Rock en Seine - Paris 20-24 August

04 September 2025 - Editorial

Rock en Seine is one of France’s and indeed Europe's most significant summer festivals, held annually at the Domaine National de Saint-Cloud just west of Paris. With a daily capacity of around 40,000, over 180,000 were estimated to pass through the gates over five days. Though sometimes grouped among mainstream European line‑ups, Rock en Seine maintains a more measured atmosphere than many UK festivals, not only helped by the lack of camping overnight but the somewhat “older” less teenage crowd.
The festival is owned by LNEI and AEG Presents France. Rock en Seine blends newer French acts (via its Avant-Seine initiative) and international names that create an intentional balance to all audiences. Booking and performance highlights from across the days came in all forms. And despite Fontaines DC performing on the last day and being my favourite band at the moment, some other acts took a more surprising place on my highlight list.

- Chappell Roan kicked off the festival with precisely the momentum Rock en Seine aimed for, an emerging pop phenomenon whose costumes, interludes, theatrical set design, and direct audience engagement elevated her performance beyond pure performance. TikTok‑fuelled singalong moments projected her breakout appeal, signalling a festival comfortable amplifying internet aided stars.

- Floating Points provided exactly what Rock en Seine’s more electronic day needed, dynamic arcs, precision, great ebbs and flows and provided a testament to the festival’s ability to vary genres across the week. Live projections being produced out of Petri dishes on stage also gave an exciting visual dimension.

- Kabeaushé was a revelatory inclusion. It was avant garde, theatrical, and fully crowd immersive. Small stage friendly but larger in impact, this militant original energy felt calibrated for a festival that can host mainstream acts but still carve out space for compelling oddities. As for the rest of the festival, acts truly ranged across every spectrum with Sunday most definitely feeling the busiest.

- Greentea Peng offered a more rooted message-driven act with Kneecap following this sentiment up on Sunday. Despite performance protests and in crowd interruptions they continued to layer their set with political and humanitarian commentary around Palestine. An otherwise high energy and humorous set from Kneecap made a great lead up to Fontaines DC’s main stage performance.
- Unfortunately some of Fontaines’ quieter songs got lost in the front crowd but even with a predominantly French speaking audience, support from a singing fan base helped to keep energy up. Aside from their new the ‘Romance’ album, this performance was made even better by the original bangers.

- Khruangbin delivered a bright, smooth, almost meditative groove, with atmospheric visuals and lighting locking in a crowd without needed words. - Still Woozy broke the performer to spectator barrier suggesting a demographic eager for connection not spectacle.

- Empire of the Sun leaned fully into theatricality and many costume changes. A festival given to moments of visual spectacle appreciates a lineup offering theatrical pop excess. - Aurora, in contrast, remained grounded and in her whimsical, grateful demeanor and energetic encore showed the strength of the performance. With apparent influences from the likes of Chemical Brothers a surprising sound change got the crowd onboard. For a third appearance at the festival she reminded audiences why her brand of joyful sincerity remains festival rich.

- Dabeull was a midday energiser and well suited for a sunny, groove-filled crowd.

- Fat Dog also placed just past midday on the Sunday planted seeds for later set appreciation but personally felt deserved a more atmospheric later slot.

- Jorja Smith introduced a soulful, heartfelt tone, accessible to all audiences even with her “Britishisms” intact. Smith played some of her newer, punchier material and showed audiences how she is evolving beyond her early catalogue.

- Bryan’s Magic Tears offered a late night alternative to the headliner Queens of the Stone Age and still drew attentive crowds.

Ruby Scaife