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Lola Young’s “Messy” has landed a third week at No. 1 on the U.K. Singles Chart (Feb. 7). The song first hit the top spot in January after dethroning Gracie Abrams’ “That’s So True,” which held the top spot for eight non-consecutive weeks.
The news coincides with her continued rise on the Billboard Hot 100; “Messy” now sits at a new peak of No. 14, a rise of 10 places week-on-week. The track featured on her sophomore album, This Wasn’t Meant for You Anyway, which was released in May.
In March, Young will compete for a BRIT Award in the pop act category against Charli XCX, Dua Lipa, Jade Thirlwall and Myles Smith. Recent months have also seen the Londoner perform on The Tonight Show Starring Jimmy Fallon and appear on Tyler, the Creator’s Chromakopia as a guest vocalist on “Like Him.”
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Speaking to Billboard U.K., Young discussed the success of “Messy” and why the message of self-acceptance has resonated with fans. “For a long time, I wanted to represent this ideal of Westernized beauty — but then I realized I’m not that,” Young said. “I now choose to give realness and truth. I’ve got a bit of a belly out, I f–king swear a bunch and I have fun. And that’s what people are resonating with.”
The success of “Messy” means that the Island EMI label group have scored a grand slam with four No. 1s across the U.K.’s Official Albums, Singles, Compilations and Radio Airplay Charts this week. The feat was achieved as The Weeknd’s Hurry Up Tomorrow hit the top spot on the Official Albums Chart, “Messy” on the Singles and Radio Airplay Charts, while the Wicked soundtrack rules the Compilations Chart. It’s the first time the feat has been achieved by any label group in over 10 years.
The remainder of the top five features familiar faces, with ROSÉ and Bruno Mars’ “APT.” (No. 2), Gracie Abrams’ “That’s So True” (No. 3), Chrystal’s “The Days” (No. 4) and Gigi Perez’s “Sailor Song” (No. 5) all staying put week-on-week.
Lady Gaga’s new song, “Abracadabra,” goes straight in at No. 6, giving the pop hero her 17th top 10 hit in the U.K. It’s the third single from upcoming album Mayhem to land in the top 10 following “Die With a Smile” (No. 2) and “Disease” (No. 7).
The Weeknd has landed his fourth No. 1 album in the U.K. with Hurry Up Tomorrow (Feb. 7).
The Canadian megastar (real name Abel Tesfaye) has previously topped the Official Albums Chart with Beauty Behind the Madness (2015), After Hours (2020) and Dawn FM (2022). His greatest hits compilation The Highlights (2021) peaked at No. 2, and has been a chart mainstay ever since.
The 22-track Hurry Up Tomorrow features guest appearances from Travis Scott, Justice, Lana Del Rey, Florence + The Machine, Anitta, Future and Playboi Carti, and rounds out the After Hours Til Dawn trilogy. In the build-up to its release, Tesfaye teased that it could be the final album he releases under The Weeknd moniker.
The Weeknd also appeared at the Grammys for a live performance on Feb. 2, returning to the institution after vowing to boycott the ceremony due to a lack of recognition for his After Hours campaign. On Tuesday (Feb. 4), the first trailer for Hurry Up Tomorrow’s accompanying film was shared; Jenna Ortega and Barry Keoghan both star alongside Tesfaye in the flick, directed by Trey Edward Shults.
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With The Weeknd taking the top spot, the Island EMI label group have scored a grand slam with four No. 1s across the U.K.’s Official Albums, Singles, Compilations and Radio Airplay Charts this week. The feat was achieved as Lola Young’s “Messy” has scored a third week at No. 1 on the Official Singles and Radio Airplay Charts, while the Wicked soundtrack rules the Compilations Chart. It’s the first time the feat has been achieved by any label group in over 10 years.
Central Cee’s Can’t Rush Greatness slips one spot to No. 2, and follows his No. 9 placing on the Hot 100, the highest charting U.K. rap LP ever in the U.S. Sabrina Carpenter’s Short n’ Sweet (No. 3), The Weeknd’s The Highlights (No. 4) and Ed Sheeran’s +–=÷× (Tour Collection) (No. 5) round out the top five.
