To call Sŵn Festival merely a “celebration of Welsh music” would be an understatement. While it proudly champions local talent like rising folk artist Martha Elen, whose collaborative acoustic set featured members of Workhouse Band, the festival has evolved into something far broader: a city-wide celebration of sound, culture, and community.
Day one felt like a world tour. Kikker, Swansea’s scrappy newcomers, opened with an endearing DIY energy, setlists scribbled on cardboard, guitars buzzing with raw honesty, and a comfort that only hometown boys can bring. Basht, the Irish alt-rockers, stumbled charmingly through their stage banter but exploded into tightly crafted songs pulsing with melody and melancholy. Then came Manga Saint Hilare, who turned the venue upside down with his charismatic grime-meets-comedy chaos, keeping even the most reserved crowd members shouting along. Moonchild Sanelly, shimmering in electric blue, brought South African sunshine to Cardiff with her genre-defying mix of amapiano, funk, and electro-pop. Returning to the stage after recovering from a vocal strain, she radiated confidence, her hypnotic beats and elastic vocals filling the room like a tidal wave. Later, CLT DRP blasted through feminist punk anthems with relentless precision; guitarist Scott Reynolds’ blazing riffs and frontwoman Annie Dorrett’s fierce delivery had the crowd in awe. The night closed in pure chaos and sweat with Adult DVD’s raucous surf-punk and GANS’ thunderous, crowd-surfing finale.
Friday built on that electric energy. London four-piece Saintclair mesmerised with cinematic alt-pop layered in soulful harmonies, a set that felt both intimate and epic. Keo followed, stripped-down yet magnetic, a cracked voice and taped-up guitar giving every note a sense of vulnerability. Papayna Noon offered a change of pace, blending smooth jazz grooves with buttery R&B vocals in a sound that felt both nostalgic and fresh for Cardiff’s rock-heavy scene. Aki Oke fused garage and trance into pulsating indie-dance beats that his brother, Charlie, helps him bring to life, while Daniel Huddlestone’s live percussion brought a human warmth to their digital textures. As night fell, shoegaze quartet Whitelands drenched the venue in reverb and emotion before Casual Smart’s sprawling post-rock crescendos turned the city’s air electric.
By Saturday, the festival had found its rhythm. Marsy opened with soaring vocals and shimmering piano melodies, setting a soulful tone. Noah Buchard’s lo-fi rap felt raw and confessional, his lyrics resonating with the audience’s quiet attention. As dusk settled over Tramshed, Gurriers erupted in a storm of distortion and unfiltered rage, diving headfirst into their own mosh pits as the crowd followed suit. Ugly offered a total gear shift, an art-rock spectacle of layered vocals, brass flourishes, and inventive soundscapes. Then came Deadletter, whose angular punk-jazz swagger and razor-sharp lyricism carved through the noise. Finally, Getdown Services transformed the festival into one last dance floor, a delirious, disco-fueled rave that had everyone moving until the early hours.
Once again, Sŵn Festival proved why it’s the beating heart of Wales’ live music scene, a kaleidoscopic celebration of sound where every act, from local dreamers to global trailblazers, plays their part in Cardiff’s unforgettable symphony.
