PHOTOGRAPHY Courtesy of Roskilde Festival
Roskilde Festival 2025 closed its sold-out edition with a sense of purpose that few festivals even attempt to reach. Across eight days of music, art, and collective energy, the legendary Danish festival proved once again that it’s not just a celebration of sound, but a space where art and activism collide, sparking something far deeper than entertainment.
For a festival camping virgin like myself, this couldn’t have been a more suitable initiation to the practice: with over 100,000 attendees, a lineup that pulled from 45 countries and every imaginable genre, tipsy 3am walks back to our tents, and copious amounts of beer, this year’s edition was nothing short of massive.
The world-renowned Orange Scene was graced by this year’s most iconic artists, most notably starting off with Irish post-punk favourites Fontaines D.C.. On Wednesday, the band performed their monumental set and invited Palestinian activists on stage, handing them the mic and the spotlight. The crowd erupted in support as the activists led chants in Arabic, calling for solidarity and justice. In a world where political gestures from artists often feel rehearsed or tokenistic, this was nothing short of a formidable, genuine, and deeply charged call to action.
Shortly after, Wet Leg lit up the Arena with high-energy, punk-infused indie, as frontwoman Rhian Teasdale stormed the stage with sultry prowess, owning every groove and lyric, exceeding expectations and making us shamelessly crave their upcoming release, Moisturizer. Live highlights like audience screams at ‘Ur Mum’ became a shared and freeing release.
The same night, at 10:45 PM, the eagerly awaited headliner Charli XCX delivered what many are calling the performance of the festival. As the rain started pouring midway through her set, what could’ve been a disruption turned into pure brat magic. After a thrilling appearance by beloved singer-songwriter Conan Gray during ‘Apple’, drenched crowds screamed lyrics into the storm as Charli leaned fully into the chaos, her glitch-pop anthems bouncing off sheets of rain and waves of wet bodies, making for a cathartic, cinematic, and utterly euphoric experience.
Last on the Wednesday schedule for us was Swedish emotional rave-pop artist Yaeger, who kept the post‑Charli energy alive. Taking to Eos at midnight, she delivered a euphoric blend of hard‑pumping beats and sweet melodies. Channelling a seamless blend of dancefloor euphoria and sentiment-filled lyrics, her set extended the night’s energy with electrifying rave-pop hooks.
After an unquestionably inadequate amount of sleep, our Thursday mood was brilliantly lifted during Thee Sacred Souls’ mesmerising afternoon set, with their sweet fusion sound and lead singer Josh Lane’s satin vocals alleviating our headaches and making the crowd smoothly sway left to right to timeless ‘Will I See You Again?’ and ‘Love Is The Way’.
As we quickly realised that not bringing a rain jacket with us from London was going to be a fatal mistake and further damage our festival-weakened immune system, we took advantage of Roskilde’s commitment to circular fashion and its second-hand and vintage stalls and bought some much-needed rain coats. Meanwhile, the Remerch stall, in collaboration with Copenhagen Merch Studio and The Nest Collective, turned discarded Danish textiles into fresh festival gear, with visitors given the option to screenprint designs themselves.
British indie and bedroom pop princess Beabadoobe brought a welcome moment of softness and introspection, her shimmering indie-rock soundscapes and diaristic lyrics resonating especially well with familiar fans seeking something more intimate. At the Arena stage, FKA Twigs’ mesmerising performance blurred the lines between concert, ritual and contemporary dance. Aerial pole choreography, dreamlike visuals, and her genre-defying sound made for one of the most captivating sets of the festival.
Saint Levant took to the Eos stage on Friday, delivering an emotional and richly textured performance that seamlessly blended the personal and political. Hailing from Gaza with a layered heritage of French-Algerian and Serbian-Palestinian roots with lyrics in Arabic, French, and English, his sound gives birth to a united heartfelt storytelling with urgent commentary on exile and resilience.
The Orange Scene highlights of the day included Floridian swamp princess Doechii’s classroom-themed set, kicking off with trusted sidekick DJ Miss Milan taking attendance amongst the dancers. The performance was a masterclass in genre-bending, blending hip-hop, R&B, punk, and pop into something entirely her own. Bursting onto the stage with wild choreography and an unapologetic attitude, she had the crowd in her grip from the first beat.
On the mainstage, Olivia Rodrigo proved herself a worthy headliner once again after her sensational closing set at Glastonbury. Balancing raw ballads with explosive pop-punk anthems, the 22 year-old moved effortlessly between vulnerability and fury, as the audience was drawn into a collective tearjerker moments during ‘traitor’ and ‘favourite crime,’ and full-throated emotional releases during ‘all-american bitch’ and ‘good 4 u’. Whether you were crying quietly in the back or screaming along in the front, she reminded everyone of our inner teenager, and gave us all permission to feel it all.
The last day’s highlights included a stunning performance by London favourite Rachel Chinouriri, who brought an early-afternoon punch to Arena, mixing Britpop with deeply personal lyricism, while Chicago-born Ravyn Lenae took the Avalon tent armed with a unique blend of warm soul, jazz, indie-rock, and a super chic sailor hat, delivering a set that felt simultaneously intimate and expansive.
After last year’s cancellation, Tyla made up for lost time as the last Roskilde headliner, bringing her signature enchanting Amapiano energy that got the soaked crowd fully hooked. With flashing neon fringes, caution-tape decor, and a mid-set shoe swap, her bold outfit choices brought us straight back to 2016, as raindrops clung to her infinitely long braided hair.
Around 2 AM, pretty much every Roskilde attendant rushed to the Apollo stage to catch hyperpop architect A.G. Cook’s closing set, which genuinely felt like a spiritual experience. Leading a sonic journey through nostalgic synths, club-ready beats, and glitch-pop anthems, the PC music founder masterfully put together an energetic tour de force, blending romantic introspection with rave chaos.
Away from the music, Roskilde continued to thrive as a hub of activism and sustainable creativity. Installations by Jesse Darling, Julie Nymann and the Nest Collective asked hard questions about consumerism, climate and inclusivity. Panels and art projects blurred the lines between entertainment and social engagement, offering spaces to challenge and reimagine. Roskilde’s unique nonprofit mission remains a beacon. All profits support youth-focused causes, and everything is driven by 30,000 volunteers. It’s a model that proves a festival can ignite real-world impact, not just fleeting excitement.
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