Dance duo Maribou State lands its first top 10 record with third LP Hallucinating Love finishing at No. 9. Speaking to Billboard UK, the pair discussed the numerous health and personal issues they faced during the album’s production.
“It was a really important process for us to go through, personally and creatively,” said member Chris Davids. “We learned a lot about ourselves in that time. We’re grateful that we were in a position where we were able to press pause for a minute during the writing process, and to look after ourselves and not just push through and break ourselves when doing it.”
There’s a feeling that something around Inhaler has shifted in the past 18 months. The Irish quartet, made up of Eli Hewson (vocals, son of U2’s Bono), Ryan McMahon (drums), Bobby Keating (bass), and Josh Jenkinson (guitars), has welcomed a new influx of young, passionate fans into their world, no doubt helped by their support slots on megatours with Arctic Monkeys and Harry Styles at their respective stadium shows. Those gigs followed a chart-topping debut on the U.K.’s Official Albums Charts with It Won’t Always Be Like This (2021) and its follow-up Cuts & Bruises (2023), which landed at No. 2.
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But the new tunes that make up third LP Open Wide, released via Polydor, are bright, expansive, and the group’s best yet. The venues keep growing at home and abroad, with tickets being snapped up and sold-out in minutes. Why’s it all come together at this moment?
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“I think we know what we want from our music now,” frontman Hewson responds to Billboard UK. “Maybe when we were a bit younger, we wanted people to like us and wanted people to connect with it – and we still want that – but I think that’s different from making music that we love.”
Open Wide was produced by Kid Harpoon, who had a huge hand in the easy-going sound of Styles’ Grammy-winning LP Harry’s House, as well as the One Direction alum’s 2019 album Fine Line. Elsewhere Kid Harpoon has credits on Miley Cyrus’ Hot 100 chart-topper “Flowers,” and with HAIM and Florence + The Machine.
There’s also an appearance on Open Wide for hit songwriter Amy Allen, a close collaborator of Kid Harpoon with songwriting credits on Sabrina Carpenter’s “Espresso” and “Please Please Please,” as well as on ROSÉ and Bruno Mars’ “APT.” She recently snagged the songwriter of the year award at the 2025 Grammys, becoming the first woman to win the category.
The decision for the Dublin-born band to head to L.A. during the album’s writing phase gave them clarity and space away from their tried and tested methods. “We sound a lot more like how we’ve always wanted to. It gave us peace and quiet to listen to our gut instincts. When we were in London when we were writing and recording [the first two albums], it always felt like things were up in the air. With this one, we felt very calm all the way through and enjoyed the process. We just heard ourselves out. We weren’t listening to external anxieties; it felt satisfying.”
No wonder there’s a lightness and confidence in these songs. The LP’s title track is built on a pulsing, subtle EDM beat before it hits a typically explosive chorus. Likewise, “A Question of You,” and “Billy (Yeah Yeah Yeah)” do away with the moody reverb heard on 2023 LP Cuts and Bruises and aren’t afraid to embrace a more mainstream-friendly sound.
In February the group will head out on the road in the U.K. for some of its biggest shows yet, including sold-out nights at London’s O2 Academy Brixton. They’ll then play in North and Latin America, Europe and then a massive homecoming show in Dublin to 20,000 fans.
Speaking from Amsterdam while on the press trail, the band discusses the input from Kid Harpoon and Allen, the ever-shifting indie scene, global success for Irish artists and more.
This is your third LP – does release week get any easier or more enjoyable?
Eli: It’s always in the last week before it’s out that the doubts start to come in. We did an album playback yesterday with some fans who heard it for the first time, and they seemed to enjoy it.
Ryan: Yeah, but they wouldn’t say it to your face, though, would they? I’m sure we would have some fans that wouldn’t have a problem with that though…
You’ve mentioned that the pressure was off this time. Why did it feel that way?
Josh: We didn’t have a deadline or tour that we had to be ready for. We had the freedom to create whatever we wanted to and assess it after we made it, instead of getting it straight out.
Eli: With Kid Harpoon, his whole ethos was – which was really shocking given the records he’s worked on – that he didn’t want any labels or managers in the room when recording: “It’s just us making this album and we’ll think about the singles when we’re done.” I found that really refreshing because he was putting the album before anything. We hadn’t really had that approach before. We were chasing singles a lot of the time, and we just wanted to get out and tour, so this was a big opportunity to step back and reflect on what we were making.
