August 27, 2025 |
We Out Here is slowly gaining traction as one of the most beloved festivals in the UK. Since its inaugural launch in 2019, the four-day programme, founded by industry veteran Gilles Peterson, has doubled in size, growing from 10,000 to capacity to now around 25,000, with many of its punters returning year on year. Penned as the go-to place for jazz-loving music heads, avid followers of dance music and everyone in between, the beauty of We Out Here lies in its ability to build a line-up that crystallises the past, present and future of music all in one fell swoop.
Built by Peterson throughout the year, the bookings are an assortment that both honours some of the most influential figures in music whilst creating space for newcomers to rise through the ranks. In turn, attending can feel like an education in itself. Whether you’re the type of festival-goer that abides by a stringent schedule, or one that enjoys a mosey around, drawn in by the sounds you hear along your way, We Out Here promises masterclasses only, traversing music’s best-known genres into its niche nooks and crannies. This means that those who attend come from all over, spanning various ages, nationalities and music tastes, united in their desire to learn from the best. Building a community that’s warm and welcoming, moments that warm your heart are pretty commonplace. One such instance this year came courtesy of 10-year-old Sacha from Lyon, who, after flying to Dorset specifically for the Pineapple Records takeover of The Grove, was brought on Binga’s back as he closed out the stage with Fracture on Sunday night.
Whilst it’s common for artists to travel to a festival, perform, then jet off to their next booking, most opt to stick around at We Out Here. It seems the music is just too good for them not to. Loyle Carner, who replaced a sick Michael Kiwanuka to close the Main Stage on Sunday, affirmed to his sprawling crowd that it was the “best festival” he had ever been to. And if it’s good enough for the pros, the rest of us don’t have much else to do but fall in line. And I tried my best. In turn, here is an incredibly non-exhaustive list of the best sets I saw at We Out Here 2025.
FOOTSHOOTER, LUSH LIFE
Footshooter’s Friday slot at Lush Life was indicative of We Out Here’s uncanny knack for the pleasant surprise. Heading over on the recommendation of a friend, the London-based artist, who was part of the Brainchild Takeover cohort, put on a performance that included bringing out rapper Natty Wylah for a rendition of Obelisk – a track that I’ve added to a fair few summer playlists without clocking in who was behind it. Rooting his set in both old tracks as well as ones from his new album The Oasis, it was a showcase of tracks that can soothe and excite in equal parts.
DORA MORELENBAUM, THE MAIN STAGE
Straight off the plane from Brazil, Dora Morelenbaum (and her impressive mop of hair), took to the Main Stage for 1:30pm – 2:30pm spot on Sunday afternoon. It was peak heat (highs of over 30 degrees) and her ethereal vocal stylings, which top melodies inspired by her hometown with a contemporary twist, transformed the dusty expanse into Costa del Dorset.
LEFTO, RHYTHM CORNER
Brussels-based Lefto is a good-time guy. A regular on the city’s Kiosk Radio, where his weekly show has become a watering hole for music heads on the hunt for new music, he used his 7 – 8:30pm slot to spin out cuts of house and jazz that balanced easy listening with dancefloor fillers. As the crowd geared up for their first full night, cutting their teeth on Lefto made for good times ahead.
ROTARY CONNECTION 222, THE MAIN STAGE
Closing out the Main Stage on Saturday, Rotary Connection 222 was a family affair. Flown over from Chicago, the ensemble, which formed to breath life into the timeless sound of the legendary Charles Stepney, consisted of performances from Stepney’s three daughters as well as a surprise appearance from original Rotary Connection member Shirley Walls. A history lesson of the finest sorts, the performance was checkered with clips delving into how Stepney’s work influenced everyone from A Tribe Called Quest to Earth, Wind and Fire and Minnie Riperton. Doused in love for Stepney and his legacy, it was the type of set that makes We Out Here mean more than just a frolick in a field.
ANTAL, HUNEE AND LUKE UNA, THE BOWL
Although not the largest festival, We Out Here still sports a pretty sizeable site, the North and South Pole of which is marked two stages – The Grove and The Bowl. To get between the two is somewhat of a pilgrimage, but it was made multiple times on Saturday night to catch as much of Antal, Hunee and Luke Una’s collective set as possible. Starting off with two hours each, the trio then went b3b for the final stint, seamlessly blending brassy disco vocals with house cuts that showed an unmatched reverence for dance music and putting on a cracking party.
Photography courtesy of We Out Here.
