Line-up Marquee Pukkelpop 2025

J. Bernardt a.k.a. Jinte Deprez is een beetje een alleskunner; zanger, songwriter, instrumentalist, arrangeur, producer, ingenieur, programmeur. Terwijl het geluid van debuutplaat Running Days gevormd werd door elektronica, is het nieuwe album Contigo op de oldscool manier gecreëerd, samen met een band – meer bepaald een groep van Deprez's "supergetalenteerde" vrienden die hij door intense repetities en optredens leidde, "op zoek naar die vonk,"Contigo - Spaans voor "met jou" - is een dramatisch, meeslepend en kleurrijk werk, doordrenkt van drama en tot leven gebracht door weelderige melodieën, zang en productiedetails van een meesterlijke studioauteur, evenals een muzikale vernieuwer en zanger. Contigo verkent alle fasen van een breuk: shock, verdriet, woede, ontkenning, pijn, acceptatie... en raakt daarbij 'meedogenloos romantisch'.Deprez is ook bekend als de helft van het singer-songwriter duo van Balthazar, een van België's meest geliefde en gerespecteerde alternatieve rockbands gedurende meer dan twee decennia.

Op 13 september verscheen Heimwee, het vijfde studioalbum van Eefje de Visser. De opvolger van succesplaat Bitterzoet staat vol hypnotische alternatieve pop zoals alleen Eefje die kan maken. Met dit vijfde album bouwt de in Gent wonende Nederlandse songwriter haar unieke universum verder uit met avontuurlijke arrangementen, rijke samenzang en magisch realistische teksten over diep menselijke thema’s.Met de zin ”homesick in my hometown” begon het schrijfproces van Heimwee. Na het succes van Bitterzoet (uit 2020) trok ze zich terug in de studio om te werken aan songs die ze schreef tijdens het touren, maar ook tijdens de pandemie, haar zwangerschap en de eerste periode van het moederschap. “Nooit eerder is er zoveel veranderd in mijn leven”, vertelt Eefje. “Nooit eerder had ik zoveel tijd om te schrijven en nooit eerder waren er zoveel songs om uit te kiezen.”Heimwee is een persoonlijke plaat over het groeiproces van een mens die zich afvraagt hoe te leven. Het woord Heimwee klinkt in eerste instantie wellicht weemoedig, maar in de kern is Heimwee een hoopvolle plaat over de wens om verbonden te zijn en het voortdurend zoeken daarnaar. Heimwee verbindt pijn met warmte, afstand met nabijheid, en verlies met verlangen. Het resultaat is een album dat je omarmt en doet dansen, dat licht en gegrond klinkt.“Het maakproces is voor mij altijd moeilijk maar ook magisch”, zegt Eefje. “Het is zowel intuïtief als arbeidsintensief. Muziek lijkt haast vanzelf tot me te komen, maar aan teksten en arrangementen kan ik eindeloos schaven. Die tijd en aandacht maken mijn nummers beter, mijn teksten eerlijker en de producties gelaagder.”Eefje daagt zichzelf uit en zoekt nieuwe invalshoeken. De plaat klinkt organischer dan Bitterzoet, met veel aandacht voor detail en compromisloos op vlak van songwriting. Op Heimwee combineert ze akoestische beats, zwoele baslijnen en fonkelende synths met weelderige strijkers en seventies aandoende samenzang (met o.a. haar vader in het koor). Haar stem fungeert daarbij vaak als een instrument op zichzelf. Eefje: “Mijn teksten zijn heel belangrijk voor me, maar muziek raakt mij toch meer dan taal. Melodie en expressie in een stem communiceren soms meer dan woorden.”Eefje de Visser bereikt een publiek dat ver voorbij onze lands- en taalgrenzen reikt. Dit jaar tourt ze door Nederland, België, Duitsland en Zwitserland. Voor de release van haar album 'Heimwee' werd ze uitgenodigd door het gerenommeerde COLORS STUDIOS, een internationaal muziekplatform waar artiesten als Billie Eilish, Jorja Smith en Mac DeMarco haar voorgingen. Ze is bij COLORS STUDIOS de eerste gast die een sessie in het Nederlands zingt. Eefje is pionier in het brengen van Nederlandstalige muziek naar een internationaal publiek.Met haar onmiskenbare eigen stijl creëert Eefje zowel live als op haar platen een filmische ervaring. Onvoorspelbare choreografieën, volle samenzang en een betoverende lichtshow nemen je mee in haar zwoele universum doordrenkt met mysterie.

EXIT is terug. De eigenzinnige band maakt na jaren stilte hun langverwachte comeback en dat op geen beter podium dan Pukkelpop. EXIT combineert aanstekelijke alternatieve pop met pulserende electro, resulterend in een sound die tegelijk dansbaar, gelaagd en onverwacht emotioneel is.Ooit begonnen als een spannend zijproject tussen vrienden uit de Gentse en Antwerpse scene, groeide EXIT uit tot een geliefde live-act met een loyale cultaanhang. Nu herenigd, scherper dan ooit.EXIT is geen uitgang, het is een herstart.

