It hardly felt like twelve months had passed since Shiiine On 2024, but as we unpacked our “survival kits” into the ‘caravan of love’, we knew sleep would be scarce. Some of us were here to party, others — myself included — to work: taking photos, interviewing bands, and scribbling notes that would become this review. The setup was unchanged, proving once again that “if it ain’t broke, don’t fix it” is a mantra the organisers live by.
Tonic Music, the charity promoting mental health within music communities, took over Scoops, the ice cream parlour, hosting interviews, DJ sets from James Atkin of EMF, and acoustic performances from The Bluetones’ Mark Morriss. Familiar faces like Jan, Steph, and Tracy reminded me how much of a family Shiiine On has become. Even torrential rain couldn’t dampen spirits as I lugged gear from caravan to venue — the sacrifices we make for festival reportage.
Friday
The first session of Shiiine On 2025 wasted no time in reminding us why this festival has become a pilgrimage for lovers of indie, Britpop, and alternative culture. Mexican Dogs kicked things off with a scouse swagger that immediately set the tone — their blend of raw indie rock riffs and soaring choruses felt like a band on the cusp of something bigger, and their double appearance later in REDS proved they can command both intimate spaces and larger stages with equal confidence. The energy shifted gears with Senser, whose rap-rock fusion remains as urgent as it was in the early ’90s. Their politically charged lyrics and heavy grooves carried a sense of defiance, and hearing them dip into Stacked Up alongside newer material from their recently released album Sonic Dissidence was a reminder that their message still resonates in 2025. Jesus Jones followed, pulling the crowd into a nostalgic whirl of sample-heavy alt-dance; tracks like Info Freako and Real Real Real transported us back to the grebo era, when indie guitars collided with electronic experimentation in thrilling ways. The night’s momentum surged as Reef stormed the stage, Gary Stringer’s raspy vocals powering through Place Your Hands, Summer’s in Bloom, and Come Back Brighter. Their bluesy grit and Brit-rock swagger have aged beautifully, and the crowd’s roar proved those songs remain festival anthems. Ash then delivered a joyous blast of Britpop survival, their set packed with melodic craft and exuberance — Girl From Mars, Oh Yeah, and Kung Fu still sounded like teenage garage dreams made good whilst hits from their latest release Ad Astra came to life on stage. Moving across to Centre Stage, tribute acts The Clone Roses and OACES turned imitation into exhilaration. The Clone Roses captured the psychedelic swagger of The Stone Roses with uncanny precision, while OACES recreated Oasis’s stadium bravado down to Liam’s cocky mannerisms and football banter. For many, these sets were communal re-enactments of moments that defined an era. Friday was a riotous opening, balancing discovery with memory, and setting the communal spirit alight.
Saturday
Saturday dawned with a different energy, one rooted in storytelling and cultural memory. Kirk Field opened with tales of rave culture, his anecdotes about acid house parties and Orbital’s early days painting vivid snapshots of youth rebellion and the birth of a movement that reshaped Britain’s nightlife. His words were cultural archaeology, reminding us that festivals like Shiiine On are as much about preserving stories as they are about music. DJ Yoda followed with a kaleidoscope of sound and vision, his genre-defying mixing blending ’80s bangers against a playful video backdrop. His set was both playful and profound, proving that turntablism can be a form of storytelling in itself. Liverpool’s Black Jackels warmed up REDS with fresh indie grit, their youthful energy a reminder that Shiiine On isn’t just about nostalgia but about nurturing new voices. Ian Prowse then drew on his expansive back catalogue, mixing folk-rock grit with Celtic soul, his set brimming with warmth and defiance. Miles Hunt of The Wonder Stuff charmed with acoustic wit, celebrating the 35th anniversary of HUP while musing on love, ageing, and never growing up. His performance was peppered with anecdotes that made the songs feel freshly lived-in. The Undertones injected punk-pop joy, Teenage Kicks still sounding as perfect as John Peel once declared, their set a reminder of how simplicity can be transcendent. Inspiral Carpets transformed the arena into a communal singalong with This Is How It Feels and Saturn 5, their organ-driven sound still distinct in the Madchester canon. Headliners The Jesus and Mary Chain closed with their trademark wall of feedback, menace, and melody. Since Psychocandy in 1985, they’ve influenced generations of noise-pop bands, and their Minehead set, complete with Jane Weaver guest spots, reaffirmed their legacy. Saturday was a journey through storytelling, nostalgia, and sonic intensity, each act layering the festival’s atmosphere with wit, warmth, and noise.
Sunday
By Sunday, the festival had settled into a rhythm of tenderness and triumph, easing us in with BMX Bandits, Duglas T. Stewart’s cult Glaswegian outfit whose tender indie-pop has influenced Belle & Sebastian and Teenage Fanclub. Their heartfelt set, complete with kazoo solos and bittersweet anecdotes, was the perfect start, a gentle reminder that vulnerability has its place in festival culture. James Walsh of Starsailor soothed hangovers with acoustic balladry, his voice carrying a clarity that cut through the haze of the weekend. Ian McNabb of The Icicle Works held REDS spellbound with harmonica-led storytelling, his songs unfolding like intimate conversations. The Dave Gedge Duo stripped back Wedding Present classics like Dalliance, proving that even in minimal form, their songs retain guts and intensity even if Dave was starting to lose his voice due to a pesky cold! The Soup Dragons, led by Sean Dickson (aka Hifi Sean), delivered a polished set including classics such as I’m Free and Mother Universe, closing with No Music on a Dead Planet featuring the vocal talents of Fred Schneider of The B-52s. Their mix of acid-house grooves and indie-pop hooks reminded us why even Prince was a fan. The weekend’s finale was a triple punch: The Bluetones, teasing a new record for 2026 while delivering hits from their back catalogue including Slight Return; Sleeper, fronted by the ever-charismatic Louise Wener in shimmering sequins, powering through Britpop staples like Statuesque and Delicious, closing with Sale of the Century; and Cast, celebrating 30 years of All Change by playing the album in full, John Power leading the crowd through Walkaway and Sandstorm with heartfelt gusto. Playing the album in full was a bold move, but one that cemented their place as festival heroes. Sunday closed Shiiine On with a perfect blend of cult charm, Britpop sparkle, and festival heroics.
Shiiine On 2025 was a living museum of indie, Britpop, and rave culture, curated with love and performed with passion. From Madchester veterans to psych-rock newcomers, Minehead’s Butlins holiday camp became a time machine, a community hub, and a reminder that alternative culture is re-lived, again and again, for all to enjoy.
Keep an eye out for the interviews that we did with ASH, DEJA VEGA and Sean from THE SOUP DRAGONS….
