Line-up Main Stage Pukkelpop 2025

“I just grabbed him when I heard how good he was and gave him no choice but to be in my band,” recalls STONE frontman Fin Power of his first meeting with guitarist Elliot Gill. “I said to him from the start, we’re going to fucking make it, trust me, we’ll put all of our eggs in this basket and we won’t fail.’ You know what, that was nine years ago!”And nine years on, STONE have become slow-motion overnight sensations following two acclaimed ‘punkadonk’ EPs, substantial support from Radio 1, and a raucous, unpredictable live show all building a powerful two-way community between the band and their ever-growing following.On first impressions, Fin is very much their focal point: a young man with such an insatiable lust-for-life that he wants to express all of his thoughts all at once, and who might be found crowd-surfacing seconds into one of their shows, or giving an impromptu on-stage speech with the passion and zeal of a revolutionary. Yet as a band who mean and feel every single lyric they deliver, STONE are the sum of more than just one voice. They couldn’t exist without Elliot, as much Fin’s creative compatriot as he is the yin to his yang; the sensitive guitarist to balance Fin’s self-confessed “laddy lad,” a man undeniably possessed by magnetic rock star charisma.From the other side of Liverpool, drummer Alex Smith is the pulse that holds the band together, sitting in-between their personalities and providing the foundations for the pair to run riot. And from Oxfordshire, bassist Sarah Surridge offers their feminine counterpoint, a now-honorary Scouser who was won over by STONE’s lunatic ambitions when she first joined four years ago. “They spoke with such passion and energy that I knew I wanted to be a part of it, because I could sense it was going to go far.” As she remembers, the boys’ pitch to her was simple: this is Plan A, there is no Plan B aside from trying even harder.Fortunately Plan A is going so well that the release of STONE’s eagerly anticipated debut album ‘Fear Life For A Lifetime’ is now on the horizon. It’s a collection of songs which come together like a coming-of-age narrative - a place that can help people navigate the tumultuous experiences of young adulthood. If you’ve felt love but not always felt you deserved it; if you’ve been ambitious but also wracked with self-doubt; if you’ve been confident at times but crushed by anxiety at others: this is the album for you. Just as importantly, if you’ve ever felt like you don’t belong, STONE offer a community that feels like a welcoming home-from-home.“The shit we’ve all been through is 100% informed by that aspect of just connecting with people,” notes Alex. “A lot of the experiences that I’ve had personally I know echo the experiences of a lot of the kids who come to our gigs and go fucking nuts.”And as we’ve seen from their gigs with Sam Fender, Yungblud, Inhaler, The Wombats and DMA’s as well as at festivals including Glastonbury, BST Hyde Park, Reading and Leeds, STONE kick-up the kind of anarchy perfectly suited to such a cathartic outpouring of energy and emotion. Their music adventurously explores a wealth of alternative genres, moving from vitriolic, post-punk poetry to soaring indie anthems built for pints-in-the-air gig mania and sun-kissed festival fields, along with a hip-hop undercurrent and a punchy, anarchic edge.That exuberant rush translates equally as well throughout their upcoming debut album. STONE recorded its snapshots of British youth culture while immersing themselves into the routine of the small town of Brattleboro, Vermont, where they worked with Rich Costey (Sam Fender, HAIM, Biffy Clyro) during sessions split between three separate trips. No interference from the label or the management: just the escape of being able to focus on the noise of making a record without any outside distractions.The result is an album in which fresh highlights emerge with every listen: see how ‘My Thoughts Go’ fires up the simplistic, most irresistible hook in a way that feels connected to the great lineage of the great Liverpool and Manchester indie heroes who have preceded them. Powered by pounding big beat rhythms and a swaggering youthful attitude of having the world at the your feet, ‘Neva Gunna Die’ is darker yet just as instantly captivating, while ‘Queen’ fuses sweet, saturated synths with a sparkling classic rock riffs and a spoken word breakdown to create a moment infused with echoes of every decade from the ‘60s onwards, but firmly rooted in the present day.That style is reprised in another future smash with ‘Roses’, while other standouts include the reflective, melancholy ‘Say It Out Loud’ and a dramatic portrait of urban paranoia with the angular attack of ‘Train’.Fin sums it up: “This album is about community, passion, love, hate, singing, dancing. It speaks for all of our experiences, we want to only portray who we really are. I’m hoping people can relate to it and understand it, and maybe find their own stories through our songs. It also shows that no mountain is too high to climb, and no problem is too hard to solve. We mean what we say and we want to be a voice for those who are misunderstood.”What’s more, it’s not just talk. The band members have all been deeply invested in the Liverpool community, with Fin previously working as a social worker, Alex as a teacher, and STONE playing charity shows in support of Rape Crisis and MIND. Meanwhile, Elliot continues to volunteer at a local youth club where he teaches youngsters guitar and helps set up what he calls “early embryonic gig opportunities to teach kids that they too can go out and play a show. You don’t think being in a band is feasible until you do it.”“We definitely want to continue that sense of altruism,” he continues, “especially as things progress with STONE. We have an incredible opportunity and all these new privileges, so I feel it would be remiss if we didn’t give something back.  Supporting the local community is something we don’t want to lose sight of.”That determined, all-in-it together community spirit extends to their live shows. As Fin asserts, “The show doesn’t finish when we come off-stage, the show carries on until we’re back in the van.  We’re there for our fans until they decide to leave. We’re not done until we make sure that every single fan who wants a photo or a conversation gets that. We’ll keep doing that until it’s physically impossible.”Integrity. Passion. Charisma. A palpable shared bond. A catalogue of killer songs. Giving it everything at live shows. STONE are now perfectly positioned to capitalise on the ambition that Fin and Elliot shared when they first met.As Elliot asserts, it shows that ambitions can be realised. “Society doesn’t have the reverence of the creative arts being a job. A lot of people don’t really see musicians doing it professionally and assume it’s just a lucky few who can do it. But it’s not. Everything we’re now doing speaks to our efforts, our passion, and the opportunities we have created for ourselves.”Fin’s concluding thoughts on STONE’s future brim with the optimism that comes with infinite potential. “We don’t worry about metrics, we’re artists. Our art will be out in the world and it can be perceived in whatever way people want it to be perceived. Wherever the motion of the ocean takes us, we’ll just keep making our art and writing songs.”

