, introspective, full of sharp songwriting, and rooted in his personal journey. 'Midas' is a true band record, feeling like a rebirth for Wunderhorse. With guitarist Harry Fowler, drummer Jamie Staples, and bassist Pete Woodin all now fully on board, the sound has grown darker, more raucous, and undeniably more powerful. 

Recorded live at the iconic Pachyderm Studio in Minnesota (the birthplace of Nirvana's In Utero), Midas is brimming with raw edges, imperfections, and unfiltered, unrestrained energy.

'July' is perhaps the heaviest and most visceral moment on 'Midas'. The track begins with simmering restraint, its verses laced with tension and unease before exploding into a cacophony of noise and chaos. Layers of feedback, distortion, and pounding drums create an atmosphere that is both exhilarating and disorienting, channelling the confusion, excitement, and volatility of youth and change. Live, 'July' becomes a force of nature, capturing the band at their most untamed, blurring the line between structure and beautiful disorder, and leaving the crowd breathless by the end.

'Cathedrals' is the emotional centrepiece of the album, a slow-burning epic that begins with delicate guitar work and Slater’s plaintive vocals. The song builds gradually, each layer adding intensity and longing until it swells into a grand, cinematic chorus. Lyrically, it’s a meditation on searching for meaning and comfort in the midst of uncertainty. The repeated refrain feels almost spiritual, inviting listeners to surrender to the rising tide of sound. By the final chorus, 'Cathedrals' becomes a cathartic release, an anthem for anyone seeking solace in the chaos of life.

On 'Superman', Slater sings with raw honesty about the weight of expectations and the inevitability of letting others down. The song's verses simmer with vulnerability, as he admits to the fear and frustration that come with trying to live up to the ideals of those closest to him. Yet, as the track builds, it transforms into a soaring anthem of defiance and self-acceptance. The chorus bursts with energy and resolve, Slater’s vocals cutting through the dense, swirling instrumentation as he refuses to be crushed by the burden of perfection. 'Superman' captures both the heaviness of personal disappointment and the cathartic release of embracing one’s own flaws.

'Rain' is loud and yet atmospheric, its shimmering guitars and gradual build evoking the cleansing, sometimes melancholic power of a summer storm. The lyrics suggest renewal and the bittersweet sense of letting go. Slater’s vocals weave between hope and resignation, and the band allows the song to unfold slowly, letting the tension ebb and flow like the weather itself. 'Silver' finds Wunderhorse at their most melodic and reflective. The verses are breezy, the chorus full of longing and nostalgia. The instrumentation sparkles with late-summer warmth, and the lyrics look back on lost innocence and the hope that can still be found in dark times. 'Silver' demonstrates the band’s ability to balance grit with shimmering beauty.

Silver' finds Wunderhorse at their most melodic and reflective. The verses are breezy, the chorus full of longing and nostalgia. The instrumentation sparkles with late-summer warmth, and the lyrics look back on lost innocence and the hope that can still be found in dark times. 'Silver' demonstrates the band’s ability to balance grit with shimmering beauty.

'Aeroplane' closes the album on a note of dreamy melancholy. The song is awash in reverb, with Slater’s voice floating above echoing guitars. The lyrics reflect on distance, memory, and the ache of moving on, gentle yet powerful, leaving the listener suspended in the album’s afterglow. 'Aeroplane' is a fitting end to 'Midas', capturing the bittersweet feeling of letting go and moving forward.

'Arizona' stands apart as a devastating folk-leaning ballad. At first, its stripped-back arrangement and gentle melody suggest simplicity, but the lyrics reveal a landscape of profound grief and unresolved loss. The song opens with the haunting image: "There’s space that’s always empty / There’s a ghost without a name." Many listeners have interpreted 'Arizona' as a reflection on the unspoken trauma of miscarriage or abortion, a quietly devastating grief that society often leaves in the shadows. The recurring question, "Where do you go to, my love?", is heartbreakingly simple and loops throughout the song, circling in search of peace. 

The second verse moves from personal sorrow to broader symbolism: "When it rains in Arizona / And the desert flowers bloom / There’s a wind that blows to Boston / And it sings the saddest tune." Here, rare rain in the desert becomes a metaphor for memory and sudden, unexpected emotion. The most staggering moment comes with the lines: "I never meant to hurt you / Or to tear you from this life / And I’m sorry if you suffered / When they turned out all the lights." There’s a crushing sense of guilt and apology that lingers, carried in silence. Slater’s delivery is intimate and sincere, making 'Arizona' one of the most affecting songs in the band’s catalogue.

Throughout 'Midas', Wunderhorse showcase their range and chemistry. The interplay between Slater and his bandmates is palpable, each track revealing new layers of vulnerability, defiance, and hope. By the time the record ends, it’s clear that Wunderhorse have delivered not just a great album, but a bold statement: this is a band ready to take risks and carve out their own space in British guitar music.

Wunderhorse could be Britain's next great band. With a frontman who is an enigmatic force, a man who was waiting for his moment and his voice. Jacob Slater has found that voice, and a band that can more than back him up. Now watch them flourish. 

The August Bank Holiday weekend is always a big one for music fans. In 2024, it was even more exciting than usual, with Reading & Leeds being just one part of the action. The lineup was one of the strongest in recent memory, offering an eclectic mix of acts. Headlining were Liam Gallagher, Catfish & The Bottlemen, Gerry Cinnamon, Lana Del Rey, Blink-182, and Fred Again. A diverse range of huge names.

Catfish & the Bottlemen made a return to the festival circuit after a three-year hiatus, re-emerging with a renewed sense of purpose and energy. Their last performance in 2021 had felt fractured, but the new-look lineup, led by Van McCann, was clearly revitalised and determined to prove themselves once more. The band’s Reading set was packed, drawing one of the biggest crowds of the weekend to the main stage, a testament to their enduring appeal and the anticipation for their return.

They wasted no time, launching into anthems like 'Kathleen', 'Cocoon', and 'Soundcheck', with the crowd roaring back every word. The new single 'Showtime' made its festival debut, slotting seamlessly alongside fan favourites. Other highlights included '7', 'Twice', and 'Longshot', each delivered with the kind of swagger and urgency that made Catfish household names in the first place. The performance was a clear statement: the band are ready for their next chapter, and Reading & Leeds was the perfect marker.

Fred Again.. took over the Saturday night headline slot with a set brimming with energy and emotion. Looking out at the vast crowd, he shared stories of his own festival memories and delivered a communal rave that united thousands. 

“Oh shit I’m nervous,” sheepishly smiles Fred Again.., looking out at the vast crowd of young and beautiful ravers gathered for his Reading 2024 Saturday headline slot, a lairy bunch that came to party. “I wanna say I know how you’re feeling because when I was 16, this was my first festival.”

He’s done the rite of passage of getting your exam results and jumping on a train with your tent and a bag of cans, heading into your first full weekend of proper hedonism, repeated annually until many folk hit that time or age when the line-up doesn’t connect in the same way. When he was attending the festival, the names in those headline slots all wielded guitars, and where anything resembling pop was likely to get bottled off stage, and yet Reading & Leeds is also the history of dance, and there’s always been a place to rave here. Now, a nervous dance nerd and his decks are in the spot where Nirvana once stood, and he knows what it means.

Blink-182’s return to Reading & Leeds was an unabashed celebration of pop-punk nostalgia and onstage antics. The band delivered a hit-packed set, running through 'All the Small Things', 'What’s My Age Again?', and 'First Date' with the same irreverent humour and energy that first made them festival favourites. The crowd responded in kind, moshing and singing along to every word. The band also mixed in newer material, proving that they’re still evolving while holding tight to the charm and chaos that made them icons. Their performance was a joyous throwback and a reminder of the enduring appeal of their brand of teenage rebellion.

Gerry Cinnamon once again proved his status as a master crowd-pleaser, drawing one of the largest and most passionate crowds of the weekend. His headline set at Reading & Leeds was pure communal celebration, with every lyric echoed back at him by tens of thousands. The set was packed with his biggest anthems: 'Belter' and 'Canter' sparked huge singalongs, 'Sometimes' had the crowd swaying arm-in-arm, and 'Where We’re Going' brought a wave of euphoria across the field. 'Ghost' and 'Head in the Clouds' showcased a more introspective side, while 'Sun Queen' and 'Dark Days' kept the energy high and the mood jubilant. Cinnamon’s stripped-back, acoustic approach only amplified the impact of these songs—there was nowhere for the emotion or melodies to hide, and the honesty of his performance shone through. His ability to unite a crowd, turning a festival field into one giant campfire singalong, remains unmatched, and this set only cemented his reputation as one of the best live acts in the UK right now.

Lana Del Rey returned to the festival determined to win over the crowd after the challenges of her previous Glastonbury set. She brought a dreamy, cinematic quality to the evening, performing favourites like 'Video Games', 'Born to Die', 'Summertime Sadness', and 'West Coast'. While she succeeded in creating some spellbinding moments and her voice was as enchanting as ever, there were still a few areas where the set didn’t fully land with everyone. Nonetheless, it was a step forward and an opportunity for her to reconnect with her festival audience.

It wasn't just the headliners though.  Further down the lineup, guitar music was well-represented. The Ks earned a main stage slot after the release of their debut album, showcasing their rising talent. The Last Dinner Party also made their mark, following the release of 'Prelude to Ecstasy'. Both bands are ones to watch over the next 12 months and are set for big things. 

Fontaines D.C. continue their unstoppable rise, delivering yet another unforgettable performance that solidifies their reputation as one of the most exciting bands of the moment. The band have pulled off the rare coup of reaching a mass audience while creating ever-more singular and experimental music. 

The sound builds into a cacophony, the heaviosity casually punctured when they barrel into beloved early banger ‘Boys in the Better Land’. Fans climb up on each other’s shoulders. Only Fontaines D.C. could get the people going with a ragged indie anthem about Anglophobia. They were great from the start of their career, but around this time they decided to be the best band in the world.

This was the band's audition to headline the festival. It was a flawless set from start to end, with all of the bangers, even the then-new songs, hitting. With 'Favourite', Fontaines immersed the young crowd in their brave new ways: “Every time you blink you feel the change,” he sings on the aching ‘Favourite’, a magical song about life’s mundane mysteries.

The brooding ‘Nabokov’, from 2022’s ‘Skinty Fia’, sounds like an emotional bloodletting. “I did you a favour,” Chatten wails as Conor ‘Deego’ Deegan III, on backing vocals, replies sarcastically, “Happy days, yeah?” 

Stadium-sized closer ‘Starburster’, with its fairground synth stuttering and twisted until the sound clicks into place and takes flight. When friends turn to one another and imitate Chatten’s jagged gasping, it's the breathtaking end to one of the best sets of the year. 

The Prodigy returned to the festival that felt like home. Set on doing one thing: honouring Keith Flint. They do just that, and inspire a new generation of ravers to dance. With a gloriously unhinged, carnivalesque rave-up that acts as the living, breathing tribute to their late leader.

During Flint’s anthem ‘Firestarter’: screens on either side of the stage depict his unmistakable, Devil-horned silhouette in neon green, with lasers beamed out into the audience as though he continues to cast his spell. Howlett and Maxim remix the track to slow down Flint’s lyric, “I’m a firestarter!”, an immortal line if ever there was one.

In Flint’s absence, Maxim carries the show almost entirely himself: “All my Prodigy warriors here,” he commands, “let me see you! This shit is for life. Live this shit. Breathe it.” When he shouts out “all my shirtless, sweaty warriors in the middle,” live member Rob Holliday cocks his guitar like a rifle as if picking them off. 

The Prodigy are still one of this country's most unique bands, and in wanting to pay tribute to their past and the man who helped them turn rave and rock into chart-topping success, they ushered in a new generation of ravers and proved that Reading & Leeds still wants to party.

Liam Gallagher commanded the main stage with his LGDM tour, performing the entire Oasis debut album 'Definitely Maybe' in full, much to the delight of fans both old and new. The set featured classics like 'Rock 'n' Roll Star', 'Live Forever', and 'Supersonic', alongside B-sides such as 'Fade Away'. Gallagher was in top form, leading massive singalongs and injecting his trademark swagger throughout. 

Digsy’s Dinner’ gets roughed-up with a bit of indie sleaze guitar and ‘Married With Children’ is reimagined as a rock’n’roll stomper. The final stretch, from ‘Cigarettes & Alcohol’ to the cover of The Beatles’ ‘I Am the Walrus’, can only be described as biblical.

There was one moment in his show that meant more than anything else though. “I wanna dedicate this next song to Noel fucking Gallagher,” Liam Gallagher announces before leading what feels like every punter onsite in a singalong to his big bro’s anthem ‘Half the World Away’.  

At Leeds Festival on the Friday, he teased the crowd by saying, “It’s very interesting, innit? It’s a very interesting situation we’ve found ourselves in…”

Rumours of an Oasis reunion swirled around the Reading Festival site all weekend – if you believed everything you heard, Noel himself was mooching about backstage. Yet at the time they were all just rumours. Liam delivered all the hits, and gave those who weren't there the first time around a chance to live and breathe Oasis. Did he really need Noel?

On the same weekend as Reading & Leeds, Blossoms played their biggest headline show to date at Manchester’s Wythenshawe Park; a landmark moment for both the band and the UK indie scene. The event was a true celebration, boasting an all-star support lineup with The Ks, Shed Seven, and Inhaler each delivering high-energy sets that built anticipation throughout the day and showcased the strength of modern British guitar music.

Attending the gig was a brilliant experience, with over 30,000 fans packing the park and creating an electric, festival-like atmosphere. Blossoms delivered a career-spanning setlist, mixing classics like 'Charlemagne', 'Your Girlfriend', and 'Honey Sweet' with rave-ready new tracks from 'Gary', including 'Perfect Me', 'What Can I Say After I'm Sorry?', and the title track.  The band weren't afraid to take it back to the start either, with 'Blow' and 'Cut Me And I'll Bleed' both getting a run-out.

Singalongs erupted throughout, with Tom Ogden’s charismatic presence and the band’s tight musicianship making every song a shared celebration. It was a masterclass in indie pop.

