Live Review: Sŵn Festival 2025, October 16-18 2025

With tents and wellies stowed for another year (thankfully not needed this weekend), it's easy to forget festival season is still very much in action. October means one thing, and I'm not referring to Halloween. Sŵn Festival's return take-over in Cardiff is back, filling every corner of the city with noise, colour and discovery. Across three days of blistering performances, late-night wanderings and unexpected moments of brilliance, this year’s edition proved why it remains such a vital force in the UK’s live music calendar. From intimate pub stages to packed-out clubs, the festival captures that rare balance between chaos and curation in a celebration of what’s new, weird, and wonderful in modern music. With the last feedback still ringing in my ears, here’s how it unfolded as we take a moment of reflection on what was another pristine year.

Thursday
With fresh feet and heads swirling with names, deciding who to see first was a true test of nerve. Norwich-based outfit Brown Horse rose to the top of the deck on night one, packing out Clwb Ifor Bach with a brilliant display of jangly, Americana-inspired rock and roll. Sharing songwriting duties and a slew of instruments, their sound felt vibrant and immediate, as sharp melodies and beautifully layered guitars cut clean through the crowd. 

Next up was a stop at Boho, a welcomed new addition to Sŵn that capturede the intimacy at the heart of the festival. The space hosted Liverpool’s Two Blinks, I Love You, whose set overflowed with scuzzy, love-fuelled anthems. Frontman Liam Brown’s bare sincerity proved disarmingly relatable, and the crowd eagerly soaked it up. 

A short walk back to Clwb found Pale Blue Eyes commanding the upstairs room with their eclectic, synth-driven pop. Downstairs, Welsh-language singer-songwriter Buddug delivered a captivating performance that wove together indie-pop and intricate folk melodies. 

Yo-yo-ing back upstairs for a complete change of pace, Moonchild Sanelly transformed the room into a full-blown carnival with bubble guns, spontaneous dance-offs, and all sorts of crazy antics. Backed by thunderous beats and razor-sharp choreography, she owned every inch of the stage. A set of pure exhilaration. 

Meanwhile, over at Boho, Cardiff locals Why Horses? matched the momentum with confidence that belied their fresh-faced image. Dressed to impress in waistcoats and riding high on their new EP Yeah, Hi?, they delivered a buzzing blend of high-octane percussion, jangly guitars, and poetic vocals that firmly earned their place on the “ones to watch” list. 

Rounding off the night back at Clwb, Adult DVD dialled things up another notch. Their rush of neon energy proved to be slick, loud, and gloriously chaotic as they fused synths, live drums, and industrial pulses into something more rave than gig. A set guaranteed to leave you buzzing long into the night.

Brown Horse, Sŵn Festival 2025

Two Blinks, I Love You - Sŵn Festival 2025

Friday
With the rain miraculously holding off for a second day of Sŵn - a rare sight in itself - spirits remained high as I made my way back into town. London newcomer A Thousand Mad Things kicked things off at Tiny Rebel with a moody wave of dark 80s-inspired synth pop. Smooth and cinematic, his falsetto vocals provided the perfect balm for tired heads easing back into action. 

By the time I reached St John’s Church for Gruff Rhys, it was already at capacity. But that’s the beauty of Sŵn, you’re always just a stone’s throw from discovering something unexpected. Enter Saint Clair. With only one song on Spotify, the newcomers might've stolen the show. Blending soft vocals with towering percussion and grungy guitars, they created a sound both tender and thunderous. Something i'm keen to hear more of. 

After a quick refuel at Cardiff Market, which stayed open late for festival goers, I made it back to St John’s in time for Martha O’Brien. The church’s acoustics were a perfect match for her aching melancholy, every note lingering in the vaulted air. 

Back at Clwb, Men An Tol built on the momentum with lush layers of guitar and soaring choruses. In contrasting style, Clara Mann was drawing in the crowd at St John's with her fragility and unwavering, weaving stories of heartbreak and hope. Cloth then followed at The Canopi, holding the room in rapt attention through haunting, slow-burning intensity as their songs ebbed and swelled before breaking into sharp, emotional bursts.

Then came the night’s biggest draw, Man/Woman/Chainsaw, who had Clwb at capacity once more, and after squeezing in for their final few songs, it was clear why. Their set was a masterclass in chaos and control through whiplash gear shifts, industrial breakdowns, and soaring choruses that collided in a glorious frenzy. 

