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Pop's reigning vanguardist — the brat era's architect bringing club-pop chaos to the main stage, a decade of underground experiments finally cashing out at scale.
UK drum & bass institution in full live mode — twenty years of rave history delivered with a band's punch, still peerless at festival scale.
South London's laureate — novelistic UK rap that fills stadiums without raising its voice, Mercury-winning storytelling with a pianist's touch.
The high priestess of festival headline sets — barefoot, feral, hymn-sized, sprinting the barricade while 'Dog Days' detonates.
Dublin's poet-punks grown into arena-scale alt-rock — 'Romance' made them era-defining, swagger and melancholy in equal Irish measure.
Britain's Grammy-and-BRIT-sweeping songwriter freed from label limbo — big-band soul-pop with real stakes, and a live show that earns every award.
54 Ultra
Absolutely
Rising UK pop songwriter on the main-stage undercard.
York's queer-pop firecracker — TikTok-honed hooks backed by real band energy and a live show that outruns the algorithm that found her.
'Brazil' wunderkind grown into a glam-flecked festival veteran at 27 — big-hearted indie-pop with a political streak and a wardrobe to match.
Little Mix's Jade gone gloriously weird — 'Angel of My Dreams' announced a real pop auteur, camp and chaos with A-list polish.
YouTuber-turned-legitimate indie rocker — wry, anthemic, and self-aware, with a built-in audience now singing real choruses.
Keo
Confessional South London hip-hop — jazz-warm, tender, and quietly huge, verses about family and flaws delivered like conversation.
Diary-entry pop with a novelist's detail — the 'Good Witch' faithful sing every word, British wit sharpening every heartbreak.
Heartthrob pop with indie manners — 'Sally, When the Wine Runs Out' made him a festival fixture, and the crowd brings the wine.
Grime's global ambassador — Konnichiwa-era bars and a DJ's instincts, London energy at any scale, 'Shutdown' still a detonation.
Glitter-and-grit dance-pop — Y2K excess reborn as main-stage camp, played with total commitment to the fantasy.
Moody, reverb-soaked alt-pop from a Manhattan teenager who went from bedroom demos to festival bills — heartbreak at streaming scale.
Adéla
Club-circuit electronic project.
Alex Spencer
Amma
London's elusive trio — murmured vocals and tangled guitars that made Matador come calling, with a mystique maintained by saying almost nothing in public.
Snarling internet-era electroclash — bratty vocals over blown-out bass, reviving the genre's trashy Berlin glamour for a generation that missed it the first time.
Betty
Bleech 9:3
Manchester's jump-up juggernaut — relentless double-drops and dancefloor pressure from one of drum & bass's most in-demand new-school names.
Camille Blackman
Cork's melodica-toting indie romantics — Fontaines-adjacent and rising fast, with a windswept, literary streak all their own.
Ceebo
Wry, glossy indie-pop — 2026's buzziest new writer-performer, with hooks polished enough for radio and lyrics sharp enough to sting.
Amsterdam's minimal-house standard-bearer — deep, warm, relentless grooves that made him one of Europe's most booked underground names.
Manchester's whispered R&B-electronica — internet-cult intimacy gone big, hushed vocals drifting over UK garage shadows, long-lost demos turned devotional catalog.
Clementine Douglas
Yes, that Beckham — scrappy young rock band earning its stripes on the small-print circuit, with famous-family curiosity doing the marketing.
Anthemic young alt band.
December 10
Hushed UK bedroom-pop — lowercase songs, uppercase feelings, whisper-close vocals over soft guitar loops made for headphones at 1 a.m.
DJ EJ
Djammin
UK house classicist — 'Ocean Drive' sunsets guaranteed, with 'Need U (100%)' and a decade of chart-house craft behind them.
F3miii
Finessekid
Fiona-Lee
Fliss
Irish indie four-piece — harmony-rich guitar pop on a steep rise, carrying the Cranberries torch for a new generation.
Sibling NYC hyperpop chaos agents — glitchy, funny, and relentless, a live set that plays like a timeline scrolled at maximum speed.
Unhinged Brooklyn art-rock — yelping, swaggering, and critically adored, like the Stones reassembled by art students mid-fever.
Atlanta's melodic-trap stylist — liquid flows and designer-drip anthems, delivered with barely a raised pulse and total control.