What made you want to change things up and work with a new producer?
Eli: Initially there was perhaps fear in all of us. It was the first time that we’d worked with someone different. With our last producer [Antony Genn], we’d been going to him since we were 17. We felt it was the right time to graduate from that, as it felt like our working relationship had gradually run its course for the time being. So it was important for us to work with something new for us to see what else they could bring out of us.
Josh: [Kid Harpoon] is a great person to be around. Initially we wondered if he could work with a band like us, but we when we realised that he did that Kings of Leon album [2024’s Can We Please Have Fun] that really eased all our stress. When we were working with him, he was going darker than us. He’d say, “Don’t put that in, it’s too poppy!”
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What were the sessions like in L.A. and then back in London?
Josh: They were very efficient. We didn’t waste any time. We had about nine days in L.A. before heading to RAK Studios in London, but we made a plan, and we stuck with what we set out to do. We also had a lot of fun with it too.
Ryan: He also wouldn’t send us what we’d done and recorded that day. He’d say, “Yeah, Brian, the engineer, will send it,” but just never did it. But once we got to the end, we realized we’d been going into the sessions totally fresh and hearing the songs and recordings again for the first time. You’re not constantly overthinking it. In the past, we’ve been known to get tunnel vision and overanalyze things.
Amy Allen also had a part to play. What was her contribution like?
Josh: She came in to listen to the songs while we were in L.A. It was so cool to see someone at that level of songwriting and with all of her achievements come in and say, “You guys have got some pretty good tunes.” Hearing her come in and sing some of them was so inspiring.
Eli: It was amazing. She’d just hum something quickly, and you’d think, ‘That’s f—ing amazing.’ We were lucky enough that she was able to stop by because she’d canceled another session, and Tom [Hull, Kid Harpoon] invited her to come in. Whatever she’s tapped into at the minute, she’s doing really well with.
Josh: She had such a beautiful voice, and she came in on a day when we were so tired, and it was much-needed…
Ryan: …it was like a visit from an angel!
How has the band’s dynamic developed over the years? It feels like you’re all pulling in the same direction with this album…
Eli: We’ve managed to keep it all together. It’s a sacred place being in this band. We fight less now than we ever have. We got all of that out when we were teenagers! It’s always felt like the center of everything we do together.
Ryan: We just love to make music naturally, and anything that feels right in the moment we follow. There’s never a discussion about setting rules on an album or doing a certain thing. We’ve never felt any joy out of a situation like that – that’s where it feels like the arguments begin, and ego starts getting in the way. Making music and saying less is what we do better.
It feels like there’s an openness from indie artists and fans to embrace new sounds and to work collaboratively with hit songwriters and pop producers. The question of ‘authenticity’ in these spaces feels quite outdated…
Josh: It’s refreshing to feel like you don’t have to do the same thing over and over again. You can progress how you want to. People can support you and still be open to change. That’s exciting.
Ryan: As long as you’re happy with what you want to make. There are no rules that go with writing a good song, and people are a lot less closed off to how a band should sound in their head; no one knows – neither do we – what they want until they get it.
There has been considerable support and acclaim for Irish artists like Fontaines D.C., Hozier and Kneecap among others over the past few years. Why are these kinds of acts exploding right now?
Eli: The biggest reason is that they’re good! In years past, you’d have to do “the American album.” It was the thing to do because everyone adheres to American culture. But now, if the country has its own indigenous culture, style and tradition, people are finding that interesting and want to know more about it. It definitely makes for better music and art. I doubt it’s something in the water…
It feels like there’s a lot of support for one another…
Eli: There’s always been a strong sense of camaraderie among Irish artists. I don’t think we’ve ever felt like we fit into a particular scene with other Irish artists, so it’s never felt like there’s a sense of competition between anyone. Everyone’s just happy to see other people succeed.
Bobby: I think that support also comes from the fact that we’re a small country as well. Everyone goes to the same venue to get to the next stage and wants the best for everyone else. We played the same venues that Fontaines, Hozier and The Murder Capital have all played. Especially when we’re in the U.K. and see people around and playing shows. I think Irish people really take the idea of playing abroad very seriously. When we first started playing abroad and in London, it felt like the real thing and a real achievement.