Blossoms fire up the emotional tension like a dopamine high, arousing a sense of carefree, youthful bliss through the power of their songs and charisma. At Wythenshawe, they delivered an electrifying performance; one that will remain etched in the memories of longtime fans and newcomers, and one that the band will never forget.

Blossoms have firmly established themselves as a staple of the UK live music scene: consistently selling out venues, shifting effortlessly from indie darlings to mainstream festival favourites, and always managing to evolve. Their Wythenshawe Park show felt like a culmination, a night that celebrated everything that makes Blossoms great.

Although these are significant musical events, they weren't the biggest. At the Reading Festival, just after Liam Gallagher left the stage, and at Wythenshawe Park on Sunday, August 25th, 2024, a short video was played on the screens.

The Reading announcement featured some musical backing in the form of The O’Jays, the song of choice being 'Give the People What They Want'

On August 27th 2024, at 8 am, after a weekend filled with speculation and rumours, after 15 years away, social media spats, no communication, and even the odd vegetable-related insult, Oasis announced. They were reuniting.

30 years since the release of their debut album ‘Definitely Maybe’ and 15 years since that famous night in Paris. 

With the statement. 

"The guns have fallen silent. The stars have aligned. The great wait is over. Come see. It will not be televised."

The band announced some UK and Ireland shows. Wembley and Heaton Park. As well as dates in Dublin at Croke Park, and Cardiff’s Principality Stadium, with Scottish dates in Edinburgh.

It was quite simply the most important musical news of the decade, and if we are being honest, maybe even the most important music news since they broke up. Oasis have transcended generations and ingrained themselves as a part of British culture.

2024 was also a great year for new music. 'Romance’ is the boldest, most adventurous statement yet from Fontaines D.C.: a record that takes the band’s post-punk roots and explodes them into a kaleidoscope of influences, including trip-hop, 80s indie, shoegaze, electronica, and hip-hop. It’s daring, restlessly inventive, and yet always unified by that distinctive Fontaines magic: poetic grit, emotional urgency, and a raw honesty that have defined their music from the start, now joined by an unshakeable willingness to experiment.

Lead single 'Starburster' opens the door into this new world: a chaotic, breathtaking masterpiece that fuses noise, spoken word, and hip-hop rhythms. Inspired by a panic attack Grian Chatten suffered at St Pancras, the song is the sound of a band unafraid to tear up the rulebook and push themselves into new territory. 'Desire' pulses with dark, hypnotic energy and cavernous production, while the title track 'Romance' is a brooding, cinematic highlight, both vulnerable and swaggering, with Chatten’s vocals weaving through a haze of synths and spidery guitars.

Bug' injects jagged, punkish urgency and angular, nervy guitar lines, providing a sharp contrast to the lush, late-night melancholy of 'Sundowner', which shimmers with hope and resignation. Each track feels distinct, yet the album remains cohesive, every song carrying the spirit of experimentation without ever losing sight of the band’s identity.

'In the Modern World' is a revelation: lush string arrangements and introspective lyricism bring the record to a haunting, beautiful finish, showing a more reflective and exposed side of Fontaines D.C. Other highlights include 'Here’s the Thing', a guitar-driven anthem destined for live singalongs, and 'Favourite', a Cure-tinged instant classic whose chorus is tailor-made for festival crowds. The latter radiates hope and features some of the band’s sharpest, most affecting lyrics to date, cycling through euphoria and sadness in a way that perfectly captures the restlessness of modern life.

Lyrically, the album is a major leap forward. 'Favourite' shines with lines about the relentless pace of change: “Each new day, I get another year older. Every time you blink, you feel a change.” The band takes on working-class struggle, gentrification, and homesickness for Ireland: “Cities on return are often strange.” 

A desperate, self-lacerating urge to destroy is wrapped up in some futuristic sheen on ‘Starburster’: “I wanna take the truth without a lens on it / My God-given insanity, it depends on it,” Chatten spits breathlessly, as though he’s a single chord change away from melting down entirely.

On 'Desire' he tackles wasted potential and broken dreams with one of his most heart-wrenching lines ever. "I see them driving into nothing where the nothing is sure / They drown their wishes in the fountain like their fathers before." Throughout, the songwriting is incisive, worldly, and emotionally nuanced, giving 'Romance' its lasting power.

In every sense, Fontaines D.C. are becoming one of the most vital and important bands of their generation, a group unafraid to challenge themselves and their fans, with their boldest and most rewarding leap forward yet.

Another Irish band, Kneecap, introduced itself to the world with one of the best performances of the weekend at Glastonbury. Their electrifying set earned them a main stage slot at Reading & Leeds, where they delivered a politically charged display of Gaelic rap. Not shy about making a statement, the band has been stirring up attention since their inception. They’re certainly one of the most unique musical outfits around right now.

With their debut album 'Fine Art', they sparked controversy, laughter, and acclaim in equal measure. NME called it “poetry on the cubicle wall of a wild night out”, an apt description for a record that’s as riotous as it is profound. Set in the imaginary West Belfast pub, The Rutz, the album immerses listeners in a world of sweaty raves, late-night escapades, and biting social commentary, rapped in their native tongue.

‘Fine Art’ is packed with standout moments and unapologetic storytelling. Opener ‘3CAG’ (short for “three consonants and a vowel” – Kneecap’s nod to MDMA) features Lankum’s Radie Peat, blending soulful Irish folk with modern beats before the trio introduce themselves on the title track. Named after their two-word response to media outrage over their infamous mural, 'Fine Art' paints a vivid picture of their West Belfast reality: “in a dimly-lit shit run-down pub… seeing how high I can get on government funds.”

The record is a wild ride through the highs and lows of Kneecap’s world: the feral rush of payday on ‘I’m Flush’, the sweet R&B romance of ‘Love Making’, and the hilarious, tradition-meets-trash energy of ‘Drug Dealin Pagans’. ‘A Better Way To Live’, featuring Fontaines D.C.’s Grian Chatten, hits hard with its meditation on the ups and downs of life, “the upside of the seesaw”. There’s always a comedown, too.

‘Parful' ,samples a 1990s documentary about Belfast’s peace walls, weaving in the reality that for all the divides, Saturday night brings a different kind of unity: “every Saturday night, hundreds of people go out, just go out clubbing and forget about the divides between each other.” It’s both an ode to abandon and a commentary on Northern Ireland’s fractured history. ‘Parful’ perhaps best captures ‘Fine Art’ and the spirit of Kneecap.

The album doesn’t shy away from the absurd, either. 'Rhino Ket' is brilliantly funny, a wild ode to ketamine strong enough to sedate a rhino, showing the band’s knack for mixing humour with honesty. Throughout, Kneecap are always keen to represent their reality in their own language, a radical act in itself. ‘Fine Art’ is as much about finding joy and unity in chaos as it is about protest and survival. It’s a record that turns every corner of their world- every pub, alley, rave, and fallout- into poetry, and cements Kneecap as one of the most vital new voices in British and Irish music.

As well as releasing one of the year's most talked-about debut albums, Kneecap also made their mark on cinema with a biopic that quickly became a word-of-mouth sensation. The film is part Trainspotting, part 8 Mile; equal parts hedonistic and heartfelt—charting the trio’s wild rise while shining a light on the struggles, resilience, and identity of Gaelic speakers in Northern Ireland. It doesn’t shy away from the chaos, the humour, or the dark realities of the band’s world. The story is brought to life with a cast packed with talent, including Michael Fassbender in a standout role as Moglai Bap's IRA father, and a host of cameos that add authenticity and surprise. 

The film blends gritty realism with irreverent humour, capturing both the lawless energy of Kneecap’s music and the warmth and camaraderie at the heart of their story. It’s a brilliant, riotous, and at times deeply moving portrayal of a band and a community pushing back against expectations and forging their own path. Without question, it stands as one of the best and most original musical biopics in recent years, perfectly complementing the impact of Kneecap’s debut record.

Blossoms released their fifth studio album, and their first as an independent band. 'Gary' stands out as some of their most accomplished work yet, brimming with infectious indie hooks, irresistible choruses, and a playful spirit that makes every listen a joy. The album’s singles, including the anthemic title track 'Gary', the shimmering 'Perfect Me', and the instant earworm 'What Can I Say After I'm Sorry?', set the tone for a record that radiates confidence and creativity.

From the opening notes of 'Big Star', 'Gary' delivers a burst of energy, driven by quirky storytelling and a sense of fun that runs throughout the whole record. The anthemic title track 'Gary' anchors this eccentric narrative, directly inspired by the bizarre, true news story of an 8ft fibreglass gorilla statue stolen from a Scottish garden centre. Blossoms brilliantly balance this tongue-in-cheek absurdity with genuine emotional depth on tracks like 'Mothers', a tender ode to family and lifelong friendship, and 'Cinnamon', which radiates warmth and acoustic nostalgia.

The band pushes their pop boundaries further with 'Perfect Me', an upbeat treat built around an energetic Moog synthesiser arpeggiator that was written in a quick, half-hour burst of pure creativity. Frontman Tom Ogden channels a subconscious nod to ABBA, Bruce Springsteen, and The Killers, wrapping heavy lyrics about the impossible pursuit of modern self-perfection inside a brilliantly fast-paced, synth-heavy melody. The rhythm section completely steals the show on the sultry 'Slow Down', which explores the deeper meanings of love with smooth, infectious grooves.

Songs like 'Nightclub' serve as pure indie dancefloor fillers, while the fashion-forward swagger of 'I Like Your Look' injects a brilliant, stylish confidence into the tracklist. Featuring collaborative vocals from Irish singer-songwriter CMAT, 'I Like Your Look' is a direct tipping of the hat to Blondie's 'Rapture'. The track embraces a primitive, early-1980s style of rapping where Ogden replicates Debbie Harry's cadence, exchanging tongue-in-cheek quips about high fashion, Gucci, and Vogue over a disco-infused bassline. 

The album is packed with monumental live favourites, and each track feels tailor-made for singalongs and festival moments. With a filler-free runtime of just over 30 minutes across 10 songs, 'Gary' wastes no time, bringing things to an ardently reflective close on the honest finale, 'Why Do I Give You The Worst Of Me?'. The result is a tight, vibrant collection that feels like the perfect soundtrack to your own private party, proving yet again Blossoms' ability to evolve, surprise, and delight their ever-growing fanbase.

Birmingham boys The Clause released their 'Weekend Millionaire' EP, a direct follow-up to 2023's  'Pop Culture' EP. The band upped the level again; the EP's title track was one of my songs of 2024.

The title track, 'Weekend Millionaire', captures the escapism, energy, and restless hope that comes with going out on the weekend. It’s a song that bottles youthful excess, the blur of late-night adventures, fleeting romances, and the camaraderie of friends letting loose after a long week. The lyrics are a love letter to being young: payday Fridays, cheap flat pints, and the sense of possibility that comes with every night out. The song doesn’t just glorify indulgence; it acknowledges the anxieties and uncertainties of youth in the modern world, the fear of falling behind while chasing dreams. The final line sums up its spirit perfectly: “if life’s fucked up, do not despair, just live your life as a Weekend Millionaire.”

What makes 'Weekend Millionaire' stand out is its universal relatability and undeniable singalong quality. It’s a soundtrack for friendships drifting apart, for the chaos and connection of nights out, for the highs and lows of young love and heartbreak. The song perfectly captures the mix of euphoria and uncertainty that defines coming of age today, serving as both a battle cry and a comforting anthem for the youth of 2024. With its infectious hooks and honest lyrics, 'Weekend Millionaire' is destined to lead the indie faithful to the dancefloor for years to come.

An indie classic that is relatable to us all. A song that tackles the universal nature of being young in the UK. Whether that is in Birmingham or Bolton.
Musically, the song is a massive jump. Each member has their moment in the sun, and it knits together perfectly.

Never Ending Affair' sees the band slow things down with an acoustic-led song, about a relationship that is never going to work. It's a beautiful, contemplative song that offers a very different sound from the other songs on the EP, one the band has never really shown before. 'Stop the World' offers a social commentary on the current state of the world we live in, backed by some brilliant guitar pop. 

‘Take Me Home’ and ‘Fever Dream’ are two of the most evocative tracks on the record, each offering a snapshot of late-night chaos and longing.

'Take Me Home' reminds me a lot of the Arctic Monkeys with 80s synths backing them up. Talking about young love, one-night stands, and what happens in bars and clubs every Saturday night up and down the country. It's about awkward flirtations, impulsive decisions, and the hope for connection when “anything goes under moonlight.” The lyrics paint a vivid scene: “Bending over backwards to waste my night tryna’ catch your eye,” and “promiscuous dancers, nocturnal romancers, it’s all naughty not nice out on a Saturday night.” There’s a sense of anticipation and wild abandon, but also vulnerability: “Haunted by the thought that maybe I’ll be leaving without you.” The chorus’s plea, “Just take me home tonight”, echoes the universal desire to find someone, if only for a moment, to make sense of the chaos and loneliness.

Fever Dream’ dives deeper into the confusion and self-doubt of youth, described by the band's frontman as autobiographical, a battle cry for the procrastinators who seamlessly breeze from one day to another, hoping the world will fall into place

The narrator admits, “I should’ve really worked harder, or maybe listened to advice I was given when I was a couple years younger,” capturing the regret and restlessness that haunt so many coming-of-age stories. The song is full of lines that sting with honesty: “I never really had interest in normal life or academic success, I’d rather ignore my conscience, go out and drink myself to death.” There’s a sense of being lost, “You’re living one big fever dream, none of it will ever make sense to me”, and a hope that, eventually, things will become clear: “I hope I wake up and it dawns on me, it’s all been one big fever dream.” But in the end, the refrain remains unresolved, as the song cycles through its hypnotic mantra: “None of it will ever make sense to me.”Together, these tracks capture the wild highs and quiet lows of youth, the thrill of the night, the ache of uncertainty, and the endless search for meaning, connection, and escape.

Following on from the release of the EP, the band headed out on a sell-out tour, including a show at Birmingham's 02 Insitute, the biggest gig of their career at that point. A fifteen-song setlist that saw the band play some old classics including 'Electric', 'Sixteen', 'Time of Our Lives' and 'Forever Young' alongside the 'Weekend Millionaire' EP tracks. At the time, it was a career highlight; in the years since, it has become just another stepping stone for one of our new great bands.