 Vanuit de rijke Belgische klei heeft dit drietal met zelfvertrouwen een eigen plek gecreëerd waar experiment en scherpe popgevoeligheid perfect samengaan. Het Antwerpse trio - Anne-Sophie Ooghe (zang, gitaar), Dieter Beerten (zang, drums) en Koen Weverbergh (bas) - begon met een dromerige, door shoegaze geïnspireerde stijl die zich gaandeweg ontwikkelde tot een subtiele balans tussen introspectie en hooks.Hun karakteristieke geluid - herkenbaar maar toch moeilijk te categoriseren - viel op bij M83 en kenner Steve Lamacq, wiens vroege ondersteuning op de BBC voor internationale erkenning zorgde.Het werk van de band, vooral het doorbraakalbum "Firepool" en de ambitieuzere opvolger "Return to Dust", toont een groep die consequent grenzen verlegt zonder toegankelijkheid te verliezen. In een indielandschap dat steeds meer op herhaling gaat, hebben ze een eigen terrein afgebakend - wat suggereert dat hun meest indrukwekkende werk nog moet komen.

Electrifying Los Angeles trio Palaye Royale today share their highly anticipated fourth studio album “Death or Glory” via Sumerian Records. Across a series of increasingly bold records, the band have laid out their grand rock & roll vision inspired by everyone from The Libertines to The Rolling Stones, by way of My Chemical Romance. Those first four records were driven by a desire to prove just how much the band could actually do, nailing everything from epic heartbreak to snarling vengeance. 2020’s genre-hopping The Bastards showcases a band out to take on the world while 2022’s Fever Dream takes rebellious punk rock and twists it around orchestral beauty. By contrast, new album Death Of Glory has absolutely nothing to prove. Inspired by years of chaotic, communal gigs, album five sees Palaye Poyale comfortable in their own skin. “We’ve learned that writing radio hits or soundtracking viral moments on social media is great, but we don’t need to chase those things. We’ve got this dedicated fanbase, and that’s the most important thing,” says Remington. “Death Or Glory is definitely our most confident record.” It's also their most fun. Following the success of the sprawling Fever Dream world tour, the Palaye Royale brothers and touring bassist Logan Baudean reconnected with guitarist Dave Green, who played with the band on their first ever tour. They set up shop in his garage studio alongside producer Matt Squire and “got back to the roots of the band,” says Sebastian Danzig. “We just had so much freedom.” In one day, they wrote the party-starting rave of Pretty Stranger and the empowering snarl of Death & Glory, setting the tone for everything that would come next. “The whole thing has this energy of not caring about being too perfect.” “We’re not taking ourselves too seriously and just having a good time this time around,” Remington continues. “In a band, there’s always so much pressure around the decisions you make but this record was all about making music in a room together. All we cared about was being happy in that moment,” he adds, with Death Or Glory driven by a sense of euphoria. “Most of our albums are dark and depressing, but this one is all about having fun.” Death Or Glory may see Palaye Royale fully embrace the giddy recklessness of their celebrated live show, but there’s a lot of heart behind the album as well. As the band were recording the last song, they got the news that their mom Stephanie Rachel had been diagnosed with stage four cancer. She passed away nine months later. “This album is coming out at the perfect time,” says Sebastian. “Instead of living in this dark, depressing headspace after losing someone so important, so loved by all of us, Death Or Glory is forcing us to chase fun and excitement.” It’s about connection, unity and strength in numbers, which is something the world could do with more of. “This record means so much more to us now, because life is short. You need to enjoy every single moment while you can and surround yourself with people you care about,” Sebastian continues. “We’re really trying to be the best band we can be, so we can make our mom proud. As silly as it might sound, I just want people to have fun with this record.”Palaye Royale consists of brothers Remington Leith (vocals), Sebastian Danzig (guitar), and Emerson Barrett (drums). The creation of "Death or Glory" was a cathartic return to their roots, combining their deep musical knowledge with an innovative approach. The album's tracks were developed during a period of introspection, drawing from their extensive experience and growth as artists. Each song on the album is meticulously crafted, showcasing the band's profound connection to their music and their fans, lovingly dubbed the Soldiers of the Royal Council. “When we first started out, the goal was Wembley arena. Now that show has been announced, it’s about planning the way forward from there,” says Sebastian. The mantra of Palaye Royale remains “always be ambitious, always be driven and always stay true to yourself,” he continues. “And I’m not worried if that pisses people off anymore.”.