What will the new material bring with the live show?
Josh: It’s going to give us some depth and shape shows in a way that we haven’t done before. We’ve always been very ‘go go go’ at our shows, then there might be some slower moments or something a bit groovier, we now have a broad spectrum of songs to choose from.
Ryan: It’s also nice to freshen things up. We’ve been playing some of these songs for so long and it’s nice to have something new to play.
What did you learn on those big tours with Harry and Arctic Monkeys that you’ll take forward?
Josh: I think we learned that it would be something that we loved to do. But also the attention to detail that goes into every show and how it’s set-up, and the amount of work that goes into shows of that scale. It made us want to take things a lot more seriously.
Record Store Day U.K. has shared the official list of releases for its 2025 event.
In its 18th year, hundreds of albums, EPs and mixtapes are being pressed onto new special Record Store Day U.K. editions, including releases from the likes of Taylor Swift, Oasis and Charli XCX, on a variety of formats — including 7″ vinyl, 10″, 12″, CD, cassette and picture disc. The event will take place on April 12.
Swift will issue an exclusive 7″ white vinyl of her Post Malone collaboration “Fortnight,” which is the first time that the “Fortnight [BLOND:ISH Remix]” will appear on vinyl.
Oasis’ greatest hits compilation Time Flies: 1994-2009 is back on wax for the first time since 2010, a timely return ahead of the group’s Live ’25 reunion tour. Charli XCX has two limited editions in this year’s list, including a 7″ version of “Guess,” her team-up with Billie Eilish, and a reissue of her 2017 mixtape Number 1 Angel on silver vinyl.
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Fred Again.. will also release special piano versions of his three-part Actual Life LP series, while there’ll be reissues for The Cure, A Tribe Called Quest, Davie Bowie, Megan Thee Stallion, Lil Uzi Vert and more. See the full list on RSD’s website.
More than 270 independent record shops across the U.K. – as well as thousands more globally – will prepare to welcome this new wave of releases. There’ll also be a series of in-store parties, events and live performances to mark the event. To see which record stores are involved in RSD U.K. 2025, visit the RSD website for the full list of retailers.
Record Store Day U.K. 2025’s upcoming edition coincides with 18 years of growth in vinyl sales despite the ongoing dominance of streaming services. Based on Official Charts Company data, the BPI reported in December that U.K. sales of albums on physical formats increased year-on-year for the first time since 1994 in 2024, by 1.4%.
The first official Record Store Day event took place in April 2008, with the aim of bringing attention to the importance of independent record shop culture. The event has since evolved into a global celebration, while each year, artists perform in-store sets in honor of the occasion.
On Tuesday (Feb. 4), North Shields singer-songwriter Sam Fender was announced as the official ambassador of Record Store Day U.K. 2025. He follows the likes of Kate Bush, The 1975, Noel Gallagher and Elton John in taking on the role.
“It’s a complete honor to be asked to be the Ambassador for Record Store Day 2025,” Fender said in a statement. “The importance of indie stores cannot be understated. Without them, we lose physical spaces for music fans to discover both their favorite new artists and to forge friendships with like-minded people.”
He added: “Thanks so much to all the independent stores around the world who support us. Let’s all make sure we support them too.”
Fender will put out a six-track EP to mark the occasion, titled Me and the Dog. The 12-inch release is set to include two new songs titled “I’m Always on Stage” and “Empty Spaces,” alongside a mixture of other previously unreleased tracks and live renditions.
Heavy metal pioneers Black Sabbath have confirmed details of their final-ever live show, which is set to take place this summer (July 5) with a plethora of support acts. The event will see the band’s classic line-up – comprising frontman Ozzy Osbourne, guitarist Tony Iommi, bassist Geezer Butler and drummer Bill Ward – play live […]
The wait is over. In 2025, Billboard U.K. will be hosting its inaugural Power Players list, also known as the Power 100, for the U.K. and Ireland’s world-beating music industry professionals.