Courteeners released their seventh album, 'Pink Cactus Cafe', a comeback album. Having not released new music since 2020's  'More. Again. Forever'.  Upon its release, frontman Liam Fray described the album as sounding like "If a Mancunian joined Haim." The album is a far cry from the landfill that many music journalists used to criticise bands like Courteeners. 

The record is a real melting pot of sounds and ideas, showing a band boldly expanding their creative circle through a series of brilliant collaborations. With contributions from the likes of Pixey, Brooke Combe, and James and Ian Skelly of The Coral, it is an incredibly diverse collection of songs.

A major highlight is the magnificent indie-disco supergroup anthem 'The Beginning Of The End', featuring Australian rock outfit DMA'S. Built specifically for massive arena crowds, the track brilliantly merges Liam Fray’s signature songwriting with DMA’S’ euphoric, widescreen vocal harmonies. Driven by a purposely dance-pop-inspired rhythm, the song deals with the bittersweet anxieties of change and nostalgic reflection, masterfully balancing a sense of modern defiance with massive festival-ready hooks.

This energy shifts seamlessly into the sharp state-of-the-nation address 'First Name Terms', which features the bittersweet tones of Pixey. Here, Fray hits back fiercely at the modern class system, the cost-of-living crisis, and an indifferent ruling class, leaving listeners with the biting question: “Lie back and think of England, but when does England ever think of you?”

The album's title track, 'Pink Cactus Café', acts as the emotional anchor of the record, capturing the universal search for a personal sanctuary. Speaking to the NME, frontman Liam Fray explained that the concept of a "Pink Cactus Café" isn’t a specific physical location, but rather anywhere you feel safe, grounded, and truly at home. As Fray beautifully put it: “It could be anything. A café in Marrakesh, the chippy in Cheetham Hill. A night on your own, saying ‘I’m gonna have a bit of ‘me’ time.’ Watching the match with your dad. Your own space, but you have to go and make it." This warm, introspective philosophy sets the tone for an album that serves as a real melting pot of sounds, ideas, and a newfound communal spirit.

This was the record that saw the band make the jump into arenas, and these songs work really well in that setting. Despite the success of their debut 'St Jude' both at the time, and during its re-release in 2023, the band do not want to rest on their laurels. These songs reflect a new chapter for Courteeners. Where on earth do they go next? One thing is for sure, these are not songs by a band wanting to re-live a Parka Monkey past; they are modern, vibrant affairs that stretch out way beyond Manchester.

2025 started with Scottish Indie Legends, Franz Ferdinand, releasing a new album, their sixth record, seven years since 'Always Ascending' and over twenty years after the band's Mercury Prize-winning self-titled debut effort.

Despite this being the third iteration of the band, 'The Human Fear' is a real statement of intent that is firmly a Franz Ferdinand record. The band's mission has always been to make fans dance and to set themselves apart from the other indie bands of the time. This record is firmly a modern record, but the band's DNA is littered throughout. With glam-pomp and scratchy guitar riffs. Kaparono's vocals shine through. 

This record isn't perfect; 'Hooked' in particular feels like a bit of a misstep. It sees the band try to write a Franz Ferdinand song over a dance beat. It feels a little forced. Yet the rest of the record sees a band embracing both innovation and their past. 'Black Eyelashes' draws on Kapranos’ Greek lineage for the first time. 'The Birds', with its post-punk jangly guitars and spiky lyrics, could fit into any of the band's records. Franz Ferdinand know what they are; there's a reason that they have stuck around for this long. As they said themselves in 2005, "You do it oh so well."

In January, Liverpool indie legends Circa Waves released their sixth album. 'Death and Love Pt 1'. The band's first album since the frontman Kieran Shuddal's emergency heart surgery. He found out that he needed the surgery whilst on the band's last tour. Speaking with the Telegraph, he said, “It was really out of the blue; I started getting insane pains in my heart that the hospital told me was inflammation. So I carried on touring, and I was in agony for months,” says Shudall. “Little did I know that I could have dropped down dead at any moment.” When he eventually went for a thorough scan, he found out there was a blocked artery that required urgent surgery, and he faced a 1 in 100 chance of death; a terrifying, “fucking mad” reality for someone in their mid-thirties who had always been healthy.

After the surgery and recovery period, he promised that he would get back in the studio. He found himself dreaming of a specific place and looking back. He was dreaming about the indie clubs that he used to visit, only now those same places play the songs that he has written. The album is full of more songs that will be mainstays on dark dancefloors in your local indie club, but it is also the band's most emotional effort to date.

The album's lead single 'We Made It' celebrates the frontman's recovery and creates a punchy anthem that will be a mainstay in the setlist for a very, very long time. Following on from the surgery, Shuddal told the NME that “I thought I might die before I made this record and then I didn’t, and I got to make an album of music that I loved. The shackles were off, in a way, because I had this newfound joy and excitement for being alive.”

This is the sound of a band operating with a new lease of life. 'Le Bateau' celebrates the band's youth in Liverpool, named after a nightclub in the city. It's a nostalgic affair that reminds me a lot of the band's first record; by no means is that a criticism. It's a touching anthem. 

'Blue Damselfly' is one of the album's most heartfelt songs, a tribute to Kieran Shuddal's wife and children. Written whilst in hospital. It's a song that portrays the fear that the frontman faced during his surgery and recovery. 

Some of the band's best work in recent memory. Circa Waves are not reinventing the wheel, but they don't need to. They have never pigeonhole themselves into one sound or idea. Each song sounds different and unique. This album is no different; it's a showcase of what the band does best with a new fragility and vulnerability. It's a very good record. 

The second part of the album was released in October, and it serves as an emotional and thematic resolution. It trades some of the overarching anxiety of the first instalment for a more triumphant, celebratory embrace of survival. 'Lost In The Fire' sounds like 'Different Creatures' era Circa Waves, with a huge chorus. It sets the rest of the album up perfectly. 

'Cherry Bomb' is one of the catchiest things that the band have ever written, an earworm restraint that refuses to let go. 'Stick Around' has Strokes-like guitars and an infectious indie chorus. 'Old Balloons' is a real emotive affair, written as a nostalgic, introspective reflection on extreme homesickness. “It’s about being homesick on our first US tours,” frontman Kieran Shudall explains. “The hope of ‘making it in America’, but knowing if you do, you’ll be home even less.” That tension rings through the track’s nostalgic haze, carried by slacker guitar licks and Shudall’s unmistakable vocal ache.

They are still one of the best indie bands Britain has to offer; it's hard to write indie bangers, and Circa Waves have countless; they almost make it look easy.

We got one of the biggest and most unexpected gig announcements in February. Heavy Metal fans were greeted with arguably the biggest metal show announcement ever. Black Sabbath and Ozzy Osbourne will take to the stage one more time at a fundraising concert at Birmingham's Villa Park on Saturday, 5th July. This concert will mark the first time that the original line-up of Black Sabbath- Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward have performed together in over 20 years.

The show would mark Ozzy's full stop for playing live. Osbourne, who had largely been forced to stop touring due to a combination of Parkinson's and spinal injuries, would play a short solo set before joining his bandmates.

His wife, Sharon, told BBC News he was determined to put on one final show."He's doing great. He's doing really great," she said. "He's so excited about this, about being with the guys again and all his friends. It's exciting for everyone."
However, she said the concert would definitely be the 76-year-old's final show "Ozzy didn't have a chance to say goodbye to his friends, to his fans, and he feels there has been no full stop."This is his full stop."

The band would be joined by Metallica, Slayer, Pantera, and Alice in Chains. Among a whole host of other guests, including Smashing Pumpkins frontman Billy Corgan, Disturbed’s David Draiman, Guns N’ Roses’ Duff McKagan, Anthrax’s Frank Bello, Limp Bizkit’s Fred Durst, Sammy Hagar, Papa V Perpetua of Ghost, Wolfgang Van Halen, Zakk Wylde, Korn’s Jonathan Davis, Anthrax’s Scott Ian and Slash.

Proceeds from the show will support Cure Parkinson's, the Birmingham Children's Hospital and Acorn Children's Hospice, a Children's Hospice supported by Aston Villa. This reunion and final show marks a significant end to one of the most important and well-loved bands Britain has ever produced, and where better to end it than where they started.

I'm not the biggest heavy metal fan in the world. I won't claim to be, but even when I looked at this lineup poster, I could tell it was huge, with some huge names from all eras of rock and metal. 

Inhaler released their third studio album, 'Open Wide', on 7 February 2025. The record sees the Dublin band fully embrace a more polished pop sound. Far from playing it safe, this sleek, evolved version of the group shows a clear willingness to expand their boundaries. They have not abandoned their identity, but they have certainly pushed their sonic limits. For instance, the lead single 'Your House' flirts heavily with glam rock and features backing from the House Gospel Choir. This specific addition brings a distinct 1970s soul and psychedelic depth to the tracks, adding a rich, layered texture to the instrumentation.

The rest of the 13-track record feels just as liberating. Sam Fender once categorised Inhaler as "alternative pop," and this album proves exactly what he meant. Enlisting producer Kid Harpoon, famous for his chart-topping work with Harry Styles, the band successfully enters entirely new creative realms. Frontman Elijah Hewson uses the material to navigate themes of young love and the internal conflicts of a quarter-life crisis, delivering smooth, mature vocals that ground the band's sonic experimentation. The opening track, 'Eddie in the Darkness', serves as a massive guitar anthem layered with 1980s-indebted backing vocals. It is quickly followed by the electro-pop standout 'Billy (Yeah Yeah Yeah)', which pairs a toe-tapping dance beat with a huge chorus. It stands as one of the catchiest pieces of music they have ever written.

While broadening their wheelhouse with shades of Prince, The Cure, and Depeche Mode, the band still caters to the energy of muddy festival fields. The single 'A Question of You' was practically tailor-made for boozy singalongs with friends, featuring the same uplifting gospel choir arrangement. While the new material moves away from the swirling fury of the mosh pit, classic setlist staples like 'My Honest Face' easily cover that heavier ground live. Critical reviews have been largely positive regarding this shift, though some music publications noted that while the tracks are exceptionally pleasant and exciting, a few songs prioritise a glossy finish over deep, substantial rock hooks.

On the album's title track, 'Open Wide', Inhaler confidently ventures into the exact stadium-sized territory they previously tried to avoid. Sidestepping generic stadium rock was a smart initial decision, especially to keep the inevitable U2 comparisons at bay given Hewson's lineage. However, they have absolutely mastered the execution here. The track serves as the perfect blend of everything the band does best, leading with a delicate kick drum, moody synths, and a wistful guitar combo. The instrumentation is brilliant, driven by an incredibly strong bassline from Robert Keating that stands out across the entire record, and capped off by a massive chorus.

Following the immense success of their first two chart-topping records, 'Open Wide' represents a bold, refined step forward. It is a confident body of work that is bound to propel Inhaler to the top of major festival lineups and comfortably into arenas. They undeniably have the songs for it now.

Sam Fender released his third album, 'People Watching', which, within its 48-minute run time, has numerous special moments. A record that sees Sam examine the lives of his friends and peers through the lens of someone who has escaped the working-class life he was born into. 

It's a record that does not have the urgency of his previous two albums, and yet it does not need to. This collection of songs is the best Sam has written. Lead single  'People Watching' is a euphoric five-minute epic, with Sam revealing that the song is about "somebody who was like a surrogate mother to me and passed away last November. I was by her side at the end, sleeping in a chair next to her. It’s about what was going through my head, to and from that place and home."

He added, “It’s kind of ironic because she was the one who gave me the confidence to go on stage, always saying, ‘Why haven’t you mentioned my name in your acceptance speech?’ But now, an entire song (and album) connects to her. I hope that wherever she is now, she’s looking down and saying, ‘About time, kid.’”

This isn't the first time Sam Fender has addressed grief in his songs. He's done it before with tracks like 'Dead Boys,' 'Spit of You,' and 'The Dying Light,' but 'People Watching'  feels much more personal. It's raw, powerful, and a heartfelt tribute to Annie Orwin. Sam opens up about the memories he has with the person he lost and how that loss has left him feeling vulnerable.

The second single, 'Wild Long Lie', is a deeply reflective, acoustic-driven song that captures Sam Fender at his most melancholic and storytelling best. Stripping back the driving indie-rock production of his usual stadium anthems, the track relies on a gentle, acoustic arrangement that allows his emotive vocals to take centre stage. Fender sings poignantly about "that time of year again, when the past comes home".

The track explores the bittersweet reality of returning to your roots. The lyrics follow Fender as he reunites with eccentric characters from his youth, individuals who are only too ready to spin tall tales and relive old glories. It perfectly encapsulates the universal, hyper-local experience of returning to your hometown pub on Christmas Eve, capturing both the comforting warmth and the claustrophobic nostalgia of facing the ghosts of your past.

'Crumbling Empire' sees Sam explore the poverty he has seen on tour, and relates back to the effects of Thatcherism in his own hometown, North Shields. On this track, Sam also addresses his ability to talk about these working-class struggles. “I’m not preaching, I’m just talking / I don’t wear the shoes I used to walk in.” This is one of my favourite songs Sam has done to date, a perfect encapsulation of the universal and the personal, which sees Sam create something relatable to his fans but also deeply personal to him. It has lines about his mom and stepdad, but also more universal lyrics about addiction, homelessness and the destruction of working-class life across the globe.

'TV Dinner' stands out as another undeniable high point on Sam Fender's third studio album, 'People Watching'. Co-produced alongside Adam Granduciel of The War on Drugs, this haunting piano ballad sees Fender deliver some of his most raw, reserved vocals to date. The track serves as a fierce, protective critique of the music industry, systemic poverty, and his own internal struggles with the suffocating nature of fame. 

Throughout the song, he introduces an eerie, Radiohead-esque atmosphere that swells around a whispered, protective mantra: "No one gets into my space". One of the most devastating and poignant moments in the track arrives when Fender addresses the tragic legacy of Amy Winehouse. Singing the visceral line, "Like Winehouse, she was just a bairn/ They love her now but bled her then," he utilises the Geordie term for a child to hammer home how young she truly was. Through these lyrics, 

Fender offers a scathing commentary on the parasitic relationship between the media and working-class artists, highlighting the cruel hypocrisy of an industry and a public that relentlessly exploited a young woman while she was visibly suffering, only to completely rewrite the narrative and revere her as a romanticised icon after her death.