Joachim Liebens (29) is met The Haunted Youth in korte tijd naar de top van de Belgische indie geschoten. Zijn songs, vaak over de struggle of life maar verpakt in heerlijk dromerige gitaren en synths, zijn voor hem therapie, en raken ook bij toehoorders een gevoelige snaar, tot in de VS. Elke single is een schot in de roos en debuutplaat Dawn Of The Freak wordt door pers en publiek innig aan de borst gedrukt. Voeg daarbij hun stomende livereputatie en The Haunted Youth is vertrokken voor jaren.

There is no such thing as a Montell Fish release without lore. Across albums, EPs, and side projects, the 27-year-old singer-songwriter delves into the depths of his emotions and intellect. With each release, he constructs a layered tower of references and metaphors that shake and sway with the anxieties of a gifted young person striving to reconcile the contradictions of the world: in love, in religion, in art, and in faith. It is the kind of music that inspires intense feelings and dedicated fandom. Charlotte, his newly released album, is a raw collection of songs that explore the highs and lows of love, ambition, and self-actualization. “I know I’m a star,” Fish sings at one point, and for perhaps the first time in his career, it feels like he means it—and has unlocked a new level of achievement because of it. While writing the record, the continuation of the trilogy that began with Jamie (2022), Fish read about psychology, memory, and childhood; the ideas of Freud and Jung provided thoughtful stimulation as he crafted songs that explore growth and attachment—romantic and otherwise. The album follows the EP Intercession Before Charlotte, released under his DJ Gummy Bear moniker. (For a greater understanding of Gummy and that project’s ideas about a persecuted musician, Fish wrote a short but dense piece of online fiction. The lore runs deep.) Intercession featured more uptempo, beat-heavy songs, and Charlotte begins in that fashion too. The lights go down, a fuzzed-up guitar riff tears the night in two, the bass drops in, and then the drums—steady and urgent as a heartbeat. Recorded between Paris and New York, Charlotte began life in the home of acclaimed fashion designer Matthew Williams (they became friends after Williams shared Fish’s music on Instagram, sparking a DM conversation). The first single, “Who Did You Touch Last Night?”, is meant to evoke the throbbing energy of a Parisian nightclub. Fish’s falsetto has never sounded stronger than it does here, as he embodies jealousy and vulnerability, repeating the aching question posed in the title. “Why did you think I won’t figure out?” he sings on the chorus, his voice caught somewhere between pained resignation and desperation. Befitting a project as concerned with vulnerability as it is with aspiration, Fish opened up his creative process to a producer for the first time on Charlotte: Jacob Portrait, of the melancholic funk act Unknown Mortal Orchestra, stepped into Fish’s world to lend a hand. It is a natural pairing; both are devotees of Prince, in particular, the late artist’s genius for creating emotional complexity and tension with uptempo songs that reveal themselves to be sorrowful with repeated listens. “Is It a Crime” is one of the most Prince-flavored moments on the album, a gorgeous, guitar-driven song about lingering feelings. “Is it a crime, crime—you’re on my mind?” Fish sings against a jagged riff, after the drums drop out. It is heavy and evocative; the moments of quiet on the track—the sense of space between sounds—make it feel existential in its questioning of right and wrong. With the wages of sin and temptation on its mind, “It’s Gonna Cost You” is another standout moment, a feverish funk examination of the toll ambition takes. It features some of Fish’s most impressive falsetto shouting, as he quips that he will be the “greatest that you’ve ever seen.” It is profane and sacred, ending with a contemplative moment of organ playing. As ever, Fish loves thinking about life’s big questions: How does childhood shape a person? What does it mean to have a gift the world wants access to? Raised in a strictly religious household and now out in the world on his own making his art, Fish possesses a boundaryless curiosity about ways of living and creating. Charlotte is his most fully realized project yet, the sound of a generational talent stepping into his power.

International pop star. Writer of songs. Fearer of bugs. Girlboss of the Very Sexy CMAT Band. Once, twice, three times a loser at 2024’s BRITs, Mercury Music Prize and Ivors. Soon to release a new album, EURO-COUNTRY, which will rectify these errors.

If all art is magic, it’s most resonant when it merges into both the timeless forms and temporary frailties of existence. With In Waves, Jamie xx has conjured a spellbinding portal. He replicates the emotional crescendos and thrilling volatility of an almost mystical night out– one where you return home in the cigarette ash dawn, the specifics of the last eight hours already blurring, but aware that these feelings will remain a crystalline memory.In Waves is a melancholy paradise of bliss, heartbreak, and introspection. The story of a journey where you merge into the divine pulse of shadows, light, and dancefloor rhythms. A strobelite epiphany about the illimitable possibilities and spiritual capacities of humanity. Nine years after his debut solo masterpiece, In Colour, the London producer has not only eclipsed the heights of its predecessor, he’s somehow made all supernatural adjectives and analogies seem understated.

Het succes van vorig jaar was zo overdonderend dat een vervolg niet kon uitblijven. Classic, natuurlijk. Op zaterdag 16 augustus staan de 47 hybride geschoolde muzikanten van The Atomic Orchestra opnieuw in de Marquee. Onder leiding van Jo Hermans, de charismatische chef d’orchestre en een lading nieuwe muzikale gasten. 

