It’s not every day you witness a sea of feathered, pink cowboy hats fill a field in West Yorkshire. In the same vein, it’s not the norm you catch one of the most widely trending pop princesses of the year play their joint-largest UK show. And that was the beauty of our Saturday at Leeds Festival 2025*. 

Despite a long wait in a far-stretching shuttle bus queue, before being impacted by road delays, we were back at Bramham Park. Colourful food vendors, vintage garms and jewellery stalls, major bars including dedicated Guinness taps — it was all there and more, standing to attention, waiting to greet revellers. From fairground rides to a fairy-lit wooded area, you could go as wild as you wanted. Us? Well, we just settled for a coffee en route to see old pals SNAYX play. 

The Brighton-hailing two-piece became a fully fledged trio years ago, but it was a fair while prior to that when I met Charlie (vocals) and Ollie (bass) at, I think, their first ever Oporto, Leeds, gig. They’ve had such an unwavering commitment to the graft from day dot, and seeing them at the festival — wielding all their newer hits, including ‘Boys In Blue’ and ‘Better Days’ — was beyond epic. 

They commanded circle pits with almost too much ease, demonstrating, yet again, their frontman’s never-failing knack to hook a crowd’s attention. So much so, even he acknowledged “[people were] fucking feral” in these pits. SNAYX always have a political message to share, but it’s short, sweet and to the point; they let the music do the talking. Through roared vocals, super-tight drumming and a ballsy yet dancey bass tone, they served massive energy and were the perfect start to our Leeds Fest. 

I haven’t seen Soft Play since they went under their Slaves (UK) monicker — this was at my uni ball back in 2015. They nodded to the fact they’d last played the festival in 2014; they said they’d “never imagined” returning. But there they were, as dominant and feisty as per, and people were all over it. A ladies-only mosh pit was encouraged during the scandalously satirical ‘Girl Fight’, and their black-and-white stage screen aesthetic was cool as hell. Their set told angsty punk tales in the loudest ways, yet they did bust a mandolin out for the more tender ‘Everything and Nothing’. 

As bowled over by the neon yellow Jackson and kit set up for standing drumming, their pacy display peaked during their closing — and arguably most popular — song, ‘The Hunter’.

As we swanned down the hill, The Kooks were in full swing and we were soon answering “yes” in our minds to wanting to go to the seaside. The guest area was packed with residents eager to party, and press like ourselves. Photographers were brandishing lenses and pro-grade camera gear, while others were enjoying the tunes being spun by the DJ at the other end. We couldn’t resist a good nosy at all the old Reading and Leeds festival posters they’d adorned the walls with either. Metallica, Pearl Jam, Rage Against The Machine, and just SO many more… Mad to think how many of our favourites had graced the stages in decades gone by. But it was time we embraced a new favourite…

Enter Chappell Roan. Make no mistake, we didn’t rock up at Leeds Fest as undying fans who’d pledged their allegiance to Queen Chappell. Nor had we even been privy to Chappell Mania on that scale before. But, by the end, we were in total awe. 

There was this palpable anticipation before she assumed the stage. A spooky, gated castle setup paved the way to the grand show I’d hoped for. It was like Wicked on fairytale steroids, with pyro, fantasy backdrop scenes, and Chappell herself in a playful clown’s outfit meets corset. Her full band also wore matching costumes, but it was their arsenal of fabulously colour-co-ordinated Fenders that really got our attention. Emeralds, forest greens and dusky pinks complemented the rest of the stage layout, and the pearl drum kit. Even cooler than we were expecting! 

One thing was for sure, 2025’s ultimate pop starlet has an unbelievably impeccable voice. So you’ve got to give her credit in spades for having garnered such a deserved cult following. As cartoon dragons flew in the background, it was clear no expense had been spared. And it was hit after hit; ‘Femininomenon’, ‘The Giver’, ‘Casual’ and newer offering, ‘The Subway’. People were in raptures for other belters such as ‘HOT TO GO!’ — which everyone knew the dance to — and ‘Red Wine Supernova’. Thrusting anything pink in the air we had on us was encouraged. 

The show was suitably seasoned with transitions and solos, allowing her band to get the airtime they deserved, too. And they were absolutely incredible. And although the finale was — as I guessed it — an iconic, elongated performance of ‘Pink Pony Club’, our favourite bit? Well, it has to be the shreddy cover of Heart’s ‘Barracuda’, when a Gibson Flying V was even wheeled out. Mirror scratchplate and all. Swoon. While the young crowd may not have been that familiar with the original, Chappell’s rendition was outstanding, and it truly put the cherry on top. So I’ve got to applaud her for a 10/10 production. 

Hozier, our Saturday headliner, had a tough act to follow, but he truly excelled. Again, with a full band, he created the most magical atmosphere to end the evening with. As folks queued for food and drink post-Chappell, he began on the Main Stage and brought us a mix of old and new material. Although ‘Take Me To Church’ is one of his emblematic songs I know best, we were having a good old groove to the smooth ‘Jackie and Wilson’. 

Up the other end of the field, kaleidoscopic rides, buzzing bars and the two stages laying claim to other artists’ performances were all drawing Saturday’s antics to an end — though they were very much alive and kicking as we walked out of the park. What a day!

And since then, I can safely say we haven’t dislodged ‘HOT TO GO!’ from our heads…

*With thanks to Zeitgeist Agency for the press access.