This heavy, introspective mood sets the stage for the album's emotional finale, which closes exactly as it begins, with a beautiful, devastatingly honest tribute to those closest to Fender's heart. 'Remember My Name' is a gorgeous piano ballad that sees the musician and his band joined by the historic Easington Colliery Band, a traditional North East brass band. The song's humble origins began with Fender playing the melody on a famously out-of-tune piano in a local Newcastle pub. From those raw beginnings, it became a deeply moving monument to his late grandmother. Written entirely from the perspective of his late grandfather, the lyrics paint a picture of a man dedicated to visiting and caring for his wife while she was suffering from dementia in a care home. With both of his grandparents having now sadly passed away, the track stands as an incredibly personal piece of family history. 

Fender grounds the track with immense local detail, openly revealing the exact address of the council house where his grandparents lived and where he spent his childhood years, singing, "Oh, 11 Wark Avenue, something to behold / To them it's a council house, to me it's a home". The soaring brass accompaniment adds a cinematic, community-driven warmth to the track, closing out the record on an unforgettable note.

It's a soaring effort that sees Sam embrace sonic highs. The perfect tribute to two of his loved ones, and a look back on his family history and his childhood, a theme he has explored before. 

The Brits 2025, in my opinion, righted some of the wrongs of the previous year. I felt as if the 2024 awards became the Raye show. The R&B star swept up six awards, including song and album of the year. In my opinion, not all of these were deserved.

One artist stole the show. Charli XCX won five Brits this year, including four on the night. Taking home 'Album of the Year' for 'Brat', 'Song of the Year' for 'Guess' featuring Billie Eilish, 'British Artist of the Year' and 'Best Dance Act'. Before the show, she was also named Songwriter of the Year. 

What Charli did with 'Brat' is nothing short of phenomenal. It gave rise to a cultural movement, 'Brat Summer', and she managed to even infiltrate the American election campaign, declaring that the Democrat candidate Kamala Harris was 'Brat'

'Brat' topped the UK chart and has spent 38 weeks in the Top 20, and was critically acclaimed for its range: between the club bangers lay a series of thoughtful, romantic and emotionally raw tracks that laid bare Charli’s anxieties about fame and potential motherhood. It was also a success in the US, reaching No. 3 and winning three Grammys.

The awards allowed some artists and bands to address the state of the current music industry and talk about the importance of Grassroots Music Venues.
Rising Star Myles Smith, 'British Group' Ezra Collective and 'Best New Artist' The Last Dinner Party used their winning speeches to talk about this subject. 

Myles Smith addressed the room with three questions. "If British music is one of the most powerful cultural exports we have, why have you treated it like an afterthought for so many years? “How many more venues need to close? 
How many more music programmes need to be cut before we realise that we can’t just celebrate success; you have to protect the foundations that make it?“

My second is to the biggest venues in the country and around the world: If artists selling out your arenas and your stadiums started in grassroots venues, what are you doing to keep them alive?

“And my third, to the industry, to the execs in the room, and to the people behind the scenes: Are we building careers or are we just chasing moments?“Because moments fade and careers take time, so please stick with artists past their first viral hit, please stick with artists past their first tour, because it really matters to us, and moments fade, but careers last forever.”

Ezra Collective also appealed for government support, in particular with support for youth clubs and music education, saying: “So many of the problems that face greater society in the UK, we’re unsure of how to fix, but the solution lies with giving a young person a trumpet, a saxophone – because when you do that you give them an aspiration, a goal.”It was a history-making award for Ezra Collective as they became the first jazz group to win a Brit Award. In 2023, they also became the first jazz act to win the Mercury Prize. 

The Last Dinner Party echoed his statement about grassroots venues, asking the bigger, more established venues to support those at the bottom, warning that if we didn't, we would continue to lose them at the alarming rate we currently are. All of the artists on the bill last night had to start somewhere. 

This message was an important one, and one that needed to be said. These artists and bands used the biggest night in British music to try and do something. There has been progress with the grassroots levy, implemented by artists like Sam Fender; however, there is definitely more that can be done.

Talking of Sam Fender. He collected his third Brit, picking up the award for Best Alternative/Rock Act, following the release of his new album 'People Watching'
During his speech, he thanked his fans, who he claimed were "the best in the world", as well as his bandmates, who he said “, without I’m just a mad person shouting at walls.”Fender also took a moment to pay tribute to his hometown of North Shields. 

Sam was deserving of the award; he'd had a manic few months, a sold-out arena tour, stadium shows had been pencilled in for later in 2025, and his album landed the biggest UK opening week for a British act since Harry Styles‘ ‘Harry’s House'. It also marked his biggest ever opening week, selling more units than 2019’s debut ‘Hypersonic Missiles' and 2021’s ‘Seventeen Going Under‘ combined.

He joins only eight other artists who have managed 100,000 UK album sales in a week this decade – Taylor Swift, Adele, Coldplay, Ed Sheeran, Harry Styles, Take That, ABBA and Arctic Monkeys. ‘People Watching’ has also become the fastest-selling vinyl album by a British act this century.

Fontaines DC scooped their second Brit Award, winning 'International Group' just as they had done in 2023. The band were unable to attend the ceremony due to being on tour in Australia. The band said in a recorded message, “We weren’t expecting to get it; this year in particular we’re up against some great people in that category. Amyl (and the Sniffers) – one of the most inspiring bands at the moment”.

After nearly three years of radio silence. Wolf Alice 'bloomed' into life. They had previously confirmed a live return after being confirmed for Glastonbury 2025 and BBC Radio 1's Big Weekend. 

There were a few cryptic social media posts where the band seemed to be teasing something. New logos on social media. Then came an email with handwritten lyrics. 

It was the band's first announcement of their fourth album ‘The Clearing’

Oh, on Easter Sunday 2025, we had a minor resurrection. Liam Gallagher posted this on X.  

Later in the same week, Noel and Liam were spotted arriving at a working men's club in Newington Green in London. Noel then gave fans an update on a talkSPORT radio show: “I'm in the studio, noodling around. We're just getting ready for rehearsals to start now in about three weeks.“And then we'll see what happens.”

Noel then said of Liam, “I was with him yesterday, actually.  He's alright. He's on tip-top form. He can’t wait... none of us can wait.”

Sam Fender released the standalone single 'Tyrants' digitally on his 31st birthday (April 25th 2025). The song had previously only been available physically on the ‘Me And The Dog’ vinyl EP, which was released for Record Store Day 2025 earlier in the month. Fender had served as the UK ambassador for Record Store Day 2025. 

'Tyrants’ was also featured on the seven-inch edition of his 2024 single ‘People Watching’, from his third studio album of the same name. As with the full record, the song was co-produced by The War On Drugs' Adam Granduciel.

Compared with some of the other songs on 'People Watching', 'Tyrants' is a much lighter affair. Featuring backing vocals from Brooke Bentham and some American heartland guitar, this is very War on Drugs and Tom Petty, and it sounds very, very good. Lyrically, the song is also very strong, with Sam reflecting on  “the hardest lessons that I’ve ever had to learn“, saying that he “let my ego almost kill me“. 

Fans were, for the most part, already familiar with the song, which debuted on the first night of the European tour in Paris and has been featured heavily in his shows in North America. At Sam's show on the second weekend of Coachella, he was joined on stage by The War On Drugs’ Adam Granduciel, where they delivered a joint rendition of ‘Tyrants’.

Fontaines DC would have a huge summer with some huge shows across the UK and Ireland. Catch them at Finsbury Park, London, on July 5th, TRNSMT Festival in Glasgow on July 12th, Exhibition Park in Newcastle on July 13th, Cardiff Castle on July 30th, All Together Now Festival in Waterford on August 1st, and Wythenshawe Park in Manchester on August 15th. 

A Belfast show was announced in April for Belfast Vital at Boucher Road Playing Fields in Belfast on August 29th, featuring Kneecap as support. All 40,000 tickets were sold in a matter of 35 minutes despite calls from Sarah Bunting, DUP group leader at Belfast City Hall. She wanted the event's licence revoked following Kneecap’s controversial performance at Coachella on April 18th. That show included visuals with the phrase “F*** Israel. Free Palestine,” alongside statements accusing Israel of committing genocide, backed by U.S. support.

Despite the controversy, it is a big deal for both bands. Fontaines DC have been on an upward trajectory since the release of 'Romance', an album that received both critical and fan acclaim. It presented the band to a whole new audience. Embraced a diverse range of influences, from trip-hop to 1980s indie, 1990s shoegaze, and even 2000s nu-metal. In my opinion, it's the band's best.

As for Kneecap, they're one of the most vital and exciting hip-hop acts in the world right now. No surprise then that Fontaines D.C. have booked them for nearly every summer date on their tour. They have something to say, and that is what makes it all the more appealing.

Welsh rock legends Stereophonics made a triumphant return with their thirteenth studio album, 'Make 'Em Laugh, Make 'Em Cry, Make 'Em Wait', released on 25 April 2025 via EMI. Originally envisioned as a compilation project with just a couple of fresh tracks, the recording sessions evolved into a completely original body of work. The result is a short, snappy, eight-song record running at just 30 minutes, officially making it the shortest and most lean album in the band's extensive history. It showcases the group embracing different stylistic elements from throughout their 25-year career, delivering some great songs.

The record kicks off powerfully with 'Make It On Your Own', an atmospheric and immersive five-minute opener that stands out as one of the finest moments on the album. The song features instantly recognisable, soulful vocals from frontman Kelly Jones alongside soaring guitar work by Adam Zindani. What elevates the track into an expansive, cinematic experience is a lush string arrangement layered with a delicate violin performance, injecting an incredibly positive and uplifting energy right from the start.

This grandiose entry transitions smoothly into the optimistic lead single, 'There's Always Gonna Be Something', which features Jones's signature gruff vocals tackling the exhausting modern struggle of finding personal space in a chaotic, fast-paced world. The song explores the deep human need to claim a clear moment of peace, metaphorically described as finding a completely clear table amidst the noise of the 21st century. The sonic experimentation continues with the melancholic second single, 'Seems Like You Don't Know Me'. During studio sessions, Jones took the melody through three or four different iterations, moving away from complex, heavy drum arrangements in favour of a sparse, retro aesthetic. The final version leans heavily into an atmospheric synth-pop landscape, relying on a vintage Juno synthesiser and an intentional, minimalistic drum machine beat to create an emotional backdrop. This moody instrumentation perfectly reflects the lyrical themes of complex relationships, fading intimacy, and fractured communication.

The rest of the record is layered with similarly reflective, deeply nostalgic moments where the band looks back on their roots and youth. The track 'Backroom Boys' stands out as a prime example of this introspection, memory-checking Jones's teenage years spent hanging around local pubs and bars while watching raw live music. 25 Years in Stereophonics proved that they can still write a great song.

May was a busy month. The Clause announced their debut album 'Victim Of a Casual Thing’, which will be released on the 17th of October 2025. The first single from the album was also released in May, 'Nothing's As It Seems'
A brilliant slice of indie pop. The Clause have been on an upward trajectory since the release of the 'Pop Culture' EP in 2023. 'Weekend Millionaire', which was released in 2024, picked up exactly where 'Pop Culture' had left off and then bettered it. After those EPs, a debut album was inevitable. 

Following the limited physical release of the deluxe version of 'Gary' on vinyl and CD, Blossoms finally brought the expanded edition of their acclaimed fifth studio album to digital streaming platforms in May 2025. The digital drop came after the Stockport band teased fans with a few select tracks, most notably the infectious single 'The Honeymoon'.

This streaming release officially unlocks an array of bonus material that was previously gatekept from the wider fanbase. Gems like the atmospheric 'Amsterdam in the Rain' and the upbeat 'Get Happy' are now fully accessible to general listeners. The additional tracklist provides a fascinating overview of the band's versatility, offering a real mix of the classic, melodic Blossoms sound. However, the curation choices make complete sense upon listening. 

While these tracks are solid standalone pieces, it is easy to see why they were ultimately omitted from the main record. Aside from the cinematic textures of 'Amsterdam in the Rain' and the driving indie-pop energy of 'The Honeymoon', none of the other bonus cuts quite possess the standout punch required to earn a permanent place on the core tracklist of 'Gary'.

The fourth studio album from Reading alt-rockers The Amazons, titled '21st Century Fiction' and released on 9 May 2025 via Nettwerk, sees the band embrace a completely no-holds-barred approach. The results are nothing short of brilliant. This record represents the group's most ambitious and thematic body of work to date, diving straight into the anxieties and existential dread of navigating the modern world. The sensational track 'Night After Night' stands out not only as one of the finest moments in the band's entire discography, but also as one of the best rock anthems of 2025. It grips the listener with its frantic, siren-like guitar riffs and urgent drumbeats, all building toward a massive, choir-like chorus that feels built for stadiums.

The single 'Pitch Black' serves as another undeniable high point on the tracklist, and its rhythmic nod to the classic grooves of The Beatles makes it easy to see why it was chosen as a leading preview. The Amazons are creatively elevated across this entire record by singer-songwriter Ella McRobb, who officially joined their touring setup and lent her soaring vocal talents to the studio sessions. Frontman Matt Thomson has openly admitted that her presence forced the band to up their game. McRobb injects a brilliant new dynamic into the band's aesthetic, a contribution that shines brightest on the sweeping vocal layers of both 'Pitch Black' and 'Night After Night'.

Further down the tracklist, 'My Blood' sees the band recruit some high-profile assistance from their Brighton rock contemporaries, Royal Blood, whom The Amazons previously supported on major arena tours. The song heavily carries the distinct sonic DNA of its co-creators. Royal Blood's Mike Kerr handled the production alongside guitarist Chris Alderton, and you can instantly recognise Ben Thatcher's signature, heavy-hitting groove behind the drum kit. Despite these heavy guest influences, it firmly retains the core identity of an Amazon's track. It is an exceptionally strong collaboration that feels euphoric, dark, and menacing all at once. While high-profile rock collaborations can sometimes feel forced, this pairing is masterfully executed.