Yong Yello is de alias van rapper en producer Yello Staelens. In een vorig leven was hij lid van het legendarische hiphopcollectief Eigen Makelij, waar hij samenwerkte met onder anderen Tourist LeMC. Later groeide hij uit tot de vaste producer van Glints.Ondertussen kennen we hem als de nieuwe kroonprins van het Antwerpse lied. Zijn muziek heeft wortels in de 90s-hiphop waarmee hij opgroeide, maar is sterk beïnvloed door soul, funk en soundtracks uit de jaren ‘60 en ‘70. Hij schrijft met de finesse van een chansonnier en zijn refreinen zijn meeslepend als een popsong.In 2020 schopte hij het tot finalist van De Nieuwe Lichting met de single Als Ge Slaapt.Later kregen we singles uit zijn debuutalbum Marcel & Het Magnetisme Van De Goot (2021) voorgeschoteld. Met nummers als Cirkels, Waanzin en Luchtkasteel liet hij een stevige indruk na. Dit bevestigde hij met uitverkochte zalen, voor “Yelloooooo” scanderende menigtes en krachtige festivalshows op de weides van Pukkelpop, Rock Werchter en de Lokerse Feesten. Dit leverde hem onder andere een MIA-nominatie op in de categorie Hip-Hop/R&B.Het album Marcel & Het Magnetisme Van De Goot  werd vandaag bekroond met een Gouden Plaat.

Under the moniker Still Woozy, Portland-based singer-songwriter/producer Sven Gamsky makes psychedelic alternative music with a homespun mix of acoustic and electronic instruments. On his debut album released in 2021, If This Isn’t Nice, I Don’t Know What Is, Gamsky ultimately redefines the limits of modern pop, introducing elements of soul, folk, and psychedelia into a wildly infectious sound that immediately leaves a lasting impact. He shared an ingeniously detailed body of work, including beloved singles “Window,” “That’s Life,” and “Woof,” and graces each song with the uplifting energy he brought to the stage at major festivals like Coachella and Lollapalooza and a sold out If This Isn’t Nice Tour across North America and Europe. With his distinctive blend of dreamy melodies and innovative soundscapes, Still Woozy continues to captivate audiences, solidifying his place as a unique and influential force in the contemporary music landscape. With a sophomore album, Loveseat, due for release on June 28 2024, Still Woozy returns with a new single “Shotput” out now. 

GRAMMY-nominated artist and producer, RY X, is constantly in pursuit of connection. Connection to nature, to spirit, to the human experience - expression and vulnerability is at the core of his work and what he evokes as an artist. He has toured and performed around the globe in some of the worlds most Iconic spaces, and collaborated with orchestras and establishments like LA Philharmonic and London Philharmonic, along with producing and writing records for artists like Drake, Diplo, Black Coffee, and John Legend. He has amassed over a billion streams online, and received platinum and gold records for his recordings, along with being invited to share his work at the Nobel Peace Prize and places like Notre Dame.He has also scored for the Gothenburg Opera and NDT, and continues to work in collaboration with dance and other art mediums, along with scoring numerous film projects. His work is multifaceted, deeply emotional, and continually based in a reflection of what it ultimately means to be human, in its wide range of somatic and emotional experience. Ry engages all forms of artistic expression with his heart at the fore.

