Favourite Sets of 2025

Presented in a three-act structure named after a copypasta that circulated in the FKA Twigs Discord, FKA Twigs delivered perhaps the most complete live show I have ever witnessed. Encompassing everything from a rave (thanks to DJ and producer Koreless) to pole dancing, sword fighting, and an operatic ballad to close, it’s hard to think of any gigs I’ve been to that compare to the range on display that night. Studio versions of 2025’s excellent ‘Eusexua’ were made even more energetic, bringing us the intensity and freedom of the club; I almost forgot I was standing in Magazine, an odd choice of venue, all things considered. In the end, I was completely brought into the cult of Twigs: “EUSEXUA IS THE PINNACLE OF HUMAN EXISTENCE” indeed.

Was it ever going to be anything else? Perhaps the most eagerly anticipated reunion of the century, Oasis took to the stage for the first time in 16 years. Composed of members spanning the band’s 30 year career, including eminent guitarist Paul ‘Bonehead’ Arthurs and bassist Andy Bell, it was obviously dominated by the inclusion of the most iconic brother pairing in British music: Liam and Noel Gallagher. By all accounts, the band could’ve played a half-arsed set and raked in all the money they made from tickets and merchandise. Instead, they arguably sounded the best they ever had - Liam’s charisma was every bit as infatuating as it was hilarious at times, and Noel’s voice has simply aged like fine wine. A 2 hour set of the greatest hits the band had to offer, it was a set for the ages that reminded us why Oasis are still so relevant today.

If there’s one thing the French do best it’s electronic music. Electro house pioneers Justice brought their world tour to London’s Alexandra Palace for two back-to-back shows, featuring support from a stellar lineup. Across the two nights the crowd was warmed up by The Flints, Busy P, Krystal Klear, Kelly Lee Owens, Erol Alkan and Hudson Mohawke. The main event itself, though, was nothing short of spectacular. In the centre of the vastest array of lighting I’ve ever seen in my life, the duo performed hit after hit, seamlessly blending tracks old and new. Visually, Justice are immense. Audibly, they are nothing short of geniuses. In a post-Daft Punk world, we look across the channel for Justice to deliver.

Chat Pile are intense on record, but their noise rock-sludge metal combo is completely overwhelming live. The 60 minute set felt infinitely long, like being dragged into a black hole of stories about murder, suicide and weed psychosis.

During anti-homelessness diatribe Why, the crowd belting out the rallying cry of “we have the resources, we have the means” filled me with so much faith in humanity, I was ready to lead the revolution right there and then. The only other twisted moment of levity was Raygun Busch’s constant stream of Glasgow film trivia between songs, a jarring contrast to hearing about the worst days of people’s lives.

They finished with the harrowing Anywhere, about the aftermath of random gun violence. “It’s the sound of your world collapsing” sadly feels more and more like everyday life in 2026. The gig was a harsh reminder of what we face and a call to stand together and look out for each other.

Performed in Japan at the 350 capacity Kyoto Taku Taku, with photos of legendary guitarists on the walls, four-piece band Otoboke Beaver presented a great homecoming set to a captivated crowd and ended with three separate encores, for which the electric guitarist crowd surfed with seamless skill. Short sharp songs, with interspersed humour went down a treat with the crowd. It was interesting to see how punk was absorbed by a Japanese crowd compared to an English one. There were fewer mosh pits but arguably even more attention. 

The setlist included classics from albums ‘Super Champon’ and ‘ITEKOMA HITS’, including the tracks S’il vous plais, PARDON?, and I checked your cellphone. There were interesting elements of jazz punk fusion incorporated, a nod to bands such as Midori. Each instrumentalist maintained their own stage presence, to create a spectacle even greater than the sum of their parts.

In my thirties I have to be selective when it comes to mosh pits. About forty minutes into this set, when Crossing Guard is teased in - marching band drums and delicious bassline - was like a siren song to me. I drained the last of my beer and flung myself into the bouncing hoard of undergraduate students.  

There’s something about a Saturday night gig, isn’t there? Just that touch more hedonism, the palpable electricity. For me this was sandwiched between shows by Radiohead and My Bloody Valentine - M/A cleared those two titans, which probably says enough. 

This was no nonsense. Model/Actriz were on stage for bang on an hour; all killer. Cole Haden is a phenomenal frontperson that you cannot take your eyes off: vogueing, wearing ballerina clothing, delivering witty quips in his dry voice, all in front of a propulsive band in top form. Songs from 2025 highlight ‘Pirouette’ drop in effortlessly amongst the older material. Expect them to hit the festival circuit again next year - I urge you not to miss them. 

For most groups, a huge scale stadium tour on the back of only one new single would be a ridiculous idea. However, as soon as the ‘Deadline World Tour’ kicked off, no one in the vicinity was thinking about anything else other than the four ladies who took to the stage - with pyro, deafening audience screams and pompous hit Kill This Love turning England’s home into a Korean party. 

More big tunes such as 2022’s Pink Venom and Shut Down followed, before solo sets from each of the four members became the true highlight; with Lisa bringing enough swagger to fill the stadium on her own with Rockstar, followed by Rosè’s mega-hit APT. which felt like a set-closer in its own right - confetti and all.

Coming back together as a four-piece for the new track Jump cemented their power as a unit, with immense pyro and lasers making sure everyone in London knew that Blackpink were indeed in their area.

A little rogue to throw a festival set in here, but it couldn’t be anything else for me this year. Moin are one of those rare live acts whose sound hits your whole body physically and emotionally, tearing you apart but somehow simultaneously rebuilding you to feel more connected, grounded, and purposeful. Valentina Magaletti’s drumming, as always, was perfection amongst the guitars and electronic noise, leaving just enough space for it all to breathe. Loud enough to shake your core, but crisp enough to coherently process the catharsis. 

Standing front and centre to feel their full force, with a group of the loveliest OOFers and other friends made along the way, this was the best of the three times I saw Moin in 2025. As the set crescendoed, I stood in awe, tears flowing. Looking around, I was far from the only one. Their creation of such an overwhelming intensity and rawness allows for these deep moments of personal vulnerability and understanding to occur, something which very few spaces in modern life allow. Leaving with a new found resilience and sense of belonging, after hugging everyone nearby, this was undoubtedly not just my favourite set of 2025 but of all time.