Ultimately, '21st Century Fiction' is a spectacular, hard-hitting rock record. It delivers breathtaking guitar work, massive choruses, and some of the most powerful vocal performances of the band's career. It stands out as one of the most unjustly underrated releases of 2025. This well-crafted collection of songs is precisely the definitive statement that the band has spent years striving to create, and with this release, they have officially struck gold.

The next release is anything but underrated, and it's definitely not understated. The type of overnight success that Sleep Token’s 2023 album ‘Take Me Back To Eden’ set in motion simply doesn’t happen to rock and metal bands anymore. In terms of the speed and scale of this phenomenon, they have no 21st-century equal in their genre; they’ve arguably dethroned new RCA labelmates Bring Me The Horizon as the biggest metal band in the world right now.

The band had a difficult task of following up that album; 'Take Me Back to Eden' had propelled Sleep Token to the masses and onto arena stages. They were no longer an underground metal group; they were one of the biggest bands in the world.

In early 2025, the band released the first single from this album, 'Emergence'. It felt familiar; it had everything that defined Sleep Token, right up until the end of the song, when the band slapped an extended jazz outro. Reminding everyone that the unpredictability that had gotten them here hadn't gone away. 'Caramel', the second single, gatecrashed into the Top 10 in the UK. In a song where the band show their vulnerabilities and, for the first time, grant us access to the troubled human behind the mask. It's a tale about dealing with fame and the band's sometimes invasive fan base. This theme is echoed throughout the album.

This album continues the band's meteoric rise; they have already become one of the biggest alternative bands in the world. The only way they can go is up. Eight-minute opener ‘Look To Windward’ could be an entire album in itself. It sets up the crossroads ahead with its unbearable, cinematic tension, which is then annihilated by a heaviness that chops through it. 

'Past Self' is more indebted to R&B than it is metal, but this isn't a sound new to Sleep Token. Listen closely to the band's discography; it's always been there, maybe not in this form, or as directly as this, but it's in there. This sound carries the whole record; piano melodies and synth lines replace the dominant guitar riffs found on ‘Hypnosis’ or ‘The Offering’. 

Guitars are still around, though, and they are used in really interesting ways. The album's two final tracks, 'Gethsemane’ and ‘Infinite Baths’, embrace two new sounds, weaving between math-rock, stadium-rock and metal to create something truly spectacular. 'Infinite Baths' even becomes prog at some points with a guitar that sounds very much like 'Shine On You Crazy Diamond'. The album ends with one of the heaviest breakdowns Sleep Token have ever delivered; they've still got that sound, and they are still the best in the world at it. 

This album rips up the rule book, shatters any expectations set by fans, and builds on the bravery of its predecessor at least sonically. Meanwhile, the lyrics reveal the most exposed version of the band and frontman we've seen yet. It's a truly special record, the best Sleep Token album yet and one of the albums of the year. It may divide longtime fans, even more than 'Take Me Back to Eden', but it will bring Sleep Token and metal to the masses. You don’t have to like Sleep Token. You don’t even have to understand them. But at this point, ignoring them is no longer an option.

After quite a lot of teasing on social media, Wolf Alice returned. 'Bloom Baby Bloom' was released on May 15th. It's the band's biggest statement to date, confident, expressive and electrifying. Wolf Alice seems to return with a more elevated version of themselves with every record release. 

The core of the band is the same. However, this time around they arrive with a new set of ideas, a new record label, and an intent of being the biggest band in Britain. These new ideas, levels of confidence and ambitions lead us into'Bloom Baby Bloom'. It's such a larger-than-life record, in terms of sound and also in ambition. You get the sense that the band are not holding anything back this time around. 

We’ve heard Wolf Alice go full-pelt into rock bangers before, but ‘Bloom Baby Bloom’ takes a different tack compared to the sludgy ‘Visions Of A Life’ or the brittle, breakneck punk of ‘Play The Greatest Hits’. Here, they pull from the ’70s palette of russet and harvest gold-hued sounds, warm and rich, even when Ellie Rowsell is giving us her raspiest yell over the top. It’s splashy and full of little flourishes: Joff Oddie’s twiddling guitar solo, a brief drum splatter from Joel Amey, and Theo Ellis’ bassline that pierces through the pre-chorus.

It's a band operating at the peak of its powers; nothing is wasted, everything fits into place. Rowsell has never sounded more incredible. Her voice has some of its most delicate moments, and then some of its most raspy and dark the next.  

This was the perfect song for the band to return with; it speaks of coming into your own and emerging from whatever life throws at you, maybe not unscathed but definitely sure of who you are. “But I bloom, baby bloom / Watch me, and you’ll see just what I’m worth,” Rowsell declares, serenely self-assured. “Yes, I bloom, baby bloom / Every flower needs to neighbour with the dirt.” After three albums of building and expanding their world, and experiencing the ups and downs of the music industry, it feels like the band is ready to stake their claim as one of their generation’s most important acts.

Kneecap had quite a mad couple of months. Alongside many other acts, including The Murder Capital and Wolf Alice, they have been quite vocal about the genocide that is happening currently in Gaza. The trio have been vocal on the subject for a rather long time, but since the Coachella festival, they have been more vocal, particularly after the group condemned America's involvement in the genocide through a series of messages on the screen.

These messages caused uproar for certain individuals, and an old video of the trio began to circulate on social media. The footage was from one of the group's London gigs in 2024, recorded at the 02 Kentish Town. The video appears to show a member shouting “up Hamas, up Hezbollah”, as well as a Hezbollah flag being displayed.

Counter Terrorism Police began to assess the footage, as Hamas and Hezbollah are both proscribed terror organisations, and it is an offence under the Terrorism Act 2000 to “invite support for a proscribed organisation”.

The band have since denied supporting either Hamas or Hezbollah and have stated they would not incite violence against any individuals. They have also argued that the video footage was taken out of context.

“Let us be unequivocal: we do not, and have never, supported Hamas or Hezbollah. We condemn all attacks on civilians, always. It is never okay. We know this more than anyone, given our nation’s history,” they said on April 28.

However, the Metropolitan Police still charged Mo Chara ( Liam O’Hanna) with terrorism offences. Despite the charge, Kneecap continued to perform, first with a surprise show at the 100 Club in London. The gig had only been announced earlier in the day (May 22nd 2025). Mo Chara arrived at the venue with his mouth covered in tape, before joking about being careful with what he said.“I need to thank my lawyer,” he told the audience. “He’s here tonight as well.”

The performance served as a warm-up to the group’s headline set at Wide Awake 2025 in Brockwell Park, the band's biggest performance to date. 

As well as the band's biggest headline show, the band has released their first new music since the release of their debut album 'Fine Art' in 2024. A new politically charged single called 'The Recap' featuring Mozey. The band dedicated the song to Kemi Badenoch, the current leader of the Conservative Party, who recently shared the footage from Kneecap’s show in London last year, which was being investigated by police, and led to Mo Chara’s terror offence charge this week.

“In government, I blocked Kneecap getting taxpayer funding,” she wrote. “Labour didn’t contest the legal case the band brought, and they walked away with £14,250 of OUR money. Perhaps now Labour see Kneecap openly glorifying evil terror groups, they will apologise for rolling over. But I doubt it.”

Last November, Kneecap said Badenoch had “acted unlawfully” in her attempt to block the group’s funding, after originally accusing the government of trying to “silence” them, following a last-minute block. “This is now a fact,” they added, in response to a court ruling.

Kneecap went on: “They don’t like that we oppose British rule, that we don’t believe that England serves anyone in Ireland, and the working classes on both sides of the community deserve better; deserve funding, deserve appropriate mental health services, deserve to celebrate music and art and deserve the freedom to express our culture.”

As I said, it has been a mad few months for Kneecap. 

Inhaler reached a monumental milestone in their career when they played their biggest headline gig to date, a massive homecoming show at the 20,000-capacity St Anne's Park in Dublin. To transform the outdoor summer evening into a proper mini-festival, the band curated an incredible supporting lineup, receiving a little help from UK indie-pop mainstays Blossoms alongside two of Ireland's most exciting rising acts, Gurriers and Scustin. The opening acts set an electric tone early on, with Scustin delivering their signature tongue-in-cheek pub funk and Gurriers treating early arrivals to a blistering, raw post-punk performance. Blossoms then primed the crowd perfectly with a polished, hit-heavy setlist under the summer sun.

When Inhaler took the stage, ecstatic fans were treated to a career-spanning 17-song setlist that saw the band effortlessly dip into material from all three of their studio albums. The performance struck a perfect balance between nostalgic anthems and fresh sonic directions. The crowd erupted for established fan favourites like the driving 'My Honest Face', the euphoric 'These Are The Days', the early indie anthem 'It Won't Always Be Like This', and the shimmering 'Love Will Get You There'.

Interspersed between these classics was a generous host of songs from their latest record, 'Open Wide', which translated beautifully to a massive outdoor stage. The band kept the energy high with the infectious electro-pop rhythms of 'Billy (Yeah Yeah Yeah)' and the festival-ready rhythm of 'A Question of You'. Proving that they are officially ready for stadium-sized spaces, they brought a triumphant end to the proceedings with a spectacular encore of 'Your House', leaving the hometown crowd completely spellbound.

Inhaler's latest record is the most free and evolved that they have ever sounded. The stages will only get bigger for the band from here on in. The NME said this of 'Open Wide' 

"Throughout ‘Open Wide’, Inhaler display a powerful confidence that’s impossible to resist. Comforting, cathartic and heaps of fun, it’s the sort of record that sounds brilliant on headphones but will really come to life, say, as the sun sets on Glastonbury’s Pyramid Stage."

I'm inclined to agree; these songs are the best the band have written, embracing stadium rock, 70s glam, 80s synths, folk, The Smiths, Britpop and taking in everything they've learnt from their numerous support slots with Harry Styles, Blossoms, Noel Gallagher, Arctic Monkeys, Sam Fender, and it's safe to say it's worked. 

Wunderhorse departed ways with bass player Pete Woodin, headed out on a sold-out UK tour and released their first new music since their second album 'Midas'.
'The Rope' was recorded at RAK Studios with Loren Humphery just a few weeks before the band took to the road, and does brilliantly to capture the urgent, frenetic live sound of the band. 

In terms of sound, it picks up where the title track from their second record left off. The song feels as if it could fit on that record and shares a lot of similarities in structure and sound with 'Midas'.

In terms of sound, it picks up where the title track from their second record left off. The song feels as if it could fit on that record and shares a lot of similarities in structure and sound with 'Midas'.
The band debuted the single on Jools Holland before it became Radio 1's 'Hottest Record in the World.'

I just hope that they don't continue to use a formulaic approach. This song is a good one, but the similarities are glaringly obvious. The sound the band were hoping to achieve on 'Midas' is a good one; however, it has moments that really don't work. 'July' just sounds like a wall of noise; the band's strength is in the melody and songwriting. The songs from 'Cub' really show this, and there are definitely moments of brilliance on 'Midas'; I just hope this is a side that they don't neglect.

Sam Fender began his UK summer shows with his biggest gig to date, a sold-out show at the London Stadium. A real celebration of where he's come from and where he's going. Fender has become a bastion of working-class music. Following his discovery in the Low Lights Tavern in North Shields, he has gone on to become one of Britain's biggest musical exports. 

His songs are working-class anthems; he sings about domestic abuse, male suicide, money problems, escaping your hometown, drugs, and so much more. Despite the nature of his songwriting, Fender has managed to ensure that they still have anthemic choruses, and crowds have lapped it up. They just keep getting bigger. 
Despite knowing that stadiums were the next logical step. He'd already played two sell-out nights at St James Park in Newcastle in 2023, and there are plans for three more this year. The songs on 'People Watching', his last record, are not stadium rock songs; they work in huge venues. His fanbase is devoted, and these songs are timeless. People know what Sam can do, and he keeps delivering.

In a career that is full of highlights, Sam just keeps making more. He has become a cornerstone of British music over recent years; he's won Brit Awards, had three Number One albums, broken the Top Ten with two singles and inspired a new generation of fans to pick up guitars. His impact cannot be understated.

He's also conquered playing in stadiums on his own terms, compared with most other stadium shows. Fender’s show was a relatively stripped-back affair; there was only a smattering of fireworks and a giant video screen to enhance the gig. But with songs as good as these, who needs light-up wristbands or a hundred and one costume changes?

Sam also joined a list of musicians, including Fontaines D.C., Kneecap and Wolf Alice, to speak out against what is happening in Palestine. Stating at the end of the show, just before performing 'Hypersonic Missiles', that despite "writing the song in 2018, it has more relevance now".  Before then, celebrating  “real heroes”, Doctors Without Borders and the work they’re doing in Gaza, before telling the crowd how they can get help out. 

Following their triumphant studio return, Stereophonics headed out on their massive, highly anticipated 'Stadium Anthems' summer tour. Serving as a grand celebration of a career now spanning 28 years, the band set out to play to some of the largest crowds of their lives. The sprawling itinerary featured huge outdoor dates at London's Finsbury Park, a pair of monumental, emotional homecoming shows at Cardiff's Principality Stadium, and highly anticipated major dates across Ireland, including a stop at St Anne's Park in Dublin.

Stockport indie icons Blossoms took on the primary support duties for the tour, priming the stadium crowds perfectly with their own infectious brand of synth-pop. Delivering a slick, hit-heavy opening set, Blossoms had thousands of fans singing along early to massive, melodic favourites like 'Charlemagne' and 'There's A Reason Why (I Never Returned Your Calls)', effortlessly bridging the generation gap and proving why they are one of the most reliable live acts in the UK.

When Stereophonics took to the stage, they brilliantly balanced fresh material from their ninth UK Number 1 album, 'Make 'Em Laugh, Make 'Em Cry, Make 'Em Wait', alongside a gold-standard retrospective of their iconic discography. Rather than overloading the setlist, Kelly Jones smartly sprinkled in choice selections from the new record, including the punchy, atmospheric synth-grooves of 'Seems Like You Don't Know Me' and the driving, optimistic rhythms of 'There's Always Gonna Be Something'.