Zangeres, muzikante en actrice Pommelien Thijs (24) is een van de meest toonaangevende jonge artiesten van het moment. Ze is bekend van megahits als “Erop of Eronder”, “Ongewoon” en “Het Beste Moet Nog Komen”. Haar doorbraakalbum "Per Ongeluk" uit 2023 werd op alle vlakken een triomf: een verzameling vlotte liedjes bomvol levenslust en gevatte zinspreuken. Pommelien maakt zwaardere onderwerpen behapbaar voor alle leeftijden en deinst daarbij niet terug voor de grotere levensdilemma's. Na haar eerdere succes met drie MIAs in 2023, zette Pommelien Thijs haar zegetocht verder in 2024. Ze kaapte vijf MIA awards weg. In 2025 bracht ze haar nieuwe single "Atlas" uit die lovend onthaald werd en ze speelde maar liefst negen keer voor een uitverkochte zaal in de Ancienne Belgique.

When you look back at the sea of mid-noughties indie bands, there are few still standing and even fewer, some fifteen years later, who are still experiencing career highs. But this was the precise spot The Kooks found themselves in, four years ago.After a worldwide arena tour, the release of their 2018 UK Top Ten album 'Let's Go Sunshine' saw the Brighton band topping the bill at festivals across Europe and at home. The streaming boom had opened up The Kooks up to a new audience of young fans who loved their distinctive brand of indie rock and were itching to see them play live.Coming off the back of a punishing tour schedule, frontman, Luke Pritchard — vowed to take a bit of a breather. But instead, found himself right back in the studio."I started going to Berlin for three or four days at a time. I was really affected by Brexit and I wanted to make a bit of a statement by creating a European record," he explains. "We're a European band, we practically lived out there and have so much love for Europe, so we wanted to keep that connection."Berlin has long been something of a creative Mecca for artists from all over the world and Pritchard found himself moving in those circles, meeting the collaborators he would work with on their behemoth of a sixth album, '10 Tracks To Echo In The Dark.' The period was one of work, inspiration and creativity as opposed to partying. "I wasn't doing any drugs," Pritchard attests. "It was more dive bars and a bottle of whiskey than Berghain."The environment quickly started to work its magic. "A lot of songwriters have found refuge in Berlin," he says. "It's a free place, it's not so consumed by commerciality. I was looking for something a bit rawer, a little bit more minimal. Sometimes you just pick up these nuances somewhere. It's not necessarily the people, it's the place."Armed with a new mantra — to not overthink things and just make a record that he'd want to listen to at home, the ideas came freely and easily. Pairing up with Tobias Kuhn to co-write and produce the bulk of the record, their first writing session saw them pen intention-setting lead single, 'Connection,' in just a few hours. Things were moving well with the pair laying down five tracks, but in March 2020, COVID put a stop to Pritchard's European dream, forcing him to return home to the UK to finish the writing sessions over Zoom until Tobias was able to fly out to London and record with him and the rest of the band, Hugh Harris (lead guitar/synthesiser/bass) and Alexis Nunez (drums).Despite the dual locations, there's a distinct Berlin sensibility to '10 Tracks To Echo In The Dark.' Flirting with genres from 80s synth-pop to funk to prog rock, the album is still, at its core, an indie record and a Kooks one, at that.It's a record that doesn't try to reinvent the wheel but takes that classic Kooks sound and adds something of a retro-futurist slant — both sonically and in mindset. It's an album about being hopeful and seeing the great in the world, despite the darkness. There are unapologetic love songs ('Without A Doubt,' 'Oasis'), tracks about partying through pain ('Connection'), terrible exes ('Cold Heart') and even a song for Pritchard's newborn son, Julian. ('Beautiful