Putting the cool into the ultimate music ‘coolcation’, Øya Festival is back with a bang – bigger, better and cooler than ever!
When you are given the opportunity to escape the UK’s seemingly endless heatwave and fly to one of the hippest cities in Europe to spend four days watching incredible live music, it would be churlish to say no, right?
Why the Øya Festival is my new favourite music event!
Oslo has always been one of my favourite cities, and Øya, one of Norway’s biggest music festivals, has long been on my international music festival bucket list. So, I couldn’t have been more excited to discover new artists, catch some old favourites and explore more of the city along the way.
Forget muddy fields, soggy tents and lukewarm cans of lager. Øya is the ultimate music ‘coolcation’, proving you can have your festival fix without sacrificing the finer things in life – think brilliant live music, great food and one of Europe’s coolest cities right on your doorstep.
Star power and sustainability at the Øya Festival
Set in Oslo’s leafy Tøyenparken, Øya Festival mixes huge international headliners and cult favourites with the freshest new talent on the scene, creating a line-up with something for every kind of music fan. Championing inclusion, representation and sustainability, Øya isn’t just keeping up with the festival scene – it’s showing everyone else how it should be done.
Sustainability isn’t just a buzzword at Øya – it has been part of the festival’s DNA since day one. In 2002, it set itself the ambitious goal of becoming the world’s greenest festival, and more than two decades later, that commitment is stronger than ever. From renewable energy and waste reduction to local, organic food and sustainable transport, Øya continues to raise the bar for what a truly green festival can look like.
What started in 1999 as a small, grassroots festival born from Oslo’s independent music scene has grown into one of Scandinavia’s most respected music festivals. Founded by a group of people behind some of the city’s much-loved grassroots venues, Øya was created to give great Norwegian music a bigger audience – and more than 25 years later, that spirit of discovery remains at its heart.
Over the years, Øya has built a reputation for eclectic, genre-spanning line-ups, welcoming everyone from Blur and Arctic Monkeys to Björk and Patti Smith, alongside the emerging artists destined for bigger stages.
Add Oslo’s excellent food scene, cultural attractions and a refreshingly sustainable approach, all wrapped up in a seriously good-looking Scandinavian setting, and it’s easy to see why Øya has become one of Europe’s must-do festivals. It’s part music festival, part city break – and the combination is pretty hard to beat.
Of course, the real reason to come to Øya is the music – and this year’s stellar line-up certainly didn’t disappoint, as our Music Editor, Emma Harrison, discovered.
Wednesday 12th August: The Cure, Amyl and the Sniffers, ARY, Dove Ellis, Oklou and more at Øya Festival
The leafy setting of Oslo’s Tøyenparken feels like a little oasis in the heart of the cosmopolitan city, and one of the first things I discovered at my first Øya Festival was just how wonderfully walkable it is – much like Oslo itself.
With Amfiet, Sirkus, Vindfruen and the other stages all within easy walking distance, hopping from one act to the next is refreshingly effortless. Better still, every stage is packed with unmissable talent, meaning there’s always another artist worth discovering just around the corner.
From the dreamy, experimental electro-pop of French singer and producer Oklou to the darker, atmospheric sounds of Norway’s ARY, the opening afternoon offered two very different but equally compelling performances.
Galway’s own Dove Ellis was one of the most anticipated acts to see on Øya’s first day – and he certainly didn’t disappoint. The fervour surrounding the indie-folk artist is easy to understand, with his captivating live presence and beautifully crafted songs proving exactly why he’s one to watch. ‘Feathers’, ‘Love Is’ and the gorgeous ‘Heaven Has No Wings’ were entirely sublime!
Amyl & The Sniffers delivered a high-octane set that packed a serious punch. Their pummelling, gloriously unruly sound is equal parts chaos and thunderous swagger. From the second they hit the stage, they were a shot of adrenaline straight to the heart, instantly whipping the crowd into a frenzy. ‘Control’ set the tone throughout and it was great to hear some new tracks from their latest album ‘Cartoon Darkness’ alongside some of the old favourites like ‘Guided By Angels’.
This was far from the Aussie punk rockers’ first rodeo at Øya – in fact, it was Amyl and the gang’s third appearance at the festival in less than eight years. Frontwoman Amy Taylor is a real tour de force, proving utterly mesmerising from the moment she steps on stage.