The rest of the night belonged to an arsenal of timeless songs explicitly built to be echoed by tens of thousands of people in massive arenas. With decades of generation-defining music behind them, the tour felt less like a standard promotional run and more like a triumphant victory lap. It celebrated a career built entirely on powerhouse choruses, gritty storytelling, and a catalogue absolutely stacked with undeniable anthems. From the propulsive, neon-lit rock punch of 'Dakota' to the soaring, melancholic community singalong of 'Maybe Tomorrow', and the raw, nostalgic heartbreak of 'Local Boy in the Photograph', these songs proved they have not just soundtracked people's lives for nearly thirty years, but they continue to do so with an unmatched, vital energy.

Haim returned with their first album in five years, and it sees the band at a crossroads. On their previous record, 'Women in Music Pt. III, the band made huge leaps, bringing their songwriting to the forefront whilst also embracing many genres, from folk to 00s garage. 

With 'I Quit', the band's fourth album, Danielle, Este and Alana have dug deeper than ever before. Despite being the band's quietest album, they still have plenty to say. It's the longest gap between albums and is the band's first without Ariel Rechtshaid, who was not only a collaborator but also Danielle's ex-partner of nine years. 

The sound on this record is different; this is a band comfortable with their place in the world. Drums and guitars crunch, rather than bloom with reverb, and the opening track shows a band not taking any shit.  “You can hate me for what I am / You can shame me for what I’ve done / You can’t make me disappear / You never saw me for what I was!” If those lyrics don't reveal everything, the band throws in a brilliant sample of George Michael's 'Freedom 90' to really hammer the point home.

The band still blend genres effortlessly, though 'Lucky Stars' has nods to 90s shoegaze, and is one of the highlights of the album. Lead single 'Relationships' is an arena anthem, and shows a new standpoint from the three sisters after breakups and dealing with grief. A band who once sang  ‘If I Could Change Your Mind’ and ‘Want You Back’ show with 'I Quit' that they now handle the idea of the end of a relationship differently.

There's a lot to unpack here, though. 'Spinning' sees the band embrace disco, and 'The Farm' has a real intimate country feel, led by acoustic guitars and sees the band get to grips with personal difficulties. The biggest compliment I can give this album is that it sounds like the band's record collections, but they do not merely imitate; they innovate. There are so many different elements here. Slowdive, George Michael, U2, Madchester, Taylor Swift, Alanis Morrisette, Oasis. It's one of the best albums of the year. 

Initially, I was a little apprehensive of this record, 'Women in Music Pt. III' is one of my favourite albums of recent memory, and I was worried about how the band could follow it up, but they've more than followed it up. They have released 15 exceptional songs. This isn't the same band that released 'Days Are Gone' in 2013. The songs are darker and more menacing. In many ways, they've evolved, but in others, they remain unchanged. The band's warmth and the strength of their sisterhood still form the heart of their sound. They never dwell in despair. The painful memories are present, still echoing, but they've been shaped into lessons. Through it all, hope continues to reign.

The build-up to the Oasis Live 25 tour had been quiet. Fans had been promised an Adidas advert featuring both brothers early in the year. On June 19th, the advert premiered on Channel 4 and on the Adidas Originals YouTube channel. It was the first time a photo of both brothers had been seen together since the initial announcement in August 2024.

Described by Adidas as "a tribute to two brothers, two icons, one band, and a brand that’s been with them every step of the way". The advert sees new and old footage of both brothers wearing the famous brand, as 'Live Forever' plays. Throwback clips of iconic moments like Knebworth and Heaton Park play throughout before the two brothers appear together at the very end of the video.

The band have partnered with Adidas to release merchandise for the Live 25 tour, including t-shirts, jackets, and bucket hats. Alongside the Adidas collaboration, the band launched a series of pop-up stores across the UK and Ireland ahead of the tour. The first was in Manchester, in Spinningfields, with further stores in Cardiff, London, Edinburgh, Dublin and Birmingham.

The Oasis Live 25 pop-up shops became must-visit destinations for fans throughout the tour. Beyond offering official tour merchandise and limited-edition vinyl releases, these stores will showcase exclusive items from the much-anticipated collaboration with Adidas. Many of these products were unique to the pop-ups, making them the only places where fans can get their hands on rare collectables and apparel. The pop-up shops also aim to create a nostalgic atmosphere, celebrating Oasis’s legacy while giving fans a chance to connect with the band’s history through specially curated displays and interactive experiences.

Glastonbury rolled around, and it was one of the best in recent memory. There were some great headline slots and some bands bidding for a future headline spot. The legends came out, too. Even the secret sets were brilliant.

From Lorde opening the festival with an album release party for her new record 'Virgin' to Franz Ferdinand drafting in Peter Capaldi to sing 'Take Me Out'. Friday was chaos. 

Lorde's set was one of the sets that could only happen at Glastonbury. A really brave choice from Lorde; most of the people at Glastonbury would never have heard most of the record due to already being on Worthy Farm. Yet she keeps the crowd gripped throughout her set.

At one point, she admits to the crowd, “This record took a lot out of me; I honestly didn’t know if I’d ever make another one. But now I’m back, completely free.” That sense of freedom shines brightest in the final two songs of the set, ‘Ribs’ and ‘Green Light’, which bring the moment to a euphoric close. Lorde, summer is officially on.

Franz Ferdinand performed one of the most underrated sets of the weekend on The Other Stage at Glastonbury 2025. It is worth mentioning that the rest of the set, though, was not all just special guests and surprises. The performance saw the Scottish indie-rockers blend the old and the new effortlessly, structuring a brilliant fourteen-song setlist. They proudly showcased five tracks from their seventh studio effort, 'The Human Fear', including the live debuts of 'Build It Up' and 'Black Eyelashes', alongside the synth-driven rhythms of 'Night or Day' and 'Audacious'. Not wanting to just play the hits, they leaned heavily into the fresh material while never forgetting the brilliant songs that got them here in the first place

The energy shifted into hyperdrive during the final stretch of the show, delivering a sequence that would become one of the festival's ultimate viral highlights. Addressing the crowd, frontman Alex Kapranos playfully teased the audience about the typical, far-fetched Worthy Farm rumours of surprise appearances. Nodding to the fact that pop star Lewis Capaldi was simultaneously playing the Pyramid Stage, Kapranos grinned and introduced "the original Capaldi, PETER Capaldi." The Academy Award-winning Doctor Who and The Thick of It actor strutted onto the stage dressed in a sharp suit and sunglasses to trade iconic vocal lines on a legendary rendition of 'Take Me Out'. The ground positively shook as the delirious crowd bounced along to the 2004 classic.

Rather than slowing down, the band immediately followed the spectacle by bringing out rising artist Master Peace for a high-octane collaborative performance of their new track 'Hooked'. The band then sent the audience into absolute meltdown by closing out the afternoon with an extended, explosive performance of 'This Fire'. By beautifully threading these massive guest moments into a setlist that featured early noughties indie bangers like 'The Dark of the Matinée', 'Do You Want To', 'No You Girls', 'Michael', and 'Jacqueline', Franz Ferdinand proved exactly why their live legacy remains entirely unmatched.

Wunderhorse proved beyond all doubt that they are one of the most vital and exciting bands in Britain at the moment. Playing to a packed, sprawling audience at The Park Stage at Glastonbury 2025, the group managed to shatter the immense pre-show expectations with a blistering, 55-minute set. The performance beautifully showcased the finest moments of their existing catalogue while offering a potential nod to their future with a thrilling live airing of their latest single, 'The Rope'.

The carefully structured tracklist was nearly an even split between their breakthrough records. The second album, 'Midas', claimed six slots on the twelve-song set, while their debut album, 'Cub', was well represented with five selections. The early performance of the breakout track 'Purple' garnered one of the most passionate and unified singalongs of the entire festival weekend, setting up the second half of the band's set perfectly.

The later portion of the performance successfully upped the ante to a near-religious level. When frontman Jacob Slater launched into 'The Rope', green flares were instantly set off in the audience, illuminating a crowd that already sang every single lyric as though the track had been around for decades. It is incredibly rare for a band's newest single to receive that level of instant devotion.

This momentum crested with the arrival of 'Teal', an absolute masterpiece that may just be one of the finest rock songs of the decade. In a live setting, the track becomes a whole lot more visceral, raw, and physically overwhelming. The collective roar that erupted from the Glastonbury faithful from the very opening chords was nothing short of biblical. Wunderhorse achieved a definitive Glastonbury moment, though it is important to emphasise that this is merely a stepping stone rather than their peak. These musicians possess the undeniable grit and songwriting prowess to headline the Pyramid Stage one day.

Blossoms took to the Woodsies Stage at Glastonbury at exactly 6 PM on Friday, 27 June 2025. The Stockport quintet are certainly no strangers to the festival, having played several times before. Most notably, they performed a legendary surprise set on this very stage in 2023 alongside Rick Astley, during which they exclusively covered timeless songs by The Smiths. This time around, there was no Rick, and there were no covers either. However, the band still had a major special guest appearance up their sleeves. Blossoms delivered a masterful 15-song setlist, boldly featuring six tracks from their fifth studio album, 'Gary', including 'Nightclub', 'Perfect Me', and 'The Honeymoon'.

The performance proved just how much the band has evolved as live musicians. Frontman Tom Ogden has truly grown into his role, commanding the massive festival crowd with immense confidence, style, and charm. Beside him, Joshua Dewhurst remains a criminally underrated guitarist, executing sharp, melodic riffs with absolute precision. Joe Donovan is an exceptional drummer who keeps the band locked in, while Myles Kellock expertly holds the songs together with his vibrant layers of vintage keyboards and synths. It was also incredibly heartening to see bassist Charlie Salt back on stage, making a triumphant return to full duties after a long, worrying absence due to a severe hand injury.

The undisputed highlight of the evening arrived when Irish singer-songwriter CMAT joined the band on stage, hot off her own spectacular, highly praised performance on the Pyramid Stage earlier that day. Together, they performed 'I Like Your Look', a grooving, disco-infused standout track that they had co-written together in a rented Airbnb in Anglesey. Getting to share that specific creative milestone live, at the biggest festival in the world, made for a truly unforgettable moment of pure pop joy. Despite their set being frustratingly cut short on the live BBC broadcast schedule, the band proved beyond all doubt that they are one of Britain's premier live acts. The next time they head down to Worthy Farm, they undeniably deserve to be placed much further up the festival bill.

Friends of Blossoms, Inhaler played a blistering set on the Other Stage with a new fan watching.  During the set, Paul McCartney was caught on camera in hand on the on-stage balcony, watching the band.

Within the hour slot, the band played 11 songs, including 5 from their latest record 'Open Wide'. The band have become a well-established live outfit and have worked their way up festival billings, proving themselves as a reliable and compelling act. Their newest record provided the perfect songs for shows like these, combining catchy hooks with raw emotional moments that resonate with a massive crowd.

'Open Wide' provided the perfect arms aloft moment, with thousands in attendance joining in unison, and Elijah Hewson, the band’s frontman, had the crowd completely in the palm of his hands from start to finish. The atmosphere was electric, showcasing how far Inhaler has come since their early days. ‘Dublin in Ecstasy’ has long been a fan favourite and was warmly received by the Glastonbury faithful.

During the performance, frontman Eli Hewson used the set to take a poignant stand with Palestine. He declared, “I’d like to dedicate this next song to the people of Palestine, to any innocent people being starved or bombed, or genocide for the sake of some lunatics,” continuing, “I feel like we have to say that because our greatest strength is freedom of expression, and there’s no better place for it than right here at Glastonbury. So, be kind to each other, and have a great time.” before launching into the band's debut single, 'It Won't Always Be Like This'.

He wouldn't be the only one to express solidarity with those in Palestine at the festival.

Another of Ireland's brightest musical sparks made her Pyramid Stage debut. CMAT and "very sexy band" sashayed out in front of thousands at Glastonbury, and into the living rooms of many more. Resplendent in "International Blue" (a nod to the aesthetic of her third album, ‘Euro-Country’) and sporting a jacket emblazoned with ‘The Dunboyne Diana’, she was a high-kicking, rootin’-tootin’ force of nature. By her own admission, she is a mix of “middle-child syndrome, an amazing ass, and the best Irish rock’n’roll country band in the world.” From the full-band line-dancing to her effortless crowd control, she became the everywoman people’s champion that 2025 desperately needs.

Two months later, CMAT returned with new music, her third album 'Euro Country'; the record was much more than viral dances and TikTok anthems like ‘Take A Sexy Picture Of Me’.
This record is profound; it’s a collection where conviction and catharsis finally sit as equals alongside the chuckles. The title track is an astonishing piece of social commentary, coining a term for her continental take on the genre while reflecting on Ireland’s place in the EU. “I was 12 when the das started killing themselves all around me,” she sings, a devastating line that anchors her kitsch aesthetic in the harsh reality of the post-Celtic Tiger financial crash.

The album balances this weight with flashes of brilliant, surrealist humour. ‘The Jamie Oliver Petrol Station’ is a five-minute psych-country therapy session regarding her irrational hatred for the celebrity chef. With a chorus that screams, “OK, don’t be a bitch / The man’s got kids, and they wouldn’t like this,” it’s a hilarious exploration of how we project our own frustrations onto the mundane.

Meanwhile, ‘Take A Sexy Picture Of Me’ is the perfect pop song for a toxic era. Written in response to fat-shaming comments on her BBC performances, it subverts the male gaze with razor-sharp wit: “I did schoolgirl fantasies / I did leg things and hand stuff... Now tell me what was in it for me?” Yet, the album’s true soul lies in its quietest moments. ‘Lord, Let That Tesla Crash’ is a heartbreakingly personal tribute to her late friend and collaborator, Jo Rose. Using a gentrified Tesla parked outside an old house-share as a symbol of loss, she reckons with the messy reality of grief: “I’d kill myself to find out if you think this song is good.” 

CMAT has entered a new era with 'Euro-Country'. It is a roiling sea of charm, chaos, and piercing insight. Ciara Mary-Alice Thompson has never sounded more like herself: a superstar who can make you line-dance through the ruins of late-stage capitalism.