World'), born prematurely while the band were on tour in Mexico.Getting married and becoming a father you get a sense that we're hearing from a new Pritchard — one whose demons are behind him and is optimistic about the future."I really hope that sense of inner peace comes across," says Pritchard of the album's resoundingly optimistic outlook. "I really want to have fun with my life at this point. But also — it's kinda a reflection of what I was feeling in real-time in a pre-and-post COVID world. I was reading a lot of sci-fi — like Philip K. Dick, Azimov and surreal stuff like Boris Vian — which is obviously really distracting from what's going on in the world, but helped me be imaginative with the songs."It's a relief to hear a healthier perspective from a band who have had their struggles played out in the press for fifteen years. Bagging a slew of top 20 hits in their teens ('Naive,' 'She Moves In Her Own Way') with 2006 quadruple-platinum debut album 'Inside In/Inside Out,' the young band didn't always know how to handle everything that came along with superstardom."Mental health has been a big focus of our band for quite a while now. Because we've all struggled in our own ways. That's not to say we haven't had amazing lives, but just we struggled with fame big time, like really struggled. And we got it wrong a lot of the time."We did get famous quite quickly and we didn't have a lot of the stability required to not let that seriously affect you. All of us, in our own ways, have made some very poor judgements and some really good judgements. And we're here, so it means we've done very well to keep it going and to keep ourselves sane. But I have ultimate compassion for anyone who gets famous anywhere."But as with everyone, there comes a point in life where you reach a sense of stillness, you become more comfortable in your own skin and the right path becomes clear to you. The band have been experimental over the years — most notably on 2014's Inflo-produced jazz-funk album 'Listen' — something that has been key to their longevity, but getting back to what people love about The Kooks was front of Pritchard's mind: whether that person was "a fifteen-year-old kid in South Africa or someone who was at our first concert."The result isn't a rinse and repeat of their earlier sound, though. Instead, we get those infectious Kooks melodies and riffs, but over synths and electronic beats. There's even some saxophone in there, moving their trademark sound well into 2022."Indie is a word we were running from for quite a long time," he admits. "The band's done a lot of different records, but we do have quite a style. A big part of it was not running from anything. We're gonna just do what we do, but better and with a few more fresh ideas."In the studio, he made some rules: not to overcomplicate things, throw in some old-school Kooks riffs, "the very classic, Naive-y kinda stuff, but with more minimalism" and to get back to that noughties thing of treated vocals. "It's not that I hate my voice — I just mainly dislike it. So the more you can disguise it, the better!"Having that focus helped make a cohesive record that leans on the band's legacy while still sounding fresh. "On certain albums you make decisions based on other things and you start trying to chase your own tail. This record isn't about trying to smash everything up and reinvent. COVID hitting in the middle of recording was a good time to kind of really reflect on all our albums and be really happy with our journey."As The Kooks, continue to reach an ever-growing audience of young fans, '10 Tracks To Echo In The Dark' feels like a mission statement. It's a celebration of getting through troubled times and a rallying cry for our future.This is a band whose career highs are still to come. They're right to feel optimistic about what's next and that the future might be a little bit brighter.And the key to seeing fifteen years of success as a band?"Hard work," says Pritchard. "And a lot of luck."

