Primavera Sound 2025: A week where music came first.
© Silvia Villar
This year’s Primavera Sound felt very different from previous editions, in the best way possible. With Charli, Sabrina, and Chappell headlining across the 5th - 7th June, the hype was real with people flying in to Barcelona from all over the world. The festival reported its highest ever number of international attendees, which makes complete sense considering the size of the acts they booked. Each day built up to one of those massive headline sets, but it wasn’t just about the big names. The festival still managed to offer a real range of genres and artists on stages like Cupra Pulse, The Levi’s Warehouse, Schwarzkopf and Trainline. There was always something to stumble across, which made the whole weekend feel packed but still full of surprises.
It was definitely one of the busiest editions in recent years — hectic, sweaty (👀), and slightly overwhelming at times — but overall, it was as memorable as always. I’ll be breaking down what we saw across the three days, who stood out, and what the energy was like at Primavera Sound 2025.
Day one
Thursday kicked off hot. The sun was out, temperatures well into the twenties, and the festival was already full of atmosphere by the time we arrived. AMORE opened things up nicely with a set that pulled a big Spanish crowd. We then headed over to see beabadoobee, who’s stage presence has really grown in the past few years. The set felt fun and confident, and she genuinely looked happy to be there with her band. A real highlight was “I Wish I Was Stephen Malkmus,” which went down really well with the crowd. The new material from her latest album This Is How Tomorrow Moves also landed beautifully, with fans screaming the words to “Real Man” and “Ever Seen”. You could tell the performance meant a lot to the band. Afterwards, we stuck around the main stage for IDLES, who got the whole crowd invested in their post-punk chaos.
Then came the performance I’d been looking forward to the most: FKA Twigs. After being on the lineup for three years and cancelling the past two, it finally happened, and it was huge. Her set was split into three acts, each with its own story, choreography, and costume changes. Act One was called The Practice, followed by State of Being, and finally The Pinnacle. Each part felt carefully thought out, with its own pace and visuals.
© Clara Orozco
She opened with “Perfect Stranger,” then moved into “Room of Falls” and “Striptease.” The choreography was sharp, and the production was detailed. At one point, she performed an entire routine on a pole. Later, she did a sword performance that felt like something from a film. It really just proved that no one else is performing on her level at the moment.
The middle section focused on Caprisongs, with tracks like “Oh My Love,” “Honda,” and “Papi Bones.” The crowd knew every word and went wild. That album never got a full tour, so hearing those songs live with the full treatment made it feel so special. Twigs had the energy of a headliner, even though she wasn’t billed as one.
The final act slowed things right down. She opened the act with “Home With You” and ended with “Cellophane,” both performed with just her voice and minimal backing. You could feel the emotion in every word. No shouting from the crowd, no distractions, just her voice carrying across the festival. It was so intense, and like one of those rare live music moments where the whole crowd is completely present. This set was easily the standout of the whole weekend for me, and I’m so glad that Primavera got to finally bring the Eusexua show to Barcelona.
After Jamie XX it was time for Charli and Troye’s Europe exclusive SWEAT show. The crowd was absolutely buzzing for this one, and people had travelled from all over for it. The amount of brat merch in the crowd was unreal. It also happened to be Troye’s 30th birthday, which added so much more excitement. They took turns on stage, moving between Charli’s “Von Dutch” and “365” and Troye’s “Got Me Started” and “My My My.” Chappell Roan made a surprise appearance for the Apple dance, and the crowd went wild.
© Henry Redcliffe
That said, their sets were very similar to what they each did at Primavera last year. I was hoping for something extra, given it was billed as a Europe exclusive, but it felt a bit like a repeat in places. Still, the crowd loved every minute, and it was great fun to be there. I finished the night at 4.30am with The Dare, who had a full crowd and loads of energy. His music works so well in that late-night, slightly unhinged festival slot. The organisers got the timing spot on.
Day two
After the excitement of the first day, we took things a little slower on Friday. The sun was still out, spirits high, but the pace was a bit more manageable. We started off by catching a bit of Feeble Little Horse on the main stage. I only caught a short part of their set, but they had a really cool presence. Next up was YOASOBI, the Japanese pop duo, playing over at the Revolut stage. Their set design was amazing, full of colour, castles, and dragons. Even though a lot of the crowd didn’t know the songs, they had everyone up dancing and smiling. The energy was just infectious, and they were honestly such a sweet surprise to catch live.
Then it was time for one of the big ones: Wolf Alice. I’ve seen them quite a few times now and they never disappoint. In my opinion, they’re still one of the best live bands around. No backing tracks, no extra fluff, just them doing what they do best. Ellie’s vocals were flawless as always!
© Sergio Albert
They played new material, including “Bloom Baby Bloom” which has already become a fan favourite, and an unreleased track called “The Sofa” from their upcoming album The Clearing. It was a proper ballad, emotional and raw, the kind of song they do so well at. They also gave us “Giant Peach”, “Silk”, “The Last Man on Earth” and closed with “Don’t Delete the Kisses”, which was such a special moment. Everyone was singing every word. That song means so much to me and hearing the whole crowd singing it back made me so grateful to be there in that feeling with everyone else. I’m always so thankful to Wolf Alice for the amount of memories they’ve allowed me to make with my best friends.