Headlining the Pyramid on Friday was The 1975, a set long overdue, in my opinion. Nine years since their last appearance at Worthy Farm, and the band's only show of 2025, it was a special one. Preceded by some rather interesting rumours, figures around the pricing of their staging had already been leaked (apparently four times their fee).

However, by the time they stepped onto the stage, some of the online rumours had been squashed. Matty hadn't shaved his head; instead, he arrived with boot cut jeans, a leather jacket, a roll-up and a pint of Guinness, complete with a pre-split G. The budget clearly hadn't gone on the outfits, but it was clear that they'd put a lot of work and money into various other areas. 

The band is a mixture of excitement and nervousness. George Daniel had admitted to the BBC that he was extremely nervous and had thrown up before they walked onto the stage. Healy was half bravado, half uncomfortable truth, still in shock at how they'd got there. His talent as a frontman shines through. Switching from a tormented pop star with a straightforward  “Glastonbury-are-you-with-us?” and then into something more earnest, highlighting that the members' friendships are central to the success of the band, and then when the lights come on, and they see the Glastonbury crowd, he mutters, "Oh Jesus." The band jumps between irony, self-deprecation, strange behaviour, and popstar gesturing throughout. 

Opening the show with ''Happiness' from their latest record 'Being Funny in a Foreign Language’, the band shows that they're not here to make up the numbers. It's a confident opening track, perfect for festival settings. They then segue into their past era's first into 'If You're Too Shy' just after his Glastonbury address, "It's the hip-shaking, headline-making, have an emotional stake in. It's The 1975."

'Love Me' and 'She's American follow, unfiltered pop brilliance that shines through the Glastonbury crowd. These songs haven't been played throughout the band's previous two tours, only getting sporadic appearances. So to play them at their biggest show to date was quite something. 

Online critics have claimed that the show wasn't a Glastonbury headline show. I disagree that the band deserves their moment in the sun. It seemed that people just like to moan; everyone is allowed an opinion, of course, but some of the online discourse I saw was just downright silly. "All their songs sound the same." In a set that saw the band play 'Be My Mistake' and 'People. I defy people to tell me they sound the same. 

The set was exactly what The 1975 is all about. With a performance full of humour, with lyrics flashing up on screen as Healy sings them, a touch that works especially well during 'Part of the Band', which features some of the group's funniest lines. In 'Chocolate', the band fills the screens with playful, nonsensical gibberish that somehow perfectly matches Healy’s delivery. "Oh mah hez smell like chocolate" Just before the band launched into 'Chocolate', a fan favourite, but not their most lyrically complex, Healy declared to the audience.  "I am the greatest songwriter of my generation… a poet." 

A line that the armchair critics quickly misunderstood; Healy is constantly being ironic, and this line perfectly sums him up.

One piece of online discourse that I've heard echoed a lot, and that I agree with, is that the band played it safe, but that's a good thing. Instead of chasing headlines and inviting controversy, the band celebrated the music and, more importantly, their friendship. The 1975 have been together for over 20 years; they met at school. This was their moment; they didn't want it to be overshadowed by a statement, a line taken out of context or to be defined by one moment. 

The heavy hitters are littered throughout the set. 'Love It If We Made It' is the band's most political track and one of the sharpest critiques of the post-modern world. Echoed throughout the field, and through TV screens just minutes after Healy vowed to make the show politics-free. 'Give Yourself a Try' is another live classic and one of the best moments of the show, with nods to Joy Division and some of Healy's best-ever lyrics that sum up the band's relationship with the world they live in, and some nods to the fans to "she was a girl with a box tattoo on her arm." 

'Robbers' provided fans with one of the biggest sing-alongs of the night, 'People' gave punk a Pyramid slot, and the devastating Britpop meets Radiohead banger 'I Always Wanna Die (Sometimes)' is always a set highlight. 'Sex' is a mainstay in the setlist, and details backseat car sex, minutes after the band critiqued the world that we are all living in. Blending horror and humour, authenticity and artifice, let's remember this is a band that once said 'Sincerity is Scary'.

‘About You’ and its sweeping epic balladry bring the show to a close. Healy leaves the crowd with a poignant parting message: “It’s cool to be mysterious, but it’s cooler to be honest. We’re not going anywhere. Everything will be alright.” It’s a heart-stopping confession for a band that means so much to people. A band that has just headlined the world’s biggest festival on their own terms.

Just before the song kicks in, he makes his final speech. “We’re The 1975 from the internet, we love you guys. This song’s About You.” Delivered with such heavy emotion, for a band often surrounded by controversy. This performance, their biggest to date, felt different. The music did their talking for them; all four of them got their moment. 

As the set comes to an end, the band leave the stage quietly. One word is presented on the screen; the same word that has been on George Daniel’s kick drum all evening. ‘Dogs’. It’s the perfect ending, so enigmatic, playful, so unmistakably The 1975. What does it mean? Is it the start of their next chapter? Maybe?

Saturday had a lot to follow, and it started with one of the most talked-about festival sets ever. I can't remember another set at a festival being discussed as much before this one. Now we've had two in the same week.  It's just a year since their last performances, first at Woodsies on Saturday lunchtime, and then a second show at 1:30 am, which featured Grian Chatten and was attended by Noel Gallagher. Two sets that garnered the band widespread acclaim from fans and critics alike. 

Despite the circumstances Kneecap found themselves in, West Holts had to be closed nearly an hour before the band walked on stage. 

On the day of the show, to add to the circumstances, the BBC announced it would not be broadcasting it live. It would be made available to fans after the set had finished. After hearing this news, a fan named Helen Wilson took matters into her own hands. She streamed the show in its entirety live on TikTok.

Leaning into the controversy, the band opened with a video showcasing news footage proclaiming them as pathetic, anti-Semitic, and terrorist sympathisers. The clip ends, showing Sharon Osbourne telling Piers Morgan that Glastonbury “has been destroyed by one pathetic band”.

In terms of the music, it's a typical Kneecap set; the build-up to the event doesn't take away from just how good Kneecap are at what they do.  Mo Chara and Móglaí Bap are impressive rappers – raw-throated but dextrous, far funnier than the mass media would have you believe. Opening the show with 'Better Way to Live' with Grian Chatten's vocals played over the PA. However, you can barely hear them because the 30,000-strong crowd are drowning it out.

'Your Sniffer Dogs are Shite' sees the band encourage the crowd to open up the pits for the first time of many in the hour-long show, and the crowd obliged. The energy within the crowd was impossible to suppress. The band used the energy of those in attendance to their advantage; mosh pits opened, flares were lit, and the lyrics, both in English and Gaelic, were chanted back to the three on stage like a tidal wave.

'Fine Art' receives a rapturous response, and 'Rhino Ket' is still one of their funniest songs. A band who have been targeted as public enemy number one by the British Government, singing about ketamine strong enough to send a rhino to sleep, is very funny.  

By the time 'Get Your Brits Out', 'H.O.O.D' and the latest single 'The Recap' are played, this is no longer a festival show; it's a victory lap, a clap back at the doubters, the haters and three absolute bangers for the 30,000 faithful in attendance.  The band are extremely confident, in fine voice and understand the power of the show.

Kneecap has become one of the most talked-about groups in recent months, for what they have described as a "trumped-up terror charge." What we really should be talking about is their stance on what is going on in Palestine, what good they are doing for the Palestinian people, their brilliant semi-autobiographical film, and their music.

Kneecap drew their biggest crowd ever at Glastonbury, and one of the biggest crowds West Holts has ever seen. It was a feral and feel-good rave of defiance against all odds and unity with each other, at a time when it seems like the world is out to get them.

Hip-hop has always been a genre that's forceful and urgent and was often seen as a symbol of the counterculture, in the same way punk was. This performance will be remembered for a very, very long time.

What followed next was the undisputed worst-kept secret set in the history of the festival. Performing under the cryptic alias 'Patchwork', indie legends Pulp took to the Pyramid Stage at Glastonbury 2025 to greet one of the largest and most enthusiastic crowds of the entire weekend. 

Declaring 2025 a full-blown "Pulp Summer", enigmatic frontman Jarvis Cocker wasted absolutely no time in pleasing the enormous sea of people, launching straight into the drug-culture anthem 'Sorted for E's & Wizz'. For their second song, they doubled down on nostalgia by unleashing 'Disco 2000', another immortal classic from their seminal 1995 album, 'Different Class'. Opening the set with two of the most iconic tracks in British music history made it immediately clear that Pulp were not here to simply make up the numbers.

Pausing briefly to survey the horizon, Cocker wryly asked the crowd, “Did you know we were going to play?” The resounding, deafening "Yes!" that echoed across the field confirmed that the surprise had been ruined weeks in advance. Cocker then took a poignant moment to reminisce, reminding the audience that both opening songs had actually debuted live on this very stage back in 1995. That legendary, career-defining headline slot had famously come about at the last minute because The Stone Roses were forced to pull out after guitarist John Squire fractured his collarbone. Paying direct homage to that history, Pulp followed up with 'Spike Island', a brilliant track named after the iconic 1990 Stone Roses gig and the lead single from their latest studio efforts. The fresh material was exceptionally well received by the massive crowd gathered at the front of the Pyramid.

Cocker commanded the stage with his signature, hyper-animated presence, physically contorting his body and throwing his arms wide into the afternoon air. This theatricality perfectly balanced the musical masterclass that followed, proving exactly why Pulp remain so deeply beloved. The band moved into a beautiful, poignant acoustic rendition of 'Something Changed', followed by the 'His 'n' Hers' classic 'Do You Remember the First Time?'. Before the song, Cocker asked the festival-goers if they remembered their own first experiences at Worthy Farm, before humorously admitting his own less-than-ideal debut. “The first time I came to Glastonbury, I couldn't handle it," he confessed, regaling the crowd with an all-too-familiar festival tale of losing his tent and having a thoroughly miserable time. "You have to submit to it," he advised the laughing audience. "It’s bigger than all of us."

The band dedicated a roaring performance of 'Mis-Shapes' to the Glastonbury faithful. “You might get called these things, misfits and mis-shapes," Cocker said warmly from the microphone. "But I’d still want to spend time with you.” After all these years, he remains a peerless, exceptional frontman, and the rest of Pulp are still phenomenal, razor-sharp musicians.

Naturally, they closed out the historic afternoon with 'Common People', the definitive Britpop anthem detailing supermarkets, cockroaches, cheap cigarettes, pool, and the upper-class tourists who will never truly understand the working class. As the band reached the song's euphoric, crashing climax and thousands of voices sang along, a spectacular Red Arrows flypast tore directly across the Somerset sky, perfectly punctuating an unforgettable moment of pure British musical triumph.

American pop-rock trio Haim served as another spectacular secret set highlight on the Saturday of the festival. Exactly 13 years and three studio albums after their initial introduction to Worthy Farm, they returned to The Park Stage at Glastonbury 2025 as one of the most firmly established indie-pop acts in the world.

The California sisters treated a sprawling, adoring crowd to a brilliantly balanced setlist, gracefully showcasing brand new material from their fourth studio album, 'I Quit', alongside a collection of their classic, sunny anthems like 'Want You Back' and 'Summer Girl'

The profound connection between the group and the festival faithful was evident right from the opening moments. “Glastonbury,” Alana Haim began from the microphone, only to be immediately drowned out by a deafening, sustained roar of cheers. The overwhelming reception caused all three sisters to hold their hands to their heads in pure disbelief. “My fucking god, this is crazy!” she laughed, visibly emotional and overwhelmed by the scale of the audience. “When our first album came out, we played the Park Stage at Glastonbury, and it was the best show I had ever played, but this tops everything. Look at all of you! Every time we get to play Glastonbury, it’s a complete honour. We love you so much.”As captured in the image, the trio exuded immense confidence and joy, completely locked into their instruments under the bright afternoon sky. 

Their fresh material was received exceptionally well, offering a fascinating snapshot of the band's evolving, mature artistry. The track 'Relationships' stood out with its sleek, slow-burning groove that masterfully blends 1990s R&B textures with modern pop sensibilities. This shifted seamlessly into 'Everybody’s Trying to Figure Me Out', which injected a more organic, folk-country atmosphere into the field, anchored by deeply candid and hard-hitting lyricism. The band chose to bring the main performance to a close with 'Down to Be Wrong', a brilliant mid-tempo anthem driven by bold, assertive choruses centred on self-empowerment. The studio track took on a much heavier, more visceral element live, with all three sisters sharing vocal duties to create a massive wall of sound that reverberated across the hills.

Yet, as is so often the case at Worthy Farm, it was the band's timeless classics that truly set the crowd ablaze. The propulsive pop perfection of 'Want You Back' marked a definitive emotional peak for the afternoon, sparking one of the loudest, most unified singalongs of the entire weekend. Meanwhile, the laid-back, jazz-infused groove and flawless live saxophone of 'Summer Girl' felt as though it had been explicitly written to soundtrack a golden festival sunset. Capitalising on the euphoric energy, the three sisters explicitly encouraged the audience to get on their friends' shoulders, turning the entire natural amphitheatre of the Park Stage into a sea of dancing, waving fans.

Neil Young may have headlined the Pyramid Stage on Saturday, but whether you were at the festival or watching from home, all eyes were on one person: one PARTYGIRL. Just a year after hosting her now-iconic PARTYGIRL DJ night, Charli XCX took over the Other Stage, commanding a crowd of around 70,000 people.

Rumours of special guests had been rife all weekend: 'Brat, and It's Completely Different but Also Still Brat' featured a whole host of special guests performing on remixes of the songs, some of which played Glastonbury (Lorde, The 1975). Could they have featured? Maybe. 

This show was powerful enough with just Charli, though. This was her moment, after a decade of bubbling under and then after her biggest year to date; Glastonbury was the crowning moment. Her fiancé, George Daniel, had his the night before. When The 1975 topped the Pyramid stage.

Production was minimal, as was the on-stage chat from Charli, but the energy that transcended from her and the crowd more than made up for that. When she did speak, it was a very sincere moment between the artist and her fans: “I’m known to have a heart of stone, but this is very fucking emotional.”

The songs from 'Brat' have become cultural behemoths. She made an album that saw her step away from the pop world and become one of the biggest stars in the world. Many thought that this would be the show to end the 'Brat' era after a one-two of the ‘365’ remix and ‘360’; the stage backdrop goes up in flames.