Oscar and the Wolf, under his real name Max Colombie, has often referred to his music as "Disney music for adults." Since his 2014 debut with "Entity," Max has defied genre boundaries, seamlessly blending pop, R&B, EDM, and alternative elements into a unique and celebrated sound. His live performances are magnetic, combining striking visuals with raw, unfiltered emotion. Max's ability to explore both melancholy and euphoria has been a constant throughout his career, from the folk and dream pop of his debut album to the club-infused tracks of "Infinity" (2017) and the sun-soaked synth-pop of "The Shimmer" (2022). With a dedicated following and a presence at major festivals, including Pukkelpop and Tomorrowland, Max's influence extends beyond music, as he has crafted soundtracks for renowned fashion designer Dries Van Noten. In 2023, Oscar and the Wolf made a triumphant return, with their single "Warrior" chosen as the official song for the Belgian National team during the World Cup, delving into Max's personal journey to confront his deepest anxieties.  

Bold pop hooks, sex positivity, honest songwriting, and a heavy dose of glitter make up the world of Chappell Roan, the multi-faceted pop artist taking the world by storm. The LA-based singer, songwriter, and performer exploded into stardom with her 2023 debut studio album, The Rise and Fall of a Midwest Princess, a technicolor tale of self-discovery that landed on multiple year-end lists (Rolling Stone, Pitchfork, Billboard, TIME, more). With her larger-than-life performances surrounding the album, she swiftly built up an impassioned community of listeners, who sell out all her headlining shows in mere hours and scream along to her gutsy anthems. Instead of resting her laurels on fleeting digital moments, she’s intentionally built her own fantastical musical universe—one that celebrates queer expression and honoring your true self—that everyone wants to join in on. Chappell is now gearing up for another momentous year, which will see her playing her biggest venues yet on The Midwest Princess Tour, an instantly sold-out run of U.S. headlining dates this spring and summer. It follows her exuberant Colbert performance of “Red Wine Supernova,” marking her debut television appearance, as well as a slate of spring shows opening for Olivia Rodrigo on the GUTS tour. Chappell will also bring her electrifying vocals to Coachella for the first time this April, kicking off a slew of festival slots throughout the year, including Hangout, Boston Calling, Governors Ball, Pittsburgh Pride, Bonnaroo, and Hinterland. Her cult following is already buzzing in anticipation for what spectacularly campy outfits Chappell will bring to the stage; after all, this is the girl who wore a pig nose prosthetic to the 2024 Grammys red carpet. For her own drag-inspired headlining shows, Chappell sets dress themes, asking each city’s attendees to come decked out in their own fabulous get-ups—whether it’s the pink rhinestone cowgirl “Pink Pony Club” theme or the red-and-black “My Kink Is Karma” theme. These audience-favorite prompts ensure that every night turns into a mass celebration where fans can let their freak flag fly. “It feels like a community,” Chappell says of her shows. “You’re allowed and encouraged to dress up crazy, because everyone else will be too.” A critical smash, The Rise and Fall of a Midwest Princess established Chappell as a breakthrough songwriter who could combine fantasy with heart-bearing self-reflection. Penned by Chappell alongside producer Dan Nigro (Olivia Rodrigo), the project showcases her journey of falling in queer love for the first time, as she embraces all of its messy and imperfect moments. To express the whirlwind ride of her coming-of-age, the LP touches every genre from euphoric dance-pop to introspective acoustic guitar ballads, country-pop and punky new wave. “With this album, I wanted to prove that women in pop are multi-dimensional,” Chappell says. “It’s important for me to show that I’m not just some sexy pop star, I wallow in pain just as much as the next girl.” Growing up in Willard, Missouri, Chappell repressed feelings about her sexuality due to her Christian upbringing. Yet she knew from an early age that she wanted to be an entertainer, so she took acting classes as a kid, picked up the piano at age 12, and became known as “the singer girl” in high school. Then at age 16, she released “Die Young,” a brooding folk hit that brought her a major label record deal, leading to her 2017 debut EP, School Nights, and her move to LA in 2018. “Back then, I liked being mysterious and serious,” she says. Yet Chappell Roan, in all her fabulous glory, truly began to take shape with the 2020 synth-pop smash “Pink Pony Club,” a semi-autobiographical anthem about a small town girl who finds belonging at a West Hollywood go-go bar. Inspired by a visit to an LA gay bar, it was named “song of the summer” by Vulture. Yet soon after, Chappell suddenly found herself an independent artist again. Determined to make it work without a label, she steadily built her audience on her 2022 singles “Naked in Manhattan,” “My Kink Is Karma,” and “Casual,” which were praised for their “high drama and meticulous melody-writing” (LA Times). Ahead of Midwest Princess, she signed with Nigro’s Amusement Records, an imprint of Island Records, and continued to forge her career, fueled with the fire of her own creative vision and integrity. Inspired by everything from Bratz dolls, burlesque, and Hannah Montana, the Chappell Roan universe is now built on all the gaudy, sparkly, fun things that Chappell cherished when she was little. “I’m just trying to honor my inner child who thought she wasn’t worth anything, and prove to her that she actually is a really good person,” she concludes.