“‘A LA SALA,’ I used to scream it around my house when I was a little girl, to get everybody in the living room; to get my family together. That’s kind of what recording the new album felt like. Emotionally there was a desire to get back to square-one between the three of us, to where we came from–in sonics and in feeling. Let’s get back there.”  - Laura Lee OchoaThe title makes it clear. A LA SALA (“To the Room” in Spanish), the fourth studio album by Khruangbin, is an exercise in returning in order to go further, and do so on your own terms. It extends the air of mystery and sanctity that’s key to how bassist Laura Lee Ochoa, drummer Donald “DJ” Johnson, Jr. and guitarist Mark “Marko” Speer approach music. Yet if 2020’s Mordechai, the last studio album Khruangbin made without collaborators, was a party record whose ensuing post-lockdown tour enhanced the band’s musical reputation far and wide, A LA SALA is the measured morning after. It’s a gorgeously airy album made only in the company of the group’s longtime engineer Steve Christensen, with minimal overdubs. It is a porthole onto the bounties powering Khruangbin’s vision, a reimagining and refueling for the long haul ahead. A LA SALA scales Khruangbin down to scale up, a creative strategy with the future in mind.It is also a response to the unique moment Khruangbin finds itself in now: following a decade spent cultivating extraordinary music paths, beginning a year when they'll perform for more people, in more iconic spaces, staging a live show that pushes a creative envelope peculiar to them alone. (Look for the band at major festivals and venues near you.) 2024 feels like both marker and pivot, cementing Khruangbin’s stature as a commercially and critically successful group that continues to be guided by creative possibilities.Such crossroads are familiar for iconic artists throughout the rock era — your Dylans, Stevies and Bowies, up thru turn-of-the-century Radiohead, all have navigated these straits. On A LA SALA, Khruangbin also pulls exploration inward, spurning the din of the crowd’s expectations, mapping a personal direction home. The trio’s collective musical DNA and the years spent constructing it in Houston’s local-meets-global cultural stew ensure the band carries on sounding like no one but itself. A LA SALA may in fact be Khruangbin’s purest distillation. A cascade of crisp melodies still emanates from Marko’s reverb-heavy electric, dancing gently around Laura Lee’s minimalist almost-dub bass triangles, while DJ’s drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place. Where prior album-by-album growth seemed to point the narratives towards music’s polyglot edges, such inquiries now sound like known intimacies. What once seemed like sonic invocations — spaghetti-western film scores, found-sounds, dancing moments more living room than rooftop disco — are ingrained characteristics. This is who they are! And there’s a freshness to the instrumental interactivity on A LA SALA that’s less concerned with getting further out than going deeper in. That depth is not about therapeutic self-reflection, but a profound desire to celebrate the world’s external wonders.A LA SALA invites intimate intercontinental partying. The first single is, after all, called “A Love International.” “Pon Pón” holds the band’s table at the West African discotheque; yet the joy now moves to the corner left of the dancefloor, where the back-and-forth between Laura Lee’s bass, DJ’s hi-hat, and Marko’s tuneful rhythm scratches, is a marvel of knowing head-nods. There’s “Hold Me Up (Thank You),” a familial sweetness in its spare lyrics, feeding off the rhythm section’s sturdy funk shuffle, and a chorus on which Marko’s guitar evokes both sides of the Atlantic in confident unshowy rhythms. They’re on “Todavía Viva” too, next to DJ’s noir-soul rim-shots, synth strings and a pregnant pause that is Laura Lee’s favorite moment on the album, the mood kin to the band’s glorious live interpretations of G-funk fantasias. And the rocked-up miniature, “Juegos y Nubes,” demonstrates Khruangbin’s Houston-born superpower to culture-mix, a dancing mood less concerned with worldly glamor than communal grooving.“I read something long ago, attributed to Miles Davis. He said, ‘When they play fast, you play slow. When they play slow, you play fast.’ And it's definitely how I've approached looking at music: Don't follow the trends. And if the trend is this, then do something else.” - MarkoFrom the get-go, Khruangbin’s journey has been emphatically its own: a sound and visual representation with few precedents, ignoring pop expectations, relying only on internal inspirations, and a multitude of visions. It’s a mindset of penetrating the self, connecting to the surrounding world, modeling your own life experiences. This ethos is threaded throughout A LA SALA, audible in the album’s form and function. (It’s even visible in the vinyl version’s physical package, which will be released as a set of seven distinctive covers and color-sets — more on which in a sec.) The building blocks for the album’s 12 songs were jigsaw pieces found in Khruangbin’s creative past. Having stockpiled ideas originally set down as off-the-cuff recordings (voice-memos made at sound-checks, on long voyages, as absentminded epiphanies), they began fitting those pieces together in the studio. Which parts were apt? Which could be massaged and stretched out? Which inspired new sections or rhythms or musical interactions? Once more, Khruangbin’s familial DNA kicked in. Layer-by-layer, the intimate work, rework and re-rework bore new fruit. They also brought back a strategy once foundational to their records: seeding an album with field recordings.  Some results fold directly into A LA SALA’s down-home feel. “Three From Two” and “May Ninth” are wistful mid-tempo numbers, with guitar melodies that reside somewhere between Bakersfield and by-the-riverside, cues that, for all its borderless inclusivity, another core Khruangbin value is being steeped in American roots. And in the landscape that music comes from. Like all albums prior to Mordechai, Marko made sure environmental sounds — natural and man-made — appeared as textures. (At times philosophically: the group recorded while cricket chirps played in their headphones, presumably for terroir.) It’s how A LA SALA achieves such interconnected set-and-setting-ness.   Other results are more metaphorical, especially in Khruangbin’s flirtation with ambient spaces. The dramatically beatless “Farolim de Felgueiras” and “Caja de la Sala” both feature only Marko’s unmistakable guitar dueting with Laura Lee’s Moog, lightly layered with sounds of shoes on stone steps, and cicadas in an open field. The closing “Les Petits Gris” more fully reduces and fleshes out the ambiance, with a piano and a simple single-note bass pattern, Marko’s plaintive spare guitar echoing the melody of a ballerina-turning music box. It feels an apt way of ending — as a passing of this particular moment, preparation for the next one, soon-come. Even the seven different covers that adorn A LA SALA’s various vinyl editions offer a throughline from the music into Khruangbin’s current frame. Designed by the band using Marko’s multitude of travelog photos, they are windows from the band’s living room onto a set of daydreams, scenes of impossible skies, external glances illuminating what is going on inside. These are also directly related to David Black’s images of DJ, Laura Lee and Marko which accompany A LA SALA, and to Khruangbin’s live staging reinvention. It’s all about looking out and looking back, in order to better look ahead.  “All the little moments you capture. You don't see how impactful they are until you hear what eventually comes of them. A lot of those scraps end up being the thing — and you don't realize it until it's ‘The Thing.’” - DJ