This banner has been with Charli for the whole tour. Throughout her live performances, it has become ever more tattered, with the album title gradually being scrawled out. Charli played most of the songs from the album, and they all were received well. 'Girl So Confusing’ received some pantomime boos when fans realised they weren't getting a guest performance. 

The whole set was expertly conducted by a now bona fide superstar. Visually, a masterpiece, the stage show perfectly complemented her set. Charli didn't really need to say or do anything; fuelled by her music and charisma, she commanded the crowd with an enormous glass of wine. A true Brat. She opened with the 100mph remix of “365”, but the original would make a reappearance later; even as she played album hits like '360', 'Sympathy is a Knife' and 'Club Classics', it felt less like a set list and more like an all-encompassing experience. 'Apple' received all of the hype it has received on the rest of the tour, with Gracie Abrams as the 'Apple Girl'.

'Von Dutch' was probably the definitive moment of the whole set, with Charli commanding not only the audience but the BBC cameras to do as she asked. The crowd lapped it up, and for those watching at home, it was compelling. It made for a compelling watch; you were watching a genius superstar at work. It wasn't just the songs from 'Brat' that pleased the crowd; her older material, in particular 'Vroom Vroom', 'Unlock It', and her brilliant collaboration with Icona Pop, 'I Love It', caused huge sing-alongs, flares to be lit, and 70,000 people to collectively lose it.

Despite burning the Brat banner, Charli made her true declaration at the end of the set. As the final strains of 'I Love It' rang out across Worthy Farm, a departing message was displayed on the big screen. “Thank you so much, Glastonbury. So we burnt it down – does that mean Brat is finally over?? Maybe it is. But probably NOT. But we had to do it. And it looked cool. I think you all have proven to me that Brat is forever <3. I don’t know who I am if it’s over. It wasn’t just a summer thing…it’s a forever thing xx”

Charli had her superstar moment on her terms. A bold, stark Glastonbury set that acted as a victory lap for one of music's most innovative pioneers, who has always been one step ahead. Who no longer has a point to prove. 

On to Sunday...

The Libertines made a triumphant return to Glastonbury’s Pyramid Stage after a decade-long absence, bringing a literal piece of their seaside home with them. The indie legends performed in front of a massive, striking visual projection of the Albion Rooms, their famous hotel, creative studio, and bar headquarters in Margate. Widely regarded as one of the defining bands of the noughties, the group continues to ride remarkably high on the creative and commercial success of their 2024 album, 'All Quiet on the Eastern Esplanade'. Their renewed unity drew an incredibly impressive, generation-spanning crowd to the main field early in the afternoon.

Their masterfully curated 15-song setlist spanned their entire turbulent career, proving that their catalogue has lost none of its romantic, chaotic bite. Kicking things off at breakneck speed with the frantic title track from their 2002 debut album, 'Up the Bracket', they wasted absolutely no time in whipping the audience into a frenzy. They dived straight into the fan-favourite 'The Delaney' before shifting gears into the poignant melodies of 'What Became of the Likely Lads'.

The afternoon's first massive, emotional singalong arrived with the tender chords of 'Music When the Lights Go Out'. Frontmen Pete Doherty and Carl Barât shared the microphone, trading close-harmony vocals in an intimate way that made it feel like 2004 all over again. Further into the set, the driving indie-rock energy of 'Run Run Run' stood tall among the band’s finest modern work. The track effectively kicked off a blistering, four-song closing streak that could comfortably rival any festival performance of the weekend.

The timeless anthem 'Time for Heroes' followed immediately after, sounding just as sharp, vital, and politically resonant as ever. Even after 23 years on the airwaves, its poetic, street-level lyrics might just be the finest the band has ever written. The penultimate track, 'Can't Stand Me Now', hit the Somerset crowd with a particularly heavy emotional weight. Watching Barât and Doherty stand eye-to-eye to trade those famously autobiographical verses in 2025 felt deeply cathartic for long-time fans. It made it beautifully clear that the band is stronger, healthier, and more unified now than they have likely ever been, playing these songs purely out of a shared love for the music rather than old, bitter resentment.

Naturally, the set reached its euphoric, rowdy climax with 'Don’t Look Back into the Sun'. The iconic track sparked pure festival pandemonium across the field as hundreds of fans climbed onto shoulders and lit bright pink and blue smoke flares against the afternoon sky. Even the die-hard Rod Stewart fans camped out down at the very front barrier, whom Doherty had playfully teased earlier in the set by busting into an impromptu, cheeky chorus of 'Da Ya Think I’m Sexy?' during 'The Good Old Days', could not resist joining in for one last raucous, life-affirming singalong.

Wolf Alice delivered an absolutely monumental, career-defining performance, marking their fifth triumphant time gracing the fields of Worthy Farm. Three years on from their last Pyramid Stage appearance, where they famously made it to the festival by the skin of their teeth after a nightmare flight delay, and a decade on from their debut album, the band returned stronger, tighter, and more formidable than ever. This time, they claimed the highly prestigious penultimate slot on the Other Stage on Sunday evening, just before electro-punks The Prodigy, drawing a massive, fiercely devoted crowd that stretched back as far as the eye could see.

Each successive studio album has propelled Wolf Alice higher up festival lineups, giving the four-piece the creative space to evolve, experiment, and cement their reputation as one of the most versatile live acts of their generation. With their highly anticipated fourth studio album, 'The Clearing', on the horizon, this spectacular set felt like the thrilling dawn of a brand-new creative era

They opened the night with a ferocious performance of 'Formidable Cool' from their Mercury Prize-winning second album, 'Visions of a Life'. The gritty, bass-heavy grunge track allowed frontwoman Ellie Rowsell to showcase her incredible vocal range right from the first note, shifting effortlessly from a spoken-word whisper to a guttural scream, blowing the audience away instantly. The hazy indie-pop of 'Delicious Things' followed immediately, its dream-pop, shoegaze textures tailor-made for a balmy Sunday festival evening. 

Another 'Blue Weekend' masterpiece, 'How Can I Make It OK?', came next. Despite a few endearing, visibly nervous mid-song glances from Rowsell, the performance soared to staggering heights. Her voice, completely drenched in raw emotion, carried the synth-driven melody beautifully. Rowsell has fully grown into her role as a commanding, enigmatic frontwoman, and tonight she was more electrifying than ever. 

In a brilliant mid-set twist, the band completely surprised the audience by launching into a stunning, guitar-driven cover of Fleetwood Mac’s 'Dreams'. It went down an absolute storm with the Other Stage faithful, providing a communal singalong that perfectly primed the field for the home stretch.

The fuse was officially lit when they debuted their bombastic new single, 'Bloom Baby Bloom'. It stands as one of the most explosive, stadium-ready songs the band has ever written, sparking instant mosh pits and sending dozens of fans straight onto their friends’ shoulders. That wave of euphoric energy flowed seamlessly into 'Bros', their classic indie anthem celebrating friendship. Now celebrating its tenth anniversary, the track has soundtracked countless real-world friendships over the decade, and tonight it added thousands more to the history books.

In the days leading up to the festival, bassist Theo Ellis had taken to Instagram to express how impressed he always was by other bands' crowds lighting flares, openly hoping to see the same visual spectacle during their own set. The Glastonbury crowd understood the assignment perfectly. Right as the soaring chorus of 'Bros' kicked in, thick plumes of multicoloured smoke rose gracefully into the night sky. Spotting the display from the stage, a beaming Ellis stepped up to his microphone to declare, “Whoever got the memo about the flares, I love you.

The cinematic masterpiece 'Don’t Delete the Kisses' brought the evening to a magical, deeply emotional close. Rowsell’s spoken-word verses and vulnerable lyrics took centre stage, beautifully heightened by the striking sight of over 40,000 festival-goers throwing their arms around friends and partners. With flares illuminating the dark Somerset sky and a sea of fans perched on shoulders, the entire field sang the iconic line, 'I see the sign in the suburbs', in perfect unison. This was not a moment of nostalgia or desperation, but one of pure, unadulterated celebration. It was a definitive, timeless Glastonbury moment where every single person felt connected to something much bigger than themselves.

It is safe to assume that the next time they grace Worthy Farm, they will finally take their rightful place at the very top of the bill. Michael, Emily, you know exactly what to do.

Sunday night on the Park Stage brought a deeply emotional, historic homecoming. A mere 12 months prior, the idea of The Maccabees sharing a stage seemed like a distant, impossible memory. Their sudden breakup in 2016 felt absolute, and all five bandmates had spent the intervening years immersing themselves in separate creative avenues. However, nine months ago, the indie icons shocked the music world by announcing a formal reunion, anchored by a massive upcoming headline slot at London's All Points East festival. Before tackling that milestone, there was the small matter of returning to Worthy Farm.

Following an intimate, secret charity gig and a brief string of European warm-up shows, they were handed the prestigious task of headlining The Park Stage on the final night of the weekend. A heaving, multi-generational crowd packed the natural hillside amphitheatre, ready to welcome them back with open arms as they prepared to close out the festival.

The band wasted absolutely no time in setting the field alight, opening their set with the erratic, playful rhythms of 'Latchmere' before diving straight into the punky, high-octane rush of 'Lego'. “Hey, Glastonbury, guess what? We’re The Maccabees!” announced a beaming guitarist Felix White. It was a fact obvious to everyone standing on the hill, but hearing those words spoken aloud in 2025 sent a tangible bolt of electricity through the crowd. Following a blistering, ferocious rendition of 'No Kind Words', the band paused to look at the massive turnout. White reflected on the anxiety of the comeback, noting how it takes a long time to hold your nerve, to keep believing in a band, and then to finally climb a hill just to find out if your faith was justified.

The evening quickly cemented itself as one of the most genuinely euphoric shows of the band's career. There are few sights in British indie rock more joyful than watching Felix White grin from ear to ear, pacing the stage and hyping up the crowd between songs. Frontman Orlando Weeks looked equally transformed, appearing happier and more relaxed than ever before, frequently joining his bandmates in geeing up the audience and looking visually overwhelmed by the reception.

The 17-song setlist felt expertly tailored for a golden-hour festival slot. 'Marks To Prove It' burst into life driven by White’s signature, searing opening scream, while the delicate chords of 'Toothpaste Kisses' sounded sweeter, quieter, and more tender than ever before. Tracks like 'Spit It Out' and the triumphant 'Something Like Happiness' rolled gracefully across the hillside, their emotional weight magnified significantly as the sun sank behind the trees. The latter track carried a particularly heavy resonance for long-time fans; during their original farewell run, it had marked the beginning of the end. Tonight, it felt like a vibrant, permanent new start.

The absolute pinnacle of the night arrived just before the encore when the band revealed a massive surprise, inviting their longtime friend and superstar collaborator Florence Welch of Florence + The Machine onto the stage. Together, they delivered a breathtaking performance of 'Love You Better' before pivoting into an earth-shattering cover of Florence's own anthem, 'Dog Days Are Over'. “Do we have any Maccabees super-fans in the audience?” Welch shouted to the ecstatic crowd. “Because you definitely have one standing right here on stage

A soaring, celebratory rendition of 'Pelican' brought the historic performance to a close, and it felt as though it ended far too soon. It stood out as one of the undisputed best sets of the entire weekend. After being away for nearly a decade, their time on stage felt fleeting, beautifully raw, and completely perfect.

Olivia Rodrigo commanded the Pyramid Stage as the Sunday night headliner, delivering an absolute triumph of a performance. Glastonbury handed her an incredibly difficult task, as closing out the main stage directly before a scheduled fallow year comes with immense pressure. Add to that the fact that she is only 22 years old and making just her second-ever appearance at Worthy Farm, and the stakes could not have been higher. Yet, she pulled it off with breathtaking precision, making a historic milestone look completely effortless. The next artists lined up to headline in 2027 had better start planning their sets immediately if they have any hope of topping this.

She pulled what was visibly the largest, most tightly packed crowd of all three Pyramid Stage headliners that weekend, running through the absolute best show of her career. The multi-Grammy winner masterfully navigated a starkly dynamic setlist, flipping seamlessly from the blistering pop-punk fury of 'brutal' and 'all-american bitch' to deeply vulnerable, intimate spaces. When she sat down at the piano for 'drivers license', one of the most heartfelt and tender breakup anthems ever written, she performed it with a raw intensity that let her authentic emotions shine through, echoing across the entire field.

The California songwriter has always proudly worn her alternative rock influences on her sleeve. Having surprisingly covered 'I Love You' by Irish post-punk heroes Fontaines D.C. during her Dublin warm-up shows just days prior, many fans suspected she might have another alt-rock cover prepared for Somerset. However, Rodrigo is not one to do things by halves. Stepping up to the microphone, she introduced her special guest as "probably the greatest songwriter to come out of England," sending shockwaves through the crowd as The Cure frontman Robert Smith took to the stage. Together, they delivered unforgettable, generation-spanning duets of timeless classics 'Friday I’m in Love' and 'Just Like Heaven'. The atmosphere was completely electric, proving that closing out Glastonbury in absolute style is something the godfather of goth knows plenty about. 

As seen in the image, Rodrigo performed with a fierce, captivating physical energy, completely dominating the massive stage alongside her phenomenal, all-female backing band. Every single musician added a sharp, vital edge to the arrangements, easily winning over the remaining naysayers in the audience and converting thousands of new fans in the process. The crowd in the field was instantly gripped, and those watching the live broadcast at home soon followed. 

One of the most endearing moments of the night highlighted Rodrigo's genuine love for British culture, arriving just before a jubilant performance of 'So American'. Pausing to chat with the crowd, she expressed her deep appreciation for traditional British pubs, laughing about how "no one judges you for having a pint at lunchtime," before professing her absolute obsession with the Marks & Spencer confectionery legend, Colin the Caterpillar.

The entire production was beautifully loud, brash, and brilliant from start to finish. Anchored by immense vocals, stadium-sized riffs, and a perfect appreciation for British musical heritage, this headline slot will easily be remembered as a definitive moment in Glastonbury history.

After Glastonbury, all eyes were set on Cardiff. More on that in part three.