As one of the most successful British bands of the last decade Chase & Status have achieved widespread notoriety and universal respect for their achievements. Consummate professionals at every level, Will Kennard and Saul Milton, are contemporary vanguards of UK electronic music. Together they’ve channelled their deep-rooted passion for rave culture into five highly-acclaimed, best-selling albums, an incendiary live show and a wide range of projects that have established them as an iconic outfit. 

From serenading the dimly-lit corners of East London pubs to Courting interest from several major record labels, agents, promoters & publishers in a few short months, The Last Dinner Party have burst forth gloriously into the guitar music renaissance.Conceived during a wine-stained evening in Brixton, the name embodies a musical and aesthetic ethos of decadence, mystery, spectacle and charm. Finding artistry in the intersection between the beautiful, sublime and grotesque, the band are guided by their favourite Romantic poets and Gothic novelists.The preceding years of isolation and anxiety have only served to heighten The Last Dinner Party’s creative appeal as they usher in a new era of unashamed maximalism and untethered euphoria. They cast their net of inspiration across artists and genres, from Kate Bush and David Bowie, glam rock and new wave, to unexpected moments of twelve bar blues, classical overture and heavy synth breakdowns.Singer Abigaille, guitarists Emily and Lizzie, keyboardist Aurora and bassist Georgia weave a fantasy of haunting melodies, explosive choruses, and lyrics that embrace tragedy and triumph in equal measure. At their shows, the band lead audiences through the soaring crescendos and pin-drop silences of the most debaucherous dinner parties, gathering a dedicated and growing company of attendees with every performance.The band are currently based in London writing, recording, and preparing for their next spectacle.You are cordially invited.The Last Dinner Party

 TANGK is the righteous and vibrant fifth album from madcap truth-seekers, IDLES. Pronounced “tank” with a whiff of the “g” - an onomatopoeic reference to the lashing way the band imagined their guitars sounding that has since grown into a sigil for living in love - the record is the band’s most ambitious and striking work yet. Where IDLES were once set on taking the world’s piss, squaring off with strong jaws against the perennially entitled, and exercising personal trauma in real time, they have arrived in this new act to offer the fruits of such perseverance: love, joy, and indeed gratitude for the mere opportunity of existence.A radical sense of defiant empowerment radiates from TANGK, co-produced by Nigel Godrich, IDLES guitarist Mark Bowen, and Kenny Beats. Despite his reputation as an incendiary post-punk sparkplug, frontman Joe Talbot sings almost all the feelings inside these 10 songs with hard-earned soul, offering each lusty vow or solidarity plea as a bona fide pop song—that is, a thing for everyone to pass around and share, communal anthems intended for overcoming our grievance. Lead single “Dancer” stands as the throbbing and scuzzy highlight at the album’s center - rattling bass and ricocheting guitar giving Talbot space to talk about sweat and sex on the dancefloor. (You will spy LCD Soundsystem’s James Murphy and Nancy Whang here, too, singing.) It is lascivious and playful and positive, the ecstatic sound of at least a temporary fix. In the improvised hook, Talbot offers IDLES’ essential new mantra: “I give myself to you/As long as you move on the floor.” He is singing about the rapture of a new relationship, but he is also singing about the special dynamic between IDLES and their fans, or IDLES and the world at large. This is a band’s vow to keep lifting and fighting for themselves and their listeners, to keep offering the grim persistence of joy and hope and love and wonder as long as that’s what anyone needs to survive. It is a love song the same way that TANGK is a love album—open to anyone who requires something to shout out loud in order to fend off any encroaching sense of the void, now or forever.

