Splendour Festival 2025
Wollaton Park, Nottingham - 20/07/25
Splendour Festival
After taking a break in 2024, Splendour Festival, one of the UK's most beloved festivals, returned to Nottingham’s picturesque Wollaton Park this past weekend. The two-day event brought some of the biggest names in pop, rock and indie music to the grounds of Wollaton Hall, with over 50,000 festival-goers joining in with the fun across the weekend. However, the appeal of Splendour goes well beyond the brilliant live music. It is a celebration of culture and community which has led to a distinct, vibrant atmosphere being created that only Splendour can provide. The opening night of the festival was headlined by the iconic Bloc Party, who celebrated the 20th anniversary of their groundbreaking debut album Silent Alarm by playing it in full, alongside a number of their greatest hits from other records. Alongside Bloc Party at the top of the bill was hometown hero and Splendour alumni Jake Bugg, who brought his huge indie-folk hits to an adoring audience. The line-up was then completed by other exciting acts like electronic-pop titans, Clean Bandit, the timeless hits of Natasha Bedingfield and the ever-engaging Elvana.
With the dust having settled on Saturday's fun, Sunday would usher in a day more focused around the indie-rock side of the festival, with an arguably even bigger line-up of world-class talents taking to the park. Despite the threat (and eventual delivery) of stormy weather, the Nottingham faithful turned out in their masses to experience the one-of-a-king experience that Splendour Festival offers.
Kaiser Chiefs
It was indie-rock royalty Kaiser Chiefs who had the honour of headlining Splendour's Sunday night, overcoming the wave of chaos that unravelled before their set to deliver a barnstorming performance crammed full of feel-good hits to send everyone happy. Despite taking to the stage nearly forty minutes later than originally planned due to a storm-induced delay, the Leeds rockers managed to have the crowd already back on side before they even took to the stage due to a humorous introduction video starring Leigh Francis impersonating the character of John Hammond from Jurassic Park. The video set the scene for what should have been a celebratory show for the 20th anniversary of Kaiser Chiefs' seminal debut album 'Employment', which they originally planned to play in full on the night. Unfortunately, due to the delay, a few songs had to be cut from the slightly shortened set, meaning this would not be possible. However, there were still plenty of tracks from 'Employment' showcased alongside several of their most iconic hits from across the rest of their catalogue.
When the video ended, Kaiser Chiefs stepped onto the stage to rapturous applause from a crowd who were not only filled with excitement, not only for the headline set, but also thankful that, through the efforts of the stage crew, the show could go ahead at all. It was a riotous rendition of 'Na Na Na Na Naa' that kicked the set off, beginning a string of 'Employment' tracks, which also featured other fan favourites such as 'Everyday I Love You Less and Less' and 'Modern Way'. It’s testament to the sheer depth of Kaiser Chiefs’ discography that they can roll out so many big songs early, while still keeping a stack of anthems in reserve for the rest of the set. However, one of the most memorable moments early in the set didn’t come from a Kaiser Chiefs song, instead arriving when the Chiefs were joined on stage by their backing band...who also happen to go by the name Travis. After having their set cut short earlier, ironically due to stormy weather, the Scottish group would join Kaiser Chiefs on stage for a crowd-pleasing cross-band rendition of 'Why Does It Always Rain On Me?'. Whilst both Travis' and Kaiser Chiefs' sets were more than sensational on their own, this coming together had a real I was there feel about it.
Choosing a headliner for a family-friendly festival that attracts such a diverse crowd is no easy task, but Splendour nailed it with Kaiser Chiefs. Every member of the band pours their heart into each performance, a passion that felt even more palpable on Sunday night given the chaos that came before. This wasn’t just a headline set, it was a defiant celebration of the positive power of music, no matter the circumstances. Anthems like 'The Angry Mob' and 'Oh My God' ignited some of the most joyous singalongs I’ve ever witnessed, led by Ricky Wilson’s masterful stage presence. I’ve always said Kaiser Chiefs are a must-see live act, but this performance was something truly special.