De carrière van De Jeugd begon in 2005 met de nummer-1 hit ‘Watskeburt?!’ en sindsdien werd de groep gezien als een van de meest vernieuwende en invloedrijke acts in de Nederlandstalige muziek. Ze scoorden hits als ‘Sterrenstof’, ‘De Formule’, ‘Manon’, 'Hollereer’, 'Get Spanish' en 'Gemist’ met meerdere (multi)platina en gouden awards. De groep bracht tot nu toe acht studio albums uit waarvan de laatste ‘Moderne Manieren’ in 2023 binnenkwam op #1 in de Nederlandse Album Charts. De jongens hebben talloze awards op de mantel waaronder meerdere Edison-awards, MTV Award en de Popprijs. Willie Wartaal, Vjèze Fur, Faberyayo en Bas Bron staan bekend om hun energieke live shows. Ze geven steevast uitverkochte concerten in alle poppodia in de Benelux, in de Lotto Arena ,  AFAS Live, Rotterdam Ahoy en het Olympisch Stadion. 

Suki Waterhouse’s music sounds like a collage of her inspirations, experiences, and emotions stitched together by honeyed vocal delivery, bright-eyed melodies, and evocative storytelling. It doubles as a mirror image of her life as a consummate creative, artist, actress, model, and mother, yet it also breaks the glass to unveil raw truth. She leans on an ever-evolving sonic palette to convey what she’s feeling—whether it be folky Americana, nineties alternative, turn-of-the-century indie, or handcrafted otherworldly pop. You’ll hear Suki’s longing in a swooning chorus, fearlessness in a crunchy chord, elation in a danceable waltz, and wonder in a soft coo befitting of a lullaby. She faithfully followed a lifelong passion for music to her 2022 full-length debut, I Can’t Let Go. Adorned by “Moves” and “Melrose Meltdown,” it incited widespread critical applause from Variety, Nylon, NME, The Line of Best Fit, and more. Between headlining shows and touring with Father John Misty, “Good Looking” surged online, generating nearly a billion streams, going RIAA platinum, and paving the way for the Milk Teeth EP. Simultaneously, she absorbed inspiration from a season of change earmarked by unforgettable moments a la gracing the stage of Lollapalooza 2023, performing on multiple continents, becoming a mom, and closing out the Gobi Tent at Coachella in 2024. Everything just set the stage for the gold-certified songstress to assert herself as a versatile, vibrant, and vital presence on her 2024 double-LP, Memoir of a Sparklemuffin [Sub Pop].

Australian indie duo Royel Otis have soared to global virality in 2024 - since their formation in 2019, and across three EPs, Otis Pavlovic and Royel Maddell paved the way to this year’s crowning jewel in debut album, PRATTS & PAIN. The record landed at #1 on the ARIA Australian Albums Chart, #10 on the ARIA Albums Chart and garnered worldwide critical acclaim among Zane Lowe, BBC Radio 1’s Jack Saunders, Matt Wilkinson, Clash and NME (including a cover feature at home and in the UK). To date, their discography has amassed over half a billion streams.Skyrocketing Royel Otis to even greater heights was their phenomenal triple j Like A Version recording of Sophie Ellis-Bextor’s “Murder On The Dancefloor.” Achieving #1 on the US Alternative Airplay Chart, landing in the top 5 on the Billboard Rock and Billboard Alternative Airplay Charts, and reaching #2 on ARIA’s Top 20 Australian Singles,the cover quickly earned gold certification in Australia alongside the duo’s beloved original, “Oysters In My Pocket.” Receiving nods from Elton John and Sophie herself, the cover continues to climb in single and streaming charts across the US, UK, Australia, and Europe. Come another rapturous cover moment in their SiriusXM Session performance of The Cranberries “Linger,” Royel Otis can’t shake the spotlight. In a matter of weeks, their soul-stirring rendition topped viral charts, amassed over 1B TikTok views, 20M YouTube views, 100M streams, and earned gold certification in Australia.Royel Otis have covered global playlists on Spotify and Apple Music, plus accumulated 9+ million monthly listeners on Spotify. Following their sold-out Australian headline tour celebrating PRATTS & PAIN, the duo embarked on debut sold-out headline tours across the UK, Europe, and the US, selling over 100,000 tickets worldwide. Overwhelming demand saw each tour expand with additional dates and venue upgrades, further enhancing an already impressive résumé of festival appearances — including Primavera Sound, Sziget, Reading & Leeds, Boston Calling, Austin City Limits, Pukkelpop, Splendour in the Grass, Bottlerock, Kendal Calling, Groovin The Moo, and many more.Never failing to keep the fans on their toes - the world eagerly awaits Royel Otis’ next move.