Multi-platinum and GRAMMY award winning rapper Macklemore has made history as an independent artist with a combination of commercial success, critical acclaim and international appeal. ‘GEMINI’, Macklemore’s first solo effort in 12 years, was released in 2017 and debuted at #2 on the Billboard Top 200 chart and #1 on the charts for Rap, R&B/Hip-Hop, and Independent Albums. ‘GEMINI’ includes three Platinum-certified singles, “Glorious" (featuring Skylar Grey), “Good Old Days” (featuring Kesha), and “Marmalade” (featuring Lil Yachty).‘GEMINI’ follows two releases with producer Ryan Lewis: the multiple-GRAMMY award winning and multi-platinum album, ‘The Heist’ (which spawned two #1 singles, the Diamond-certified “Thrift Shop” and multi-platinum “Can’t Hold Us”) and 2016 release “This Unruly Mess I’ve Made”, which featured the Platinum-certified single "Downtown".In 2021, Macklemore released the single “Next Year” featuring Windser. The new record is produced by Ryan Lewis, the first new song the two have made in five years.His most recent full-length album, ‘BEN’, dropped in March 2023. The introspective project includes tracks like “Faithful” (feat. NLE Choppa), “Heroes” (feat. DJ Premier), and “No Bad Days” (feat. Collett), and showcases a return to deeply personal storytelling and sharp lyricism.

Met GLINTSAL bundelen rapper/zanger Glints en producer/dj FAISAL AKA hun krachten voor hun eerste gezamenlijke album dat het beste in hen beiden naar boven haalt.GLINTS en Faisal zijn al jaren beste vrienden en presenteren al zo'n vier jaar Abattoir Anvers, de enige hiphopshow op de Belgische nationale radio (Studio Brussel). Beiden maken deel uit van het gelijknamige Antwerpse collectief Abattoir Anvers (waar onder andere ook Yong Yello deel van uitmaakt) dat werd opgericht in een voormalig halal slachthuis waar ze woonden, werkten en radio maakten. In 2020 bracht het duo hun debuutsingle “Some Time Alone” uit, die duidelijk maakte dat hun muzikale samenwerking ook verder doorgrond moest worden. Toen de sterren eindelijk gunstig stonden (en hun agenda's het toelieten), kropen ze meteen de studio in, met GLINTSAL Vol. 1 als resultaat. Het werd een album vol back-to-back bangers met invloeden variërend van Anderson .Paak en Dilla tot The Beatles of Daft Punk. Nadat ze in januari Eurosonic veroverden en genomineerd werden voor vijf MIA's, is het duo klaar om samen de grote festivalpodia te bestormen.

The Beaches are doing everything their way. After more than a decade together as a band, sisters Jordan Miller (lead vocals, bass) and Kylie Miller (guitar), plus closest friends Leandra Earl (guitar and keys) and Eliza Enman-McDaniel (drums), are entering a new era. On the new album "Blame My Ex," the 4x Juno Award-winning Toronto band channels heartbreak into self-discovery through 10 exuberant songs that revel in pain and redemption. The lead single, “Blame Brett,” an acerbic pop-rock knockout Jordan calls “a song for all the hot messes out there,” has racked up over 70 million streams on Spotify and over 10 million views on TikTok. The track peaked at #2 on Spotify’s US Viral chart, #20 at Alternative Radio in the US and #1 at Alt Radio in Canada for 13 consecutive weeks, making it the biggest alternative radio hit of the year. Mark Hoppus (blink182), Nelly Furtado, and Demi Lovato are all fans of the track. Since the success of Blame Brett, The Beaches sold out their worldwide Blame My Ex tour, including Toronto’s Budweiser Stage (16000 tickets) three months ahead of their show, Vancouver’s Orpheum (2750 tickets), Brooklyn’s Williamsburg Music Hall x2 (1300 tickets), Los Angeles’s Troubador x2 (1000 tickets) & London, UK’s O2 Forum Kentish Town (2250 tickets).