Travis
It was Scottish post-britpop band Travis who would play the penultimate set on the main stage, delivering a euphoric performance that kept the crowd in high spirits, even as the rain started to fall. That was until the set was until their set was unfortunately cut short due to a storm hitting the Wollaton Park site. Whilst both the band and festival staff dealt with this in an extremely professional manner, there was still a noticeable disappointment amongst the crowd, enhanced by just how brilliant Travis had been before their set had to stop. After opening their set with an impressive performance of 'Bus' from last year's stellar album 'L.A. Times', Travis would swiftly kick into 'Driftwood', a recognisable classic that helped the crowd find their voice.
Much like Travis' studio releases, this set managed to encompass the full range of human emotions. Jubilant singalongs to the likes of 'Side' and 'Sing' were intertwined amongst "F**k You" songs like 'Gaslight'. In between the joy and anger-themed songs came one of the day’s most poignant moments, the performance of Closer. Prior to starting the song, lead singer Fran Healy spoke about how love between humans can be so strong that you can almost love someone into existence, with that person making you feel a kind of love no one else can. For Fran, that person was his grandad, but he also encouraged everyone in attendance to think of their own person before delivering a truly heartwarming version of 'Closer'.
Despite the premature ending, Travis delivered a set full of heartfelt connection and undeniable energy, leaving the crowd eager for more. Their ability to balance intimate moments with soaring choruses ensured the performance resonated deeply, even as the storm moved in. This glimpse of the band’s live strength at Splendour reinforced why they remain a beloved fixture in the UK music scene, and would be a worthy headliner of this, and any other, festival.
Levellers
Levellers brought their unmistakable blend of folk-rock energy and fiery storytelling to the Confetti Stage with a rousing performance that will live long on the memory. Stage changeovers between sets at a festival are often chaotic affairs, but with as many members as the Levellers have, the list of tasks to be completed is drastically heightened. Because of this, despite the extremely impressive efforts of the band and festival's crew, the Levellers came on a few minutes late; and it really was just a few minutes. Yet the moment it was possible, every member stormed the stage as if their time was running out, ferociously slinging on their instruments before kicking straight into a thunderous version of 'The Riverflow', without skipping a beat. It was a striking start to the set, leaving no room for anything but pure unstoppable energy, setting the tone for what was to come. As many hits as possible, being played in the most formidable manner.
The mixing of the levellers' set was every bit as remarkable as the performance itself, with fiddles, guitars, mandolins, didgeridoos, and a whole other array of instruments weaving together into a folk-driven symphony of energy that you couldn’t help but dance to. The Levellers drew by far the biggest crowd at the Confetti Stage, with all in attendance up on their feet, moving and clapping along to each beat. The energy radiating from the audience was matched by every musician on stage, their palpable chemistry shining through every note. Their ability to shift seamlessly from heartfelt to high-octane moments was awe-inspiring, adding to what makes Levellers such a compelling live act.
By the time set closers 'Beautiful Day' and 'Liberty Song' came to an end, it was clear everyone surrounding the Confetti stage had just witnessed something truly special, having watched this masterclass in how to work a festival crowd. The Levellers perfectly balanced their infectious energy with moments of sincerity, a combination that proves the Levellers should absolutely be on the main stage next time they perform at Splendour.
Sophie Ellis-Bextor
Back on the main stage, Sophie Ellis-Bextor, and her incredibly talented live band, brought pure disco fever, turning Wollaton Park into one giant dancefloor. On a day dominated by indie-rock bands, Ellis-Bextor delivered an uplifting burst of pop music that was warmly embraced by the Splendour faithful, with it being clear from the very first beat that this would be a highlight of the afternoon. Sophie's live vocals are phenomenal, sounding stunningly close to her polished studio sound, enriched with an infectious live energy that made the performance unforgettable.
