NOS Alive 2025, Lisbon • Festivals • DIY Magazine

There aren’t many festivals where you arrive on site to the sweet-saline smell of sea air, but, as Lisbon’s NOS Alive gets its 17th edition under way, that’s exactly what fills your nostrils upon arriving at the rainbow-arched entrance of Passeio Marítimo de Algés. The Portuguese festival is a feast for all the other senses, too; not only are some of music’s most iconic names - spanning many a genre - taking to its various stages over the next three days, but across its concise, astroturf-clad site are an abundance of food stalls and brand activations, all designed to delight punters in between acts.

As you might expect for Lisbon in July, the sun is warm in the sky on the festival’s first day as the most pop-orientated run of proceedings gets under way over on the Palco NOS (or the main stage), with viral stars Benson Boone and Noah Kahan appearing back-to-back ahead of tonight’s headliner. It’s over on the Palco Heineken, however, that things get really interesting, as Barry Can’t Swim transforms the relatively intimate tent into a pulsating club for the hour. Live, his wares are given a bold edge, with cuts from across his debut ‘When Will We Land?’ and recent follow-up ‘Loner’ (which is, coincidently, set for release tomorrow) pairing perfectly with the hazy heat outside; ‘About To Begin’, especially, is a rhythmic, propulsive delight. Later that night, the atmosphere of the space shifts again for the arrival of Glass Animals, whose crowd spills out of the sides for what’s a giddy but concise run through their biggest hits.

But to pretend that today is about anyone other than Olivia Rodrigo is to be somewhat naive. Across the day, the crowd at Palco NOS has steadily grown, with the ages of audience members spanning at least five decades; for every group of 20-odd year olds covered in glitter, there’s a gathering of tiny barely-teens, signs aloft, with their parents looking on. The sheer joy that emanates from the crowd when Olivia finally takes to the stage to the metallic stomp of ‘obsessed’ is palpable, the giddiness reaching fever pitch by the time she takes to the piano for ‘driver’s license’. But it’s in her heaviest moments - the dark slink of ‘jealousy, jealousy’, the ecstatic thump of ‘brutal’ - that Olivia’s at her finest, digging deep into a punky, Riot grrrl-esque aesthetic and sound that suits her down to the ground. That she’s exposing so many young women to its mantra at the same time makes her all the more vital a star right now.

The following day comes with a fresh new focus over on Palco NOS: the world of electronica. While Italian-American producer Anyma brings his huge-scale graphics to close out NOS Alive’s second day, it’s French duo Justice who really reign supreme. Having first launched this version of their stage show back at Coachella last year, their set is by now a well-honed, audiovisual spectacle that really has to be seen to be believed; in fact, it’s arguably one of the most powerful stage productions of modern times. Poised in the midst of a constantly-shifting backdrop of screens and lights, the band’s Gaspard Augé and Xavier de Rosnay are a formidable force, taking their role as orchestrators of the dazzling display rather seriously, standing in the midst of the arms-aloft elation that their iconic offerings evoke. It’s almost enough to make up for the fact that Sam Fender was forced to cancel his Main Stage spot early today, only to be replaced by the retro indie disco sounds of The Wombats.

Over at the Heineken stage, the vibes are a little different, thanks to the back-to-back billing of FINNEAS (who’s here in celebration of his latest solo album ‘For Cryin’ Out Loud!’) and St Vincent. Timed at an almost inspired 1am, her somewhat unhinged performance - that, in moments, feels more akin to a one-woman burlesque show than your regular rock gig - continues to showcase the electricity that sizzles through her work to date, but this time (courtesy of tracks from her 2024 release ‘All Born Screaming’) in a glorious, almost demented manner.

By the time the festival’s final day gets under way, the site is packed with attendees sporting one of two different kinds of band merch; that of either Muse, or Nine Inch Nails. First, though, it’s up to Dunboyne princess CMAT to ease us into the day. Much like her acclaimed Glastonbury performance, personality is a top priority for her (and her Very Sexy CMAT Band) today, and she delivers it in droves: at one point, she even stops the show to retrieve a pastel de nata from a willing crowd member, only to chomp it down in a couple of bites. Unsurprisingly, the music is equally engaging, with her gorgeous brand of country shimmering in the evening sunshine, but it’s her full, no-holds-barred package that’s so endlessly charming and brilliant.

With the event’s final day leaning more towards the heavier end of the spectrum, it’s little surprise to discover that Amyl and the Sniffers have packed out the Heineken stage, with onlookers vying to get a glimpse from outside the tent. As ever, the band’s Amy Taylor is a firecracker, today donning a top-and-shorts combo covered in fangs. Their pummelling set - which comes mostly built around cuts from last year’s ‘Cartoon Darkness’ - is a high octane affair, punctuated by an inspiring call of support for Palestine, and a crowd-wide singalong to wish drummer Bryce Wilson a happy birthday (before forcing him to down a tiny pint). Life, after all, is about balance.

By the time that Muse take to the stage this evening, the crowd gathered in front of Palco NOS is arguably the biggest it has been all weekend - an unexpected coup, considering that the trio were originally drafted in to replace Kings of Leon, who pulled out back in May. You’d never guess that this wasn’t always the plan when Matt Bellamy et al take to the stage, such is the heft of their show and presence. After opening with their newest single ‘Unravelling’, they waste little time in warming up, quickly plunging into a stand-out run of ‘Interlude’, ‘Hysteria’ and ‘Stockholm Syndrome’ (all lifted from 2003’s ‘Absolution’). Offering up something from each of their weird and wonderful eras so far, it’s the likes of ‘Supermassive Black Hole’ and ‘Knights of Cydonia’ that cause the biggest ruckus, with the tracks sounding as huge as ever, 19 years on from their original release. Even amongst the grand light show and otherworldly stage production, there’s still an innately human moment in amongst it all: bassist Chris Wolstenholme takes to the stage in a Portuguese football shirt sporting Diego Jota’s name, in tribute to the footballer who passed away earlier this month. It’s an apt nod to the country that undoubtedly wins Muse even more dedication from their Portuguese fans.

Having already received rave reviews for previous shows on this latest Peel It Back touring run, the anticipation for Nine Inch Nails’ headlining turn tonight is high - and these expectations are more than met. Having last taken to the stage at NOS Alive seven years ago, tonight Trent Reznor’s outfit once again showcase their ability to create a show that’s both starkly powerful and intimately immersive. Changing their setlist every night might sound like a small task, but when the production is this huge, it really is no mean feat, and that sense of ambition only adds to the band’s legendary prowess. Trent, front and centre, is still an indomitable force - dressed head-to-toe in black, combat boots and all - over 35 years into his career, and the punishing heft of their live show is staggering. ‘Something Damaged’ bursts into hedonistic life, while ‘March of the Pigs’ is a frantic sonic assault; then, their set swerves in an entirely more ambient direction courtesy of ‘Less Than’ and a cover of David Bowie’s ‘I’m Afraid of Americans’.

“I look out and I see you out here, and I see the moon up there,” Trent proffers at one point, also clearly taking stock on the festival’s final eve, “and it feels like I’m right where I fucking should be.” It’s an immense, magnetic note to close out NOS Alive’s three eclectic but electrifying days.