One of the (eternal) most eagerly awaited returns to Hellfest 2025. Half a century into their metal career, Judas Priest deliver an epic concert, all riffs, pyrotechnics and studded biker leather.
Melrick is an unruly young boy who spends his summer in French Guiana at his grandmother's house to escape his turbulent daily life in Stains, France. At the end of his stay, he plays the drum to revive the memory of his late uncle, Lucas Diomar, who died in tragic circumstances. Despite a wave of murders of young men shaking the headlines, Melrick becomes aware of his place in a family destroyed by irreparable grief.
A live performance by Brighton based indie-pop artist James Marriott, filmed at TRNSMT Festival 2025 on Glasgow Green and broadcast in full by BBC Scotland on iPlayer.
Recorded live at Lollapalooza, in Berlin, on July 12th 2025. The American singer-songwriter rose to fame with her introspective bedroom pop songs, which often feel like diary entries—intimate, honest, and heartbreakingly beautiful. Setlist: "Risk", "Blowing Smoke", "21", "I Love You, I'm Sorry", "Where Do We Go Now?", "I Told You Things", "Mess It Up", "Let It Happen", "Death Wish", "I Miss You, I'm Sorry", "Free Now", "That's So True", "Close to You"
Since their debut in 2021, the six-member girl group has not only captivated South Korea but also international streaming platforms. With instantly catchy songs and performances where every beat is perfectly timed, as if the universe depended on it, IVE delivers earworms with style, visual impact, and a unique sense of self. Instead of adhering to typical formulas, they bring elegance, attitude, and a touch of playful humor to the stage without ever sacrificing the perfection that K-pop fans so admire. Seetlist: "REBEL HEART", "I AM", "Baddie", "TKO", "LOVE DIVE", "You Wanna Cry", "ATTITUDE", "Kitsch", "Supernova Love", "Accendio", "ELEVEN", "HEYA", "All Night", "After LIKE"
The six members of L'Impératrice get Bilbao BBK Live dancing with their swayful pop. A trans-Pyrenean meeting to introduce Spanish audiences to Pulsar, their third album.
A huge success when it premiered at the Opéra-Comique in 1900, Gustave Charpentier’s (1860-1956) “musical novel in four acts and five scenes” was panned by the critics, who considered its depiction of female desire and its heroine’s rebellion against her family to be scandalous. In this new reading, Christof Loy (Salomé) – famous for his meticulous productions, precise direction and refined aesthetic – has detected beneath the innovative theme of female emancipation an unspoken aspect of Charpentier’s libretto: the toxic family relationship in which Louise finds herself trapped, and the hold that her possessive – even abusive – father exerts over her with the complicity of her mother. Keen to tell the story without judging the characters, the director draws the audience into Louise’s subconscious, highlighting the darker side of a society that, far from emancipating its daughters, only offers them cheap romance as a deflection from the frustr