Viagra Boys are a band that weaponizes absurdity—tossing firecrackers into the middle of the room and standing around to see the reaction. Led by frontman Sebastian Murphy, whose voice is a compelling blend of impish smirk and smoker's rasp, the band is known for its seething satire and darkly comic edge, encapsulating a unique blend of grit and sleaze.Murphy's lyrics often reflect on the absurdity and backwardness of the modern world, though he avoids prescribing beliefs or taking sides. Therefore, the band's music is marked by a playful yet incisive critique of societal follies and contradictions, set to heavy-weight, explosive production.Viagra Boys have garnered significant success and acclaim, performing sold-out shows worldwide, including prestigious gigs at Coachella and Jimmy Kimmel. The band has received high ratings from Pitchfork, NME and Kerrang!, and notable recognitions, including album of the year from The Needle Drop. Their impact extends to the Swedish music scene, where they've won awards such as Album of the Year and Best Live Act at the Swedish Grammis & P3 Guld Awards, highlighting their widespread appeal and influence.

In April 2022, AURORA read a letter that changed her life. It was co-written by indigenous activists, titled ‘We Are the Earth’, and called for a revolution: a collective response to global warming – to “heal the land”. They described being connected to the land “through our hearts”, and the earth as “the heart that pulsates within us.” The letter led AURORA to consider a question: what happened to the heart?“Everything we do is about greed, about money, about mass consumption, about capitalism,” she says, blue wide-eyed and flooded with feeling. “There’s war everywhere, countries under water, flowers in Antarctica. We are ruining our land, mistreating our animals, our clothing, and each other. We have stopped leading from the heart.”And so 27-year-old Norwegian art-pop superstar AURORA began studying books on human anatomy. She wanted to understand when and why Western culture lost touch with the deeper purpose of our most vital organ.“The ancient Greeks thought the heart was the portal to spiritual divinity, that it represented the interconnectedness of the world,” she says. “But then Aristotle comes along and says, ‘the heart is a pump’. Then Plato says, ‘the heart makes blood’. Then another guy says, ‘the heart filters the blood’. And so bit by bit, it became purely functional. We had misinterpreted its whole meaning.”The letter also resonated with AURORA on a more personal level. In 2022, she released her chart-topping last album, ‘The Gods We Can Touch’, which saw her complete a sold out UK headline tour, including at BST Hyde Park alongside Adele. With over a million album sales and 2.6 billion streams, and her inaugural 'The Gods We Can Touch' book selling 14,000 copies (while signed copies sold out in less than an hour), AURORA was at her professional peak. Yet at the same time she experienced something painful that split her in two. She sensed a disconnect between her mind and heart. “It made me understand women in a way I hadn’t before. It made me understand how evil hides behind the nicest of faces.”AURORA’s fourth album, ‘What Happened to the Heart?’, is a journey from weakness to strength, from self-destruction to self-healing. Of reuniting a fractured self. “It’s actually the most personal and cathartic album I have ever written,” she says quietly, as if the realisation had only just come to her.‘Some Type of Skin’, a dark slice of electro-pop, reveals the conflict at the album’s core. “When you’re vulnerable, anything that brushes up against you makes you bleed,” she says. “But you need to go into battle, you need to build some type of skin.” In the song, AURORA cries: “Hit me hard where I am soft… should my heart reveal itself to be more than a muscle? Or a fist covered in blood?”To build her armour, AURORA decided to throw herself into chaos. “Usually I am very careful, very reasonable” she says. “But for once I wanted to experience what it felt to be unreasonable. I needed to be destructive.” So she gave herself a year, while she was touring ‘The Gods We Can Touch’, to throw herself into life hard and fast. “A lot of alcohol, very little sleep, a lot of fun,” she smiles, a little wistfully. She went ice swimming and hurled things in rage rooms. “It was painful, but I was building skin.”The chaos extended to the writing process. “I had a rule: I could only write in unsafe spaces, I needed to be rootless.” That meant no forests, where AURORA had spent much of her childhood in Bergen, Norway – a solitary safe haven away from those who made her “feel alien”. These “unsafe spaces” were loud, full of people, “strange smells, noises…anywhere where I could feel observed”. AURORA travelled all over the word, meeting with women she describes as modern day philosophers, “women with true knowledge”. In particular, three female tribe leaders in Colombia, Brazil and Argentina. “There is wisdom in their indigenous values. These women live in the modern world just like us, but they still choose to live with kindness.” She was inspired by their feminine power. “Men have been leading us for thousands of years and look where that has got us. We need change, and women have had everything figured out from the very beginning of time. We were the first timekeepers, we could track the seasons inside our own bodies.” She grins cheekily. “I would be scared of us too, if I were a man.”Feminine strength inspired 'The Gods We Can Touch' – fighting against internal shame and societal judgement of the female body – and it is no less present here. Above the throbbing techno of 'Starvation', produced by German Nicolas Rebscher, who also worked on her debut EP 'Running With the Wolves', AURORA mourns the depletion of the human spirit as a result of technological invasion that is particularly threatening to women. “Our souls are starving, because AI is taking over; art is being replaced by computers,” she says, gravely. “And women, our consent, is being exploited, as it always has been, from porn to deep fakes.” The act of mourning is integral to ‘What Happened to the Heart?’