Without a doubt, The Cure were the highlight of Øya for me. My third time seeing them, and once again they delivered a spellbinding, career-spanning set that clocked in at 150 minutes – yet somehow could have gone on for hours.
It felt like an otherworldly, deeply emotional experience. From the opening notes of ‘Alone’, I was completely immersed as Robert Smith and the band which includes bassist Simon Gallup (who has made a welcome return after falling ill on the tour), keyboardist Roger O’Donnell, drummer Jason Cooper and guitarist Reeves Gabrels drew us into their dark, dreamlike world.
And it wasn’t just the Øya crowd who were emotional – Smith was too. After performing the beautiful ‘Just Like Heaven’, he remarked, “Every now and then, that last bit…” before smiling through his tears. Proof, if any were needed, that even the person who wrote the song can still be moved by the music and the moment.
The Cure live are something else and their set at Øya personified it. As well as playing tracks from their brilliant 2024 album ‘Songs of a Lost World’, the soldout audience were treated to tracks like ‘Friday I’m In Love’, ‘A Forest’, ‘Endsong’ and a stunning rendition of ‘Pictures of You’.
Øya is just one stop on The Cure’s prolific festival run this summer, but seeing these iconic rock legends live feels more essential than ever – particularly if rumours of a 2029 touring farewell, timed to coincide with the band’s 50th anniversary, prove true.
One of the night’s most captivating moments came with ‘Play for Today’ before the band launched into ‘A Forest’. Robert and Simon Gallup stood back-to-back as the song began with a stripped-back, slowed-down introduction, creating an eerie sense of anticipation before the familiar rhythm gradually emerged. As the groove took hold, the track transformed into a wonderfully hypnotic jam that had the entire crowd locked in.
‘Lovecats’ saw Robert channel his inner feline and ‘Lullaby’ was a masterclass in performance as was ‘Why Can’t I Be You’, but the blockbusting set concluded in spectacular form with an impassioned ‘Boys Don’t Cry’ – the perfect end to a wonderful night of live music and a memorable first night of the Øya festival.
Thursday 13th August: Nick Cave & The Bad Seeds, Geese, Wilco, Melody’s Echo Chamber, Blood Orange and more at Øya Festival
Day 2 of the Øya Festival had a LOT to live up to, but the line up for Thursday was in equal measure to the opening day. The psych-rock leanings of Melody’s Echo Chamber was perfect for a sun-dappled Thursday evening, her chilled out set transported the Sirkus tent somewhere altogether more dreamy, with her hazy psychedelic pop creating an immersive atmosphere.
Over on the Amfiet, Chicago indie-rock veterans Wilco delivered a masterclass in understated musicianship, effortlessly weaving Americana, folk and experimental rock into a set that felt both expansive and intimate. ‘Impossible Germany’ and ‘I’m The Man Who Loves You’ were particular highlights.
New York’s Geese had plenty of the ingredients for a great festival set – angular guitars, restless rhythms and a wonderfully shape-shifting, off-kilter energy – but, for me, something was slightly missing. There were flashes of brilliance, but it never quite reached the heights I’d hoped for. Perhaps my expectations of one of the most talked-about bands right now were unreasonably high, but I did find myself wanting more.
That said, Geese are still absolutely worth seeing live, and ‘Gravity Blues’ was particularly impressive.
Blood Orange brought a dose of hazy, late-night cool to the Sirkus tent, with Dev Hynes weaving R&B, pop and electronic textures into an intoxicating live set.
But, Thursday’s standout performance had to be the one and only Nick Cave & The Bad Seeds. We’d randomly run into Nick a couple of days earlier and can attest that he was utterly delightful – making his spellbinding performance later that week feel even more special.
Fresh from a world-class performance in Brighton the previous week, Nick and the band were in fine form, delivering a total smorgasbord of emotions. The result was a mammoth, four-decade-spanning set that dipped deep into Nick Cave & The Bad Seeds’ extensive back catalogue.
From the opening notes of ‘Get Ready for Love’ through to ‘From Her to Eternity’, Nick had the Øya crowd in the palm of his hand. His commanding presence was impossible to ignore, while ‘Long Dark Night’ and ‘O Children’ were particularly moving.
‘Joy’ was one of the set’s most poignant moments, a devastatingly beautiful song about choosing to embrace life’s light in your darkest hour.
‘Into My Arms’ closed out Nick’s set and the second evening of Øya Festival – and what a magical, marvellous ending it was. Full of power, precision and passion, the set was a fitting showcase of just what makes Nick Cave such a captivating performer and extraordinary songwriter.