While Billboard’s Power 100 ranks the music industry’s most influential executives globally, this list will celebrate and recognise the executives and members that are at the forefront of the U.K. and Ireland’s music scene, and boosting the region’s hugely talented artists on a global scale
Billboard U.K.’s Power Players list will be published in June 2025, and will be celebrated with an exclusive event at the upcoming inaugural SXSW London.
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Further details will be shared in the coming months.
“The U.K. and Ireland has long been home to some of the most influential figures in global music, shaping the industry and driving artists to new heights,” says Mo Ghoneim, president of Billboard U.K. “We look forward to spotlighting the executives leading this charge with Billboard U.K.’s Power Players, from labels to live, streaming to rights, and beyond.”
The news follows a period of success for British and Irish artists in recent years. In 2024, there were appearances for Hozier, Dua Lipa, Charli XCX, Coldplay and Ed Sheeran on Billboard’s Year-End Top Artists charts. Rising stars, meanwhile, like Lola Young, Aretmas, Myles Smith and more are growing their audiences domestically and internationally.
2025 will also be a bumper year for concert-goers with the U.K. hosting some of the most in-demand tours and live experiences: Oasis will kick off their reunion tour in Wales before heading around the globe, and superstars like Lana Del Rey, Billie Eilish, Olivia Rodrigo, Sabrina Carpenter, Usher and more come into market for huge shows.
There are challenges to be met, too: Grassroots music venues face decimation without urgent action; legislation on artificial intelligence is paramount to the government’s agenda on growth; artists are finding touring a loss-making endeavour; the live and festival landscape continues to evolve and bring new obstacles. These themes will shape the inaugural U.K. Power Players, but the doors are wide open.
The Power Players list will be peer-nominated and selected by the Billboard U.K. team. Nominations open Feb. 4 and will close in two weeks on Feb. 17. Interested parties can fill in the nominations form here. For any queries, please contact power100@uk.billboard.com or tsmith@uk.billboard.com.
Ezra Collective, Kae Tempest, Mogwai and English Teacher are among the names that will play the 2025 BBC 6 Music Festival – see the lineup in full below.
The weekender, which is the station’s flagship festival, will take place between March 26-29 at the O2 Victoria Warehouse in Greater Manchester. Tickets for each event are sold separately and will be available beginning at 10 a.m. (GMT) on Thursday (Feb. 6) here.
On March 26, a BBC Introducing event at the city’s YES venue will kick off proceedings, featuring rising acts Adult DVD, Renee Stormz, and Jasmine 4.t.
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The following evening (March 27), Ezra Collective will herald in 6 Music’s three-night residency at O2 Victoria Warehouse. The jazz five-piece will be joined by Fat Dog, before a DJ set from 6 Music host Jamz Supernova. There will also be a New Music Fix night at YES with DJs 1-800 GIRLS, Florentino, Marie Davidson and NAINA.
March 28, meanwhile, will see a headline performance from Scottish rockers Mogwai, with support from Leeds band English Teacher, winners of the 2024 Mercury Prize. Elsewhere in Greater Manchester on March 28, there will be DJ sets from Sports Team, Lava La Rue, Steve Lamacq, Viagra Boys and Nathan Shepherd at Band On The Wall. 6 Music will also team up with The Warehouse to present a Rave Forever event at Amber’s nightclub.
March 29 will see spoken-word artist Kae Tempest debut new material for the first time during a headline show at O2 Victoria Warehouse. They will be joined by Perfume Genius and SHERELLE.
“It’s amazing, it’s so exciting,” Tempest said of the festival, speaking to presenter Nemone on Tuesday morning’s (Feb. 4) 6 Music breakfast show. “I can’t wait for people to hear what I have been working on. We’re still working it out in terms of what people will hear first, and we’ve got a new live set-up coming together – all the pieces are in place.”
They continued: “This gig will be the first time I have performed my new songs, which are very different to the stuff I have made before. The creative process has been akin to being caught in a strong current… I can’t wait to see what happens on stage.”
Throughout the festival, the 6 Music team will be broadcasting live from MediaCity U.K. in Salford. Current presenters include: Nick Grimshaw, Iggy Pop, Huw Stephens, and Mary Anne Hobbs.
