If you’re a fan of shoegaze, then you’ll know there’s nothing like the feeling of hearing all those swirly guitar sounds meshing together live in front of you. Hailing from Phoenix, Arizona, Glixen know just how to deliver that experience.
The shoegaze scene is thriving at the moment and, with only two EPs under their belt, Glixen are very much a part of it, having already played Coachella in the US, and now making their UK debut at Reading and Leeds.
The band’s shimmering guitars and beautifully layered vocals created a hypnotic atmosphere – at times, it felt so immersive, that it was easy to forget the fairground rides outside the tent, and the thousands of other people on site. ‘Lick the Star’ was a genuinely ethereal treat to hear live, and really shows off what the band are capable of.
Glixen solidified themselves as a band to watch with this performance, and solidified their position as part of the modern shoegaze scene.
2025 has already been a huge year for Manchester’s Jasmine.4.t – having released her debut album You Are The Morning back in January, she’s since toured with Lucy Dacus, and has played countless major festivals.
Opening with ‘Guy Fawkes Dissociating in Tesco’, Jasmine took us through a set that explored some of her most vulnerable experiences, such a heartbreak, and navigating the world as a transwoman. Looking around, it was clear that Jasmine.4.t is already an artist who has made an impact on a lot of people’s lives.
In a way, this performance was just another in a long list of highlights, but what a highlight it was – Jasmine, and her band, delivered a deeply personal, and defiant, set.
Still on the Festival Republic Stage, we had US feminist pop-punks The Linda Lindas. From their first chord, it was clear that The Linda Lindas were going to be a standout of the weekend. Bassist Eloise Wong was a whirlwind of movement, bouncing around the stage as she played, especially during ‘Growing Up’. Every song felt like an anthem, with every chorus prompting a joyous sing-a-long.
As their set ended, a steady stream of people were now heading towards the Main Stage, eager to secure a spot for Chappell Roan later. I’d be joining them soon enough, but I stuck around the Festival Republic Stage a bit longer, this time to see Heartworms.
Heartworms is the project of South London’s enigmatic Jojo Orme. Bathed in green lighting, and riding the success of her debut album Glutton For Punishment, Jojo has an unmatched intensity when she’s onstage.
I have no doubts that Heartworms would have pulled a bigger crowd, had she not been placed so close to one of the weekends headline slots – it’s a tough time to play no matter who you are, but those who stopped by the tent definitely didn’t leave disappointed.
After watching the growing presence of pink cowboy hats and glitter, it was time to go to the Main Stage for Chappell Roan. With the rapid rise of her sleeper hit album The Rise and Fall of a Midwest Princess, she has become known for spectacular, theatrical performances. As a fantastical turquoise castle set was put together on stage, I knew this was going to be one of those performances. Behind the castle, a big screen showed dark fairytale style animations.
Backed by her all-woman band, Chappell started with the anthemic ‘Super Graphic Ultra Modern Girl’, prompting ecstatic screams from her fans, followed by the playful ‘Femininomenon’. Current single ‘The Subway’ elicited a sing-a-long so loud, she described it as “the loudest crowd so far.” The now-iconic line “she’s got away!” had never sounded so impassioned.
Part way through her set, we were surprised by a sultry cover of Heart’s ‘Barracuda’, which gave both her, and her band, a chance to show off their talents. Chappell’s live backing band deserve a lot of credit too, as their presence and musicianship really enhanced the show.
Of course, this show would not be complete without a grand finale, and tonight, that was ‘Pink Pony Club’.
Chappell Roan’s co-headline slot didn’t just feel like another set – it felt like an Event. The anticipation for this had been palpable all day, and it was infectious. Chappell’s vocals remained powerful throughout, even as every lyric was screamed back at her.
While the majority of pink cowboy hats took this time to leave the Arena for the day, Mannequin Pussy were still able to fill up the Festival Republic tent by the end of their set. Their set felt particularly intimate after coming straight from the Main Stage.
From the opening chords of ‘Sometimes’, it was clear that Mannequin Pussy were here to squeeze any remaining energy from the crowd that night. Frontwoman Marisa had the crowd under her spell, and she switched between angelic whispers and raw screams, with an enviable precision.
Without a doubt, the wildest reaction was for ‘Loud Bark’, with the crowd jumping and shouting “I got a loud bark, deep bite!”
Exhausted, that was the end of my Saturday – Look out for Sunday’s review soon!