Festival season is back! The Isle of Wight Festival is always one of the big highlights for me, with 2025 proving no different. Set against the iconic backdrop of Seaclose Park, the weekend offered a genre-spanning journey – from pop-punk nostalgia and indie singalongs to introspective art-pop and dancefloor euphoria.
Friday
The Lottery Winners kicked off the weekend with a bang, opening the main stage on Friday. Formed back in 2008, the band didn’t release their debut album until 2020, but have since gone on to enjoy major success with two Number 1 albums. Their lively set was full of crowd participation, infectious energy, and playful banter – the perfect way to get the party started.
From there, I made my way to the Big Top for Scottish rockers Twin Atlantic. Their sound sits somewhere between hard rock and indie, with frontman Sam McTrusty doing a stellar job of hyping up the crowd. The setlist featured a mix of anthems, closing with a massive singalong to their 2014 indie classic Heart & Soul.
Amble – Credit: Day Rutherford
Next up were rising Irish folk trio Amble, fresh off the release of their debut album Reverie just a few weeks ago. The band celebrated their recent leap into full-time music, with frontman Robbie Cunningham sharing that he’d only recently left his job as a teacher. Though the crowd started small, Amble’s traditional sound and heartfelt performance quickly won over new fans.
The Lathums followed with one of the biggest crowds of the day. Having only released their debut album in 2021, the indie rock band delivered a retro-tinged set that channeled the spirit of the ’60s, particularly with tracks like Heartbreaker. Their guitar work, reminiscent of The Smiths, stood out on The Great Escape, while frontman Alex Moore impressed with some of the most powerful vocals of the weekend.
As the sun began to set, Sting took to the stage. His setlist struck a perfect balance between timeless hits from The Police and his own solo material, including Fields of Gold, Desert Rose, and Englishman in New York. Part of his stripped-back Sting 3.0 tour, he performed with just a drummer and a guitarist – a minimal setup that still delivered an incredibly tight, polished performance. The crowd was utterly captivated.
Though Sting was the official headliner, Friday night traditionally closes with an electronic act – and this year was no exception. 90s dance legends Faithless wrapped up the evening with a set that paid tribute to the late Maxi Jazz. His presence was felt through archive footage and those unforgettable vocals. While the crowd dipped slightly during some of the newer material, they were soon bouncing again to the group’s classic beats, rounding off the night with energy and emotion.
Saturday
Saturday at the Isle of Wight Festival delivered another diverse and electric mix of acts, from nostalgic throwbacks to fresh new sounds. Among the standout performances was a raucous set from Irish rockers The Saw Doctors, making their festival debut. The crowd revelled in lively singalongs to beloved hits like N17 and To Win Just Once, with the band bringing their trademark charm and humour to the stage.
Razorlight, best known for their mid-2000s success, kept things tight and familiar with a setlist drawn exclusively from their two biggest albums. It was a reminder of just how many indie anthems they packed into those records, with In the Morning and their chart-topping America prompting euphoric crowd singalongs.
2000s nostalgia was in full force as Busted took to the stage. Originally active from 2002 to 2005, the trio have now been back together for longer than their initial run, reuniting in 2015. They delivered a high-energy, hit-packed set focusing solely on material from their first two albums. Far from their boyband beginnings, Busted now sound like a fully-fledged pop punk outfit – holding their own alongside genre staples like Sum 41 and Blink-182.
In a tonal shift, English Teacher, the Mercury Prize-winning art-pop band, offered a more introspective experience. Perhaps not the most obvious fit for a mainstream festival crowd, the Leeds-based group nevertheless held their audience in rapt attention, performing much of their critically acclaimed debut This Could Be Texas. Their set was light on choruses but heavy on atmosphere and artistry.
The Script returned to Isle of Wight for their fourth appearance, this time with a new line-up following the passing of founding guitarist Mark Sheehan in 2023. Guitarist Ben Weaver and bassist Benjamin Sargeant have since joined as official members, helping the band deliver an emotionally charged and polished performance. If You Could See Me Now was movingly dedicated to Sheehan, while frontman Danny O’Donoghue proved yet again to be a natural showman. With hits like Breakeven, Hall of Fame, and the TikTok-resurrected The Man Who Can’t Be Moved, their set was a reminder of the band’s enduring appeal.
Stereophonics – Credit: Sarah Louise Bennett
Closing the night were festival veterans Stereophonics, headlining Isle of Wight for the first time since 2016. Having spent over two decades topping festival bills, their mastery of the main stage was evident from the first chord. The set was a career-spanning tour of hits, seamlessly blended with a few well-received tracks from their new chart-topping album Make ‘em Laugh, Make ‘em Cry, Make ‘em Wait. With one of the tightest live performances of the weekend, their 90-minute set flew by in a flurry of anthems and heartfelt crowd participation.
Sunday
Opening the main stage was Ella Eyre, who brought a burst of energy with her catalogue of dance-pop anthems. Although her set was unfortunately cut short due to vocal issues, she still managed to deliver fan favourites including her 2017 smash Came Here For Love — an ideal upbeat way to kick off the day, even if it ended earlier than hoped.
Fresh from their Eurovision Song Contest appearance, Remember Monday attracted an impressive crowd eager to see what the girlband could offer beyond their 19th-place finish. Their set featured a mix of originals and well-chosen covers, but it was their Eurovision entry What the Hell Just Happened? that truly stole the show. With sharp harmonies, charm, and confidence, the trio made a strong case for a bright future ahead.
Taking things in a more reflective direction was Alison Moyet, who performed a set spanning both her solo work and classic Yazoo material. While her vocals showed occasional signs of strain, her distinctive tone and emotional delivery still resonated. Tracks like Only You and All Cried Out reminded the audience why she remains such a revered figure in British music.
Later in the day, Olly Murs lit up the stage with his trademark charisma, celebrating 15 years of hits. Although he skipped his 2010 debut single Please Don’t Let Me Go, his set was packed with crowd-pleasers from nearly every era of his career. A standout moment came with the debut of new ska-tinged single Save Me, which had both Murs and the crowd skanking in the afternoon sun.
Olly Murs – Credit: Chloe Hashemi
Returning to the Isle of Wight stage for the first time since 2016, Jess Glynne reminded everyone of her chart-topping heyday, performing a run of hits from her first two albums. The reaction to her earlier work was huge, though her newer material didn’t land quite as strongly. Still, her vocal strength and stage presence kept the momentum high throughout.
The night closed in spectacular fashion with Justin Timberlake, joined by his longtime band The Tennessee Kids. More than just a set, this was a full-blown pop spectacle — slick choreography, tight musicianship, and charisma in abundance. From Rock Your Body to Mirrors, Timberlake’s set felt like a masterclass in festival headlining. He spoke warmly about how long he’d wanted to play the festival — and after a performance of this calibre, it’s safe to say the wait was worth it. Here’s hoping it won’t be his last appearance on the Isle.
As fireworks lit up the sky and the final notes rang out, Sunday wrapped up a weekend of incredible music, proving once again why the Isle of Wight Festival remains a beloved fixture on the UK’s summer music calendar.