. As AURORA says, “I’ve been thinking a lot about funerals, and in the music people used to deal with death”. She drew on buried grief for loved ones, as well mourning her former self. “In Norway there is a culture of repression. I suppressed something for so long, and became infected by it,” she says, with a deep sigh. “So once I began to properly address my past, I realised that a lot of things I remembered were very different from how I imagined. And I had to accept that I have to change to move on. I am not the same as I was". She adds, firmly: "I have to learn how to work with this body, in this mind, as they are now.” This mourning led to a kind of holy communion between AURORA's heart and mind for the first time. “I spent a lot of time drinking wine alone, speaking out loud, my heart and mind finally in conversation.” She would record these conversations and later transcribe them as fodder for her songs, such as ‘The Dark Dresses Lightly’, a haunting folkloric melody over an urgent drum pattern, which imagines the heart and the mind as two characters sitting at a table, drinking together – you can even hear the glasses clinking in the production. AURORA leans forward conspiratorially. “So the heart says, ‘Okay, now, we've gone too long without communicating. Tonight, we're going to get drunk, go deep into this shit, and explode on each other’.” The song is the album’s turning point, AURORA adds, “when all the ugly has come out, and you can kind of hear me having an orgasm because getting everything out is so delicious, and the healing can truly begin.”These imaginary exchanges felt so visceral to AURORA that she would sometimes paint them; the heart and mind in a sword duel, “splattering all over each other”, she says, her face lighting up with mischievous delight. It’s a viscerality mirrored by the album’s production: a thrumming, primal force that confronts the almost ecclesiastical purity of AURORA’s own vocals. “It reflects this idea of the body falling apart, and being glued back together by something inhuman.” This discord is brought to life by “beautiful old synthesisers” that AURORA found all over the world, including with previous collaborator Tom Rowlands of The Chemical Brothers. “I got him to puke all over the song ‘My Body is Not Mine’ with his old modular synths” she says, which, fittingly, “had a mind of their own.” Despite the thematic and sonic darkness of the album, AURORA wanted to maintain a certain playfulness. “A very random, very intuitive,” way of producing. She collaborated with some of her favourite Norwegian artists and producers, from Ane Brun on ‘My Name’, to Matias Tellez on ‘Invisible Wounds’. On some tracks she plays the drums, a fiddle player and a traditional Chinese Pipa player were brought in, and some songs contain a “beautiful mandolin from the 60s”, she says, smiling, picking up an imaginary bow as she loses herself in the memory. There is even a disco song, ‘Do You Feel?’, produced by longtime collaborator Magnus Skylstad and sure to be a club-banger and chart hit. “It makes no sense, I have no idea why it’s on the album,” AURORA laughs, like a tinkling bell. “But my sister was born in the 80s and I was kind of thinking about her. And I liked the idea of having a song that made no sense.”Not all these songs are a product of chaos, however. The first and the last songs of the album, ‘The Echo of My Shadow’ and ‘Invisible Wounds’, were written in the quiet. “In my living room, where it was safe. They came directly from my solitude.” And with this quiet comes hope: “We both need to/Tend to the invisible wounds,” AURORA sings, a call to action for herself, to the listener, and to the world, to rupture with this malignant state of inertia, to fight back, to heal. “We need to stop this sense of global denial. We need to blow up, because it’s important, sometimes, to explode. Explosion is vital for change, to put the heart back into politics.” She smiles, and says, in the softest tone: “I think what we need... is a small riot.”

 Papa Roach are two-time GRAMMY-nominated, Platinum-selling leaders in Alternative Hard Rock music, who in 2020 celebrated the 20thAnniversary of their iconic album INFEST. Papa Roach are not unfamiliar with calling attention to Mental Health, and have been doing so since day 1 with the iconic release of “Last Resort.” Since then, the band has gone on to release 10 studio albums, along with their most recent Ego Trip released on their own label New Noize Records through ADA /Warner Music. Ego Trip has garnered over 360 million global streams to date and has produced four #1 singles including the band’s current single “Leave A Light On (Talk Away the Dark) which is the band’s biggest hit in a decade. The international hit brings the band’s total to 26 career Top-10 hits, and 12 career #1s. 24 years into their career, the band continues to make a global impact.