Having spent so long queuing, it felt wise to stick around, and I was in luck with a plethora of artists to choose from. Closing the night, Jessica Winter stormed the stage with unapologetic energy, each track a sharp, electrifying burst that left the crowd breathless. Downstairs, TTSSFU capped things off with a spellbinding set that showcased their range from intimate, soul-baring moments to high-energy anthems. A testament to growth, fearlessness, and the full emotional spectrum Sŵn celebrates so well.

Saint Clair - Sŵn Festival 2025

Martha O'Brien - Sŵn Festival 2025

Clara Mann - Sŵn Festival 2025

TTSFU - Sŵn Festival 2025

Saturday
And then there was one. The final day of Sŵn always carries a bittersweet sense of ending, but it is also the most packed. With the streets buzzing again, and the air filled with excitement, the festival’s last day promised to go out in style. First up was Martin Luke Brown at Jacob’s Market. After a brief mix-up with wristband colours that almost saw me turned away, I slipped in just as his voice cut through the quiet crowd. With minimal setup but maximum sincerity, he delivered a set that felt both intimate and expansive, peppered with easy banter and warmth. 

A short walk along St Mary’s Street led me back to St John’s Church, where Naima Bock was in full flow. Her stripped-back moments swelled into waves of sound, soft plucked guitar giving way to rich, full-band crescendos. There is a calm assurance in her presence, and her songs carry a quiet truth that holds the room in stillness. 

Drawn next by the hum of guitars, I found myself at Ladylike. Having reached the top five in last year’s Green Man Rising competition, the band lived up to the hype. Their sound, a blend of intricate guitar work and unconventional drum patterns, nodded to the likes of Big Thief and Angel Olsen yet felt distinctly their own, balancing fragility with power.

The day’s biggest challenge was the sheer number of acts worth seeing. The Gentle Good filled St John’s with a stunning showcase of Welsh folk, but I reluctantly made the choice to slip out midway to catch London-born, Brighton-based Opal Mag at Boho. Their dreamy, fuzzy pop was an instant hit, intimate yet polished, with just enough roughness to feel real. Balancing slacker-rock looseness with delicate indie melodies, they drew the crowd in, closing a short but sweet set that left the audience desperate for more. 

Fuelled up and ready for the evening, I was back at Clwb and found myself in prime position for Lime Garden. Bathed in soft pink light, their set unfolded with wiry guitar lines and a rhythm section that never let up. They built groove and tension with ease, exchanging knowing smiles between choruses while showcasing plenty of new material before unleashing the hits. 

Having seen Getdown Services many times before and confident they would smash their Sŵn set, I opted for a new discovery instead. Enter Bristol’s Grandmas House. With pure post-punk ferocity, all serrated riffs and shout-along hooks, the band wasted no time in channelling their energy straight into the crowd, who were more than ready to give it back.

A change of pace followed across the road where Lord Apex was upstairs in Clwb wrapping up with hazy beats, sharp bars, and a flow that held the entire room captive. Then it was back to Tiny Rebel to catch the end of Goodnight Louisa, who delivered a world of dark synths and slow-burning emotion. Her haunting vocals and sleek noir-pop production filled the packed room, earning every bit of applause. 

To close the festival, the crowds drifted from the heartbeat of Womanby Street to Tramshed, where Squid took the stage behind a sea of green light and smoke. With echoing guitars, twitching rhythms, and wild precision, the result was chaotic, cerebral, and something completely addictive. A perfect ending, or beginning to the night, whichever way you looked at it, as party goers set about locking in to the after parties. 

Martin Luke Brown - Sŵn Festival 2025

Opal Mag - Sŵn Festival 2025

Lime Garden - Sŵn Festival 2025

Goodnight Louisa - Sŵn Festival 2025

Squid - Sŵn Festival 2025

As Sŵn Festival 2025 winds down, Cardiff once more hummed with that familiar post-festival glow, where every side street still seemed to echo with leftover reverb. Over three days, the city once again proved its gift for discovery: new names colliding with cult favourites, DIY energy meeting real craft. From Lime Garden’s kinetic grooves to Naima Bock’s hypnotic flow and the unrelenting noise of Man/Woman/Chainsaw, Sŵn’s heart still beats for the unpredictable. It's not just a showcase, but a celebration of what's next. Messy, loud, and beautifully alive. And we wouldn't have it any other way. Until next year, Diolch!