Friday 14th August : TOMORA, SOMBR, Westside Cowboy, Getdown Services, Band of Horses and more at Øya Festival
Band of Horses made a much-anticipated return to Øya on Friday, celebrating two decades of ‘Everything All the Time’ with a full-album performance of their seminal debut. It felt surprisingly intimate, despite the US rockers performing on one of the festival’s biggest stages.
Two decades on, the songs – especially when played live – still stand the test of time, with ‘Weed Party’ a particular highlight, as was their beautiful rendition of ‘Monsters’.
Westside Cowboy were definitely on my list of bands to see, and their fuzzy guitars and intoxicating energy put a huge smile on my face. I’m already looking forward to seeing what the Mancunian quartet does next. Their star is most definitely on the rise, and ‘Drunk Surfer’ was a set highlight.
Friday was all about the bands with the capital letters with TOMORA – the exciting duo made up of The Chemical Brothers’ Tom Rowlands and Norwegian pop act AURORA.
Together, they delivered a euphoric collision of pulsing electronics and AURORA’s unmistakable vocals, with Rowlands’ restless production providing the perfect backdrop for her soaring, otherworldly presence. The result was a thrilling, genre-blurring set that felt both futuristic and completely immersive.
Closing out the penultimate day was SOMBR who was marking his Norwegian debut at the Øya Festival, and the young New Yorker didn’t disappoint. His blend of heart-on-sleeve indie, glossy pop and gloriously angsty songwriting translated brilliantly live and proved why he is one of the most exciting musicians around.
Saturday 15th August : Underworld, Lily Allen, Iceage, CMAT, Girl Group and more at Øya Festival
Having seen Girl Group perform live on a boat around the fjords of Oslo the day before, I was excited to see them again. Despite being one member down and performing acoustically the day before, the Norwegian-Anglo quintet were in a lively mood and ‘Man-made Girlbands’ and the impossibly bouncy ‘Yay! Saturday’ was super fun!
The captivating CMAT was effervescent and flamboyant and was one of my Øya Festival highlights. The amiable Irish singer was one of my most looked forward to performances and she really took the Oslo crowd by storm.
Feisty, theatrical and full of sassiness, she really deserves all the accolades she has received. Who can fail to be charmed by her cheeky rendition of ‘Jamie Oliver Petrol Station’ and ‘Euro-Country’?! When CMAT asks the people of Oslo to ‘keep your ass low’, and thousands of people oblige, you know that you have captured the hearts of the Øya Festival crowd.
Iceage offered a darker change of pace, with the Danish quartet’s brooding post-punk creating an altogether more shadowy atmosphere at Øya. Frontman Elias Bender Rønnenfelt’s distinctive vocals cut through the dense guitars, making for a set that felt visceral without relying on the usual festival theatrics.
It was back to the Amfiet stage where Lily Allen was performing her one-woman theatrical performance from her recent album ‘West End Girls’. It was absolutely hypnotic and Lily did a fantastic job, holding the crowd’s attention – she has the power of stillness and truly inhabits the songs she performs with class and heart.
Taking us through ‘West End Girl’ in its entirety, Lily Allen turned the album’s deeply personal story into a fully immersive live experience and we, the audience, are with her every step of the way and feel every single emotion.
What could feel intensely private on record suddenly felt huge on stage, with intimate storytelling, sharp observations and irresistible pop hooks combining to create something far more theatrical than your average festival set. ‘Madeline’ is a bitter pill to swallow and Lily’s ability to channel darkness and pain into art is admirable and refreshing.
Rounding off Saturday night (and my first – but hopefully not my last! – Øya Festival) were dance music pioneers Underworld, who opened their set with one of their most iconic tracks, ‘Born Slippy’.
Underworld brought Øya’s final night to a euphoric close, turning Sirkus into a heaving late-night dancefloor. With pounding beats, dazzling visuals and Karl Hyde’s unmistakable vocals, the British electronic pioneers proved that, decades into their career, they still know exactly how to get a crowd moving.
Ultimately, Øya is a festival that puts the music first – but does everything around it brilliantly too. From its expertly curated line-ups and commitment to emerging talent to its beautiful setting and refreshingly relaxed atmosphere, it manages to feel both forward-thinking and effortlessly cool. It’s little wonder it has become one of Europe’s most exciting festivals.
Photo Credits: Øyafestivalen