UK bass with a dancehall bounce — the sound of a soundsystem set rather than a festival drop, 'Skanka' the breakout.
Jump-up drum & bass's loudest new star — pure warehouse chaos, double-drops stacked until the low end wins.
Bruised, cinematic alt-pop — Grantham's bedroom-to-BRIT-Award story, small-town detail sung in a fog of reverb, intimacy that scales to festival fields.
Liquid drum & bass at its most emotional — festival fields turned choir, soaring vocals over rolling breaks.
IN PARALLEL
Digicore prodigy turned noise-pop auteur — abrasive and gorgeous at once, walls of distortion hiding devastating melody.
JD Cliffe
Manchester house on the rise — rolling, minimal grooves for sunset slots, one of the UK underground's fastest-moving names.
Joss Dean b2b Nafe Smallz
Moody, guitar-flecked alt-pop with a whisper-to-hook delivery — quiet verses that detonate into choruses, diary-page lyrics under the gloss.
Julian Fijma
Irish rave-house heat — big-room energy with underground credentials, breakbeats and pianos at full sprint, Galway-to-warehouse momentum fully underway.
Kibo
Kilu
KING BOOO!
Anthemic Irish folk-rock — banjo-driven singalongs built for fields, Limerick lads on a steep national rise.
Belfast's bilingual rap provocateurs — republican mischief, mosh-pit energy, real bars, and a film's worth of mythology already.
Lamb
Amsterdam tech-house workhorse — dark, rolling, precise, and seemingly booked every weekend somewhere in Europe, grooves with total technical control.
Lo-fi house graduate turned rave heavyweight — Jordon Alexander's peak-time pressure, from blog-house hiss to full warehouse assault.
Brothers back-to-back — UK tech-house's cheekiest rising pair, trading grooves with sibling telepathy, four hands and one groove.
Meeshy
Quebec trio making impossibly smooth bedroom dream-pop — bass-forward, hushed, and quietly enormous online, a headphone act that scaled to festivals.
Mulaa Joans
Milton Keynes's deadpan comic rapper — 'Who's That What's That' absurdism, small-town Britain narrated in perfect deadpan.
Nine Vicious
UK bass and garage — clean, physical, dancefloor-first, drops with surgical timing and low-end pressure without a wasted bar.
Omar+
Birmingham lads making festival-ready indie rock singalongs — lager-in-the-air choruses in the great British tradition, a rising band already at home on big stages.
Mythic, incantatory folk-pop — 'Labour' made her the internet's feminist bard, and the deeper catalog keeps the incantation going.
People I've Met
Pozzy
Melbourne post-punks — wiry, literate, buzzing, in the great Australian art-school tradition, sharp songs delivered with nervous energy.
Raynor
Liverpool DJ-producer pushing bassline-flecked house — Merseyside heat in the garage revival's slipstream, club momentum rising fast.
UK house groover — bumpy, bassline-led sets with a garage-revival spring in the step, grooves that bump exactly as intended.
Ruby Roberts
Sade Olutola
Saint Ludo
Say Now
Oldham's protest-pop songwriter — TikTok-viral, guitar-first, state-of-the-nation verses with a busker's directness, folk-club politics for the comment section.
Minneapolis shoegaze-pop with a devoted early cult — gauzy vocals over slow-blooming walls of guitar, patience rewarded in full.
New-school UKG — swung drums and sub-bass pressure from the garage revival's next rank, two-step engineered for new floors.
SINN6R
Grime royalty meets rave revivalists — a one-off collision built for The Warehouse, bars over breakbeats until the room gives out.
UK breakout with a smoky retro-soul voice and diaristic pop instincts — old-soul phrasing on new-school subjects.
SOTA
Sydney hardcore that went global fast — brotherhood-forward lyrics and riffs built entirely for the pile-on, community as the whole point.
The Guest List
The North
Tommy Phillips
Tooth
UK post-hardcore upstarts with arena ambition — Architects-school heaviness with a new generation's polish, ones to watch, loudly.
Sweaty, saxophone-wielding Swedish post-punk satire — one of the best live bands on earth right now, 'Sports' shouted by thousands.
Villanelle
Yes, Dave's daughter — and a genuinely arresting voice striking her own path, closer to torch song than stadium rock.
Manchester's buzzy new guitar gang — scrappy, hook-first, rising fast on word of mouth, and the hype is earning itself.
WHATMORE
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