After that high, we went straight into HAIM, who were on top form. They played tracks from their upcoming album I Quit. During the song “Relationships”, messages from fans flashed up on screen with reasons they’d ended relationships; some funny, some brutal. It was such a fun way to pull the crowd in and had everyone laughing and reacting together. Their chemistry is always spot on and they clearly just love performing together.
Next, we headed over to the Trainline stage for Fcukers, who I’d been really looking forward to. Their EP Baggy$$ was one of my favourites last year, and it’s fair to say the live set more than delivered. They had a full band, with shouty vocals, and heavy bass.“UMPA” was a highlight, the bass literally vibrated through the crowd. The stage was packed, right back to the edge of the Schwarzkopf stage behind it, which says a lot for an upcoming act.
And then it was time for Sabrina Carpenter. The main stage was absolutely rammed for her set. She looked unreal, the styling, the choreography, the stage visuals; it was all so polished. Her vocals were good, but at times a little too quiet, which was a shame given how big the crowd was. There was a lot of talking between songs, and while that added some charm, it occasionally slowed the momentum. Still, considering how fast she’s been thrown into the spotlight, it was a strong set. She clearly has more room to grow as a live performer, but this was a step in the right direction.
We ended the night with Wet Leg at Cupra. The stage was packed and the entire amphitheatre was full: people sat… standing… everywhere. You couldn’t even get in from the side entrance. They brought exactly the kind of energy you want at the end of a long festival day. Newer tracks like “Catch These Fists” and “CPR” went off, and it all felt like a perfect teaser for the new album moisturizer out on July 11th. Wet Leg is a band that just lets you enjoy yourself - there’s nothing too serious, just fun.
Day three
I kicked off the final day with Black Country, New Road, one of my favourite bands. They played a set from their recent album Forever Howlong, and for a few of the tracks it was my first time hearing them live. “Two Horses” was a standout, which I first heard back on their Live at Bush Hall tour. It was great to see how the song’s grown now that it’s been out for a while, the whole crowd knew the lyrics, and the ending hit as hard as it did the first time I heard it.
The thing with BCNR is that every single member is just insanely talented. They all switched between instruments like it was second nature — one moment playing keys, then all suddenly pulling out a bass recorder playing a song in unison. Everything felt so effortless. They’re clearly fully settled into this new era of the band, and their creativity as a group really shines through. I can’t wait to always support what comes next for them.
© Sergio Albert
From there, I headed to the main stage for Fontaines D.C., who had a huge crowd. Grian’s vocals sounded great, and “Favourite” was a highlight for me, one of my top tracks of the past year. The band continued to show their solidarity with Palestine, projecting the message, “Israel is committing genocide, use your voice.” This was a message that was prevalent throughout the festival, with Primavera solidifying itself as a festival not afraid to be loud about its values.
And then it was time. Chappell Roan, 10pm on the Estrella Damm stage. Quite early for a headline slot, but it worked. The whole main stage area was full. We somehow managed to get right up near the front, just by the second screen, and it honestly felt surreal to be that close. She was unbelievable. Vocals, stage presence, energy — no one else is doing it quite like her right now. What stood out most was how completely self-assured she is. Even though her rise has been quick, it’s clear she’s always known who she is and what she wants her music to represent. She doesn’t hold back, she just fully owns it.
© Clara Orozco
“My Kink is Karma” and “Red Wine Supernova” were both incredible, but “Pink Pony Club” is what truly did it for the crowd. The videos of that song performed at Primavera have already gone viral for good reason, it was just unreal. Everyone around us was shouting every word. Watching that happen in Barcelona, with the sea just behind us, felt so special and we were lucky to witness it.
Then we headed to Confidence Man. I’ve seen them before in the UK, and they were just as chaotic and brilliant as ever. Their music on its own might come off as quite cringey, but live, with the dances and the ridiculous energy, it just works. It’s camp and it’s completely over the top in the best way. They were exactly what Primavera needed at 2am on the final night.
We stayed at the Amazon Music Stage for one of our most anticipated sets of the whole weekend, Turnstile. They’ve just released their new album NEVER ENOUGH, and I’ve been obsessed with all the singles — “Seeing Stars,” “Birds,” “Never Enough.” Clearly so had the rest of the crowd. Their visuals were some of my favourites of the entire festival. The set opened with a slowed-down, ballad-style version of “Never Enough” over a backdrop of soft wave sounds. As soon as the tempo kicked in, the mosh pits started, and I don’t think they stopped for the whole set. I’m really hoping their new concept film for the album makes its way to UK cinemas. If the live set was anything to go by, the film is going to be just as bold and creative.
We finished the night — like what felt like the rest of the entire festival — at the Danny L Harle DJ set. It was a very different vibe from last year’s big festival closer, which was full of cheesy singalongs. This time, it leaned more niche, more experimental, but still with moments that hit hard. A highlight for me was hearing Oklou’s “Harvest Sky” — everyone around us screamed when it came on. It was one of those tracks you didn’t expect to hear but were so glad you did. There was definitely a feeling that we wished Oklou herself had been on the Primavera lineup this year, but fingers crossed she’ll make her return next year.