The 6 Music Festival is aired across a number of BBC radio, television, and online channels. Since 2023, it has found a home in Greater Manchester, while previous iterations of the festival were hosted in different cities annually across the U.K. including Cardiff, London, Glasgow, Liverpool and Newcastle.
In January 2014, the BBC launched the 6 Music Festival in Manchester with headliner Damon Albarn. In the years that have followed, the event has seen sets from world-renowned acts including Depeche Mode, Fontaines D.C., Father John Misty and Neneh Cherry.
Coldplay have teamed up with Laura Mvula to cover The Proclaimers’ classic track, “Sunshine On Leith.” Watch the performance in full below. The band delivered an emotive rendition of the Scottish act’s 1988 single during a pared-back performance for BBC Radio 2’s Piano Room Month series on Monday night (Feb. 3). Birmingham-raised songwriter Mvula assisted […]
The Great Escape festival in Brighton, England has announced hundreds of new names for their lineup including The Libertines’ Peter Doherty, Jordan Adetunji, Lynks, The K’s and more.
The festival is also expanding its programme to run for an extra day, and will take place in the city on May 14-17. First held in 2006, the annual gathering showcases emerging talent across the city at a number of independent venues; previous performers at the festival include Charli XCX, Fontaines D.C., Sam Fender, Japanese Breakfast and more.
On May 14, The Libertines’ Peter Doherty will perform at a special Spotlight Show curated by his record label, Strap Originals. It will feature acts such as Warmduscher and Trampolene at the Deep End venue on Brighton’s beachfront. Tickets for the festival are on sale now.
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Further additions to the festival’s bill include: Armlock Silver, Black Fondu, Bold Love, Donny Benét, Gore, Lemfreck, Man/Woman/Chainsaw, Moonlandingz, Namesbliss, Rabbitfoot, Real Farmer, Shortstraw, Sunday (1994), The Pill, Westside Cowboy and more.
The festival has also announced further details about the accompanying conference programme and a raft of speakers and curators for the event. Industry bodies The Council of Music Makers (MMF, MPG, FAC, Ivors Academy and the MU), Night Time Industries Association (NTIA), BBC Introducing LIVE and Youth Music all return as collaborators, alongside The Association of Independent Music (AIM).
Themes across the panels will include the role of government policy in creative spaces, community building for artists and labels and more. See the full rundown at the festival’s official website.
The Great Escape has also shared news that warmup event, The Road To Great Escape, will take place in the preceding week, and returns to key cities Glasgow (May 9-10) and Dublin (May 12-13). The showcases will see a number of acts from the lineup performing live in their home cities before making the trip to England’s south coast.
Focus Wales has shared the next wave of its lineup for 2025, with an additional 104 acts added to the bill.
The festival, which takes place across multiple venues in Wrexham, north Wales, will return in May (8-10) with support from the Arts Council of Wales, the Welsh Government and PRS Foundation’s Talent Development Network.
The event will bring together talent from the U.K., Europe, Asia, Australia and North America.
Among the new names announced include French synth-pop band eat-girls, Seoul’s Hynopsis Therapy and Brussels jazz collective Tukan. View the lineup in full below.
In partnership with APRA and the British Council NZ, meanwhile, three New Zealand artists will be featured in a special Māori reception and showcase: Jordyn With a Why, MĀ and MOHI.
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The additions join previously announced acts like Irish rockers Sprints, the Mercury Prize-nominated Nova Twins, Welsh songwriter Gruff Rhys and rapper Lemfreck, the recipient of the 2024 Welsh Music Prize.
Tickets for Focus Wales 2025 are on sale now. Festival passes begin at £80 ($99), or those working in the music industry can acquire delegate passes for £160 ($198). Day tickets are also available for purchase.
Earlier this month, Focus Wales held a showcase at ESNS in Groningen, the Netherlands, featuring Welsh bands CVC and The Family Battenburg. Speaking to Billboard UK, Focus Wales co-founder and booker Andy Jones explained that the festival’s presence at ESNS “ensures that Focus Wales and, more broadly, Wales as a music market, is part of the wider conversation with the European music community.”
In 2024, Focus Wales played host to performances from Spiritualized, The Mysterines and Antony Szmierek, among others. For more information, visit the festival’s official website.