Set openers 'Relentless Love' and 'Get Over You' had the crowd instantly hooked, with hands in the air and bodies moving in unison under a rare spot of sunlight. However, even when the rain began to fall late in the set, it wasn’t enough to stop the party. Sophie joked she’d come prepared in her swimsuit just in case, keeping spirits high and the atmosphere electric. Regardless of the weather, Ellis-Bextor's captivating stage presence was impossible to ignore, gliding energetically across the stage, dancing with the crowd and drawing strength from their excitement. Each track flowed seamlessly into the next, with the band’s tight, vibrant performance elevating every moment. Highlights like 'Heartbreak (Make Me a Dancer)' and the unforgettable 'Murder on the Dancefloor' brought a high-octane feeling that had the crowd’s spirits soaring right until the final note.
The Fratellis
The Fratellis hit the Splendour main stage with that swaggering Glasgow bounce they have become so loved for. The band’s three core members, Barry, Mince, and Jon Fratelli, were greeted with thunderous applause as they took to the stage, with the latter ditching his trademark hat in favour of a bandanna that matched the loosened, summer-set mood of Splendour. The Fratellis are joined on stage by a punchy brass section and soulful backing singers who gave everything a widescreen, festival-scale lift, turning the three-piece's traditional brand of gritty indie music into a vibrant, brass-infused spectacle of harmonious excellence.
A huge crowd had already gathered, ready to see The Fratellis come out swinging with one of their biggest hits, “Henrietta,” which immediately got the Nottingham audience on board. But it was actually the band’s infamous cover of “Yes Sir, I Can Boogie” a few songs later that truly ignited the party atmosphere, a vibe that carried straight into the next track, “Whistle for the Choir.” The singalong to that chorus was easily the loudest of the day by far, and even by the night’s end, it remained one of the most thunderous moments.
In a tight 45-minute slot packed with hits, the band squeezed in as many songs as possible, firing on all cylinders throughout. Lead singer Jon roamed the stage, sharing smiles with the crowd, pouring every ounce of energy back at them. But with The Fratellis on a festival stage, there was only one way this could end. 'Chelsea Dagger' detonated like a terrace chant gone technicolour, brass blasting, drums battering, thousands of voices “da-da-da”-ing in glorious unison. It was the kind of mass shout-along that reminds you why these hooks still own festival fields years on: big tunes, bigger grins, and a band clearly having as much fun as the people singing them back.
Remember Monday
It has been over two years since I last had the pleasure of seeing Remember Monday live, a performance I described at the time as "everything feel-good music should be." In the time since, the trio have taken their career to soaring new heights — committing to music full-time, releasing their second EP Crazy Anyway, and stepping onto some of the world’s biggest stages, from The Jennifer Hudson Show to representing the UK at Eurovision 2025. All of this experience meant that the Remember Monday who stepped onto the Confetti Stage felt like a more refined, confident, and battle-tested version of the act I saw back in 2023. That’s not to say they’ve lost what made them so special in the first place. Their infectious chemistry remains as radiant as ever, now strengthened by a tighter bond forged through everything they’ve achieved together.
During the set, Remember Monday admitted they were genuinely convinced that no one would turn up for their performance — which must have made the sight of a packed Confetti Stage all the more gratifying. It’s a true testament to the connection their heartfelt and relatable songwriting has with audiences, something that was immediately evident from the warm reception to their opening track, “What the Girls Bathroom Is For.” After a smooth transition into “Who You Are,” the trio playfully joked about being a heavy metal band, encouraging the crowd to throw up rock signs before launching into a spellbinding cover medley of Sabrina Carpenter’s “Please Please Please” and Chappell Roan’s “Pink Pony Club.” While covers, especially when delivered with such flair, are a surefire way to hook new listeners, it was Remember Monday’s original music that truly stole the show. Their set closer and Eurovision hit, “What The Hell Just Happened?” sparked the expected roar of approval, but for me, the standout moment came with their unreleased track “Happier,” set for release this Friday, July 25th. It feels like the perfect single to usher in a bold new chapter for Remember Monday, one that will undoubtedly see their devoted fanbase continue to grow.