Gorik van Oudheusden (°1988, Ukkel) is een veelzijdige Belgische rapper en acteur.Onder verschillende pseudoniemen zoals Omar-G of Papa ZG begon hij zijn muzikale carrière in 2010 als één van de rappers van de Brussels hiphopformatie STIKSTOF. Met deze formatie bracht hij 5 albums uit “STIKSTOF”, “/02”, “Overlast”, “Familie Boven Alles” en “Moeras”.In 2016 zette Zwangere Guy zijn eerste stappen als soloartiest door enkele singles uit te brengen. Zijn debuutalbum Zwangerschapsverlof Vol. 3 volgde in 2017. Dit album zette hem als solo-rapper op de kaart en door zijn ongezouten eerlijkheid, unieke sound en vurige optredes drukte hij niet alleen zijn stempel op de Belgische muziekwereld, maar ook daarbuiten. Zijn doorbraak als soloartiest kwam in 2019 met het album “Wie is Guy?”, dat direct op de eerste plaats van de Ultratop 200 albumlijst belandde. Het album, bestaande uit 19 tracks, maar vooral het nummer ‘Gorik Pt. 1’ - waarin hij de thuissituatie waarin hij opgroeide pijnlijk maar eerrlijk beschijft - bracht hem bekendheid bij het brede puliek. Negen maanden (een zwangerschap) na het succes van Wie is Guy?, kwam in 2020 zijn tweede album BRUTAAL/BRUTXXL uit. De combinatie van harde beats, scherpe teksten en unieke stijl maakten van Zwangere Guy op dat moment één van de meest invloedrijke stemmen in de Belgische rapscene van zijn generatie.Als numero uno exportproduct van de blokken van de Ganshoren-wijk in Brussel, begint hij tijdens Covid in de zomer van 2020 samen met zijn jeugdvriend Frederik Daem aan het schrijven en bedenken van een serie. Als uitgangspunt nemen ze oorspronkelijk het leven van Gorik van Oudheusden, maar al snel maken ze het verhaal breder en gebruiken ze de vriendschap van 4 jongeren in de g®ootstad om met humor en rauwheid te vertellen en te duwen waar het zeer doet. De 10-delige serie PUTAIN kwan in het najaar van 2024 met veel succes op het Streamz-platform. De muziek van deze serie is gecureerd en geschreven door Zwangere Guy en is een eclectische overzicht speciaal voor deze reeks geschreven nummers die de verschillende smaken uit zijn platenkast tonen en worden gebracht door zowel bekende (Brutus, Madou, Faberyayo,…) als nieuwe (Forsissies, Eva Rose,…) groepen.Ondertussen is Papa ZG ook in het echte leven vader geworden en op het Filmfestival van Oostende gaat de langspeelfilm ‘Comeback’ (Savage Film) in wereldpremière, hij speelt hierin naast Veerle Baetens eveneens de hoofdrol. Begin 2025 laat hij vallen dat de langverwachte release van zijn nieuwe album op 24 september 2025 zal uitkomen. De evolutie en transformatie die Zwangere Guy de afgelopen jaren meemaakte zal hierin één van de belangrijkste thema’s worden. 

Doechii, also known as the “Swamp Princess” is rewriting the rules of modern hip-hop. Hailing from Tampa, Florida, she broke through with her viral hit "Yucky Blucky Fruitcake", leading to a historic signing with Top Dawg Entertainment as their first female rapper. With her unapologetic bars, genre-blending sound, and magnetic presence, she’s since collaborated with SZA, Tyler, the Creator and Kodak Black.Her 2024 mixtape Alligator Bites Never Heal hit like a storm, both commercially and critically, and earned her a Grammy for Best Rap Album, making her one of only three women to ever win in that category. The momentum continued with the 2025 smash single “Anxiety” and all eyes are now on her long-awaited debut album, a fearless celebration of vulnerability, rage, and liberation. Whether she’s rapping over swampy, distorted beats or serenading over stripped-down melodies, Doechii is a force, a visionary artist who’s not just breaking into the mainstream, she’s bending it to her will.

 Formed by Joshua Homme against a backdrop of 1990s Palm Desert, California, Queens of the Stone Age is what happens when a multidimensional musical entity outgrows the very genre it creates. Too prolific, ambitious and just plain brilliant to be tethered to or limited by the confines of any genre.  Ultimately morphing into the behemoth that has blessed the the world with a range of bangers from “No One Knows” to “Little Sister,” “My God is the Sun” to “The Way You Used To Do” and everything in between. Undeniably rock — yes, always, but with the blood, sweat and dark magical swagger only Homme and his cohorts can conjure. Regularly hailed as one of the greatest live bands in existence, QOTSA consists of Homme, Troy Van Leeuwen, Michael Shuman, Dean Fertita and Jon Theodore… What started off  as “generator parties” in the desert has evolved to sold out arenas and headlining the main stage of your favorite summer festival.