Kezia Gill
Kezia Gill brought a fiery burst of country rock to the Splendour main stage, proving that homegrown talent can shine every bit as brightly as the headliners. Hailing from Long Eaton, living in Derby, and proudly declaring during her set that her passport says “Nottingham,” this was a true homecoming moment, with the crowd treating Kezia like one of their own from the moment she stepped on stage. Over the last few years, she has rightfully earned acclaim from country music fans on both sides of the Atlantic, so to see her take centre stage on a mixed-genre platform as big as Splendour and deliver a spellbinding set felt like a genuine triumph.
With tracks like 'Whiskey Over Ice' and 'Country Song' on display. Kezia more than showcased not just her vocal range but her knack for writing authentic, relatable anthems that connect instantly with audiences. Her voice was phenomenal live, rich, soulful, and effortlessly commanding, backed up perfectly by her deeply talented live band. With her family wholesomely watching on in the audience, Kezia delivered a set filled with raw talent, heartfelt warmth, and an easy rapport with the crowd that underlines why she’s fast becoming a staple on the UK festival circuit. She didn’t just bring country rock to Nottingham, she owned it, delivering a performance that balanced fiery passion with heartfelt warmth, leaving no doubts that Kezia Gill belongs on stages this size.
Tom A. Smith
Another artist I've had the pleasure of previously reviewing is indie upcomer Tom A. Smith, who I first saw supporting indie icons Hard-Fi at the back end of 2023. Tom was only 19 at the time, but absolutely stole the show that night. Two years later he finds himself climbing up festival cards all over the country, including this highly anticipated slot on Splendour's Bodega stage. The Tom that took to the stage Sunday night still possesses all the raw talent and captivating stage presence of the artist I saw two years ago, but now possesses an even more commanding presence and evolved artistry. A feat made even more impressive given that he is still only 21 years of age.
The courtyard around the Bodega stage was packed to the brim with eager festival-goers, all wanting to witness one of the UK’s most promising future stars in his natural element, centre stage, backed by his incredible live band. Throughout the set, Tom’s chemistry with his bandmates was clear, particularly with bassist Katie Anderson, whose steady grooves perfectly underpinned the emotional highs and lows of the performance. The four-piece's seamless musical interplay added depth and texture to every song, elevating the live experience and highlighting the tight bond between the musicians.
As the set progressed, “I Don’t Want You to Have to Remember Me for Longer Than You Ever Knew Me” showcased Tom’s remarkable ability to convey vulnerability without losing control or strength. His voice soared with nuanced emotion, effortlessly pulling the crowd into the song’s bittersweet narrative. Accompanied by delicate guitar work, the live rendition was even more affecting than the recorded version, further highlighting his gift for live performance.
Leah Wilcox
One of the sets I was most excited for heading into Splendour Festival was that of East Midlands local Leah Wilcox. Leah is a long-term favourite of mine, with multiple of her releases having featured in my Songs of the Week, but experiencing these tracks live added a whole new level of brilliance. Leah’s live vocals are mesmerising, effortlessly transitioning from intimate, softer moments to soaring anthemic choruses and effectively incorporating raspier stylings. Her live band provide a rich, dynamic foundation that elevates these already compelling songs to even greater heights.
Splendour has become renowned for the platform it provides for local artists, but a platform only works if the artist can truly capitalise on it, which Leah undoubtedly did. Despite her early time slot, Leah and her band looked completely at home on the festival’s second biggest stage. As the set progressed, it felt increasingly like a genuine ‘I was there’ moment. Leah’s songwriting has always been impressive, but the fresh life these tracks took on in a live setting firmly established her as one of the country’s next great musicians in my eyes. This impression was cemented further by just how incredible her unreleased music sounded on Sunday, promising an even more exciting future for Leah Wilcox.
Leah also took full advantage of the opportunity to reveal some very exciting news about her upcoming musical plans, so be sure to keep an eye on her socials to discover what the Splendour crowd already know.
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