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May 14, 2025 By Dom Gourlay Photography by Adam Houghton Web Exclusive

As with previous years, the fifteenth edition of FOCUS WALES was a glorious affair, showcasing artists from all around the globe across a multitude of venues and spaces both indoors and out. Situated in the North Wales city of Wrexham, Focus Wales has grown from humble beginnings into arguably the most prestigious showcase festival in Europe. Bringing together artists from as far afield as the US, South Korea, Canada, New Zealand, South Africa, Faroe Islands, Denmark and Portugal as well as the closer confines of Scotland, England, Ireland and of course, Wales. Aside from the music programme, Focus Wales also hosted numerous industry panels, talks, speed meetings and even its own film festival, Saturday’s showing of headliner Gruff Rhys’ “American Interior” proving a popular highlight for many.

Nevertheless, its the music which Under the Radar primarily focuses on, having been a media partner of the festival since 2019. This year’s event saw UTR showcase two acts; Nottingham based post-punks Bloodworm and fellow East Midlands based noise rockers Marvin’s Revenge. Both of whom played in the sweaty confines of The Parish, one of the city’s most vibrant venues which saw every show packed to capacity with long queues outside. What sets Focus Wales apart from its peers is the sense of community between its attendees, whether they be artists, industry delegates or paying customers. There is no sense of hierarchies or elitism; barriers simply don’t exist. Instead it feels like one big international happy family all coming together in the name of music.

Being set in Wales and focusing on homegrown talent as much as its international spotlight, there is a heavy emphasis on Welsh artists at the festival. Some of whom have become regular staples of Focus Wales such as Chester’s Campfire Social, a band who’ve played the event annually since 2016, yet whose music and boundless energy on-stage makes them one of the must-see acts every year. Similarly, Cardiff’s Red Telephone are a band Under the Radar first discovered at Focus Wales back in 2019 so it’s been a pleasure watching them grow from strength-to-strength, their grandiose take on psychedelia via the worlds of glam and pomp rock respectively being always worth a punt.

An even bigger buzz is seeing artists for the first time and being blown away by their craftsmanship, sometimes with no prior warning of what to expect. Take Mali Hâf for example, a recent runner-up in Glastonbury Festival’s Emerging Talent Competition. Her mid-afternoon set in the humble confines of Saith Seren is something of a revelation. Fusing shamanistic tendencies with a voice that’s equal parts Shakira and Grace Slick, Mali captivates the full room for the entire duration of her nine-songs set. It’s one of those “I was there” moments people will be talking about in years to come when she’s selling out academies and arenas, mark my words. Likewise the wonderful Half Happy, whose melancholic indiepop sits somewhere between the wistful worlds of The Sundays and Alvvays, their tales of love and loss (“Bloom” and “Steal Me” being particular favourites) going down a storm with those fortunate enough to get in to their show at the aforementioned Parish on the first (Wednesday) evening.

The international flavour of Focus Wales attracts artists from every corner of the globe with genres ranging from experimental folk, rnb, post-punk and electronic noise rock. One band specialising in the latter are The Family Men, a four-piece from Gothenberg whose midnight set at The Parish (yes, we’re there again!) turns the dancefloor into a heaving mass of bodies, sweat dripping from the ceiling while some people even attempt to crowdsurf. Their music has been compared to The Bronx and Nine Inch Nails among others but its the live show that really takes them into a whole new realm of their own. Cushla, a trio with their roots in Ireland and Spain also make a significant impact with their eclectic take on folk, which sits somewhere between the fevered drones of Lankum and Bjork in her more experimental Vespertine phase.

Canada is well represented here and its singer/songwriter Ellen Froese who takes first place on their assorted rosters, playing four different sets across the duration of the festival. All of which draws respectful and attentive crowds while emphasising Froese as the next big export to emerge from the Saskatoon region, her playful folk proving to be a winner on every level. Nova Scotia’s Leanne Hoffman is another artist that makes a significant impact on those assembled in Ty Pawb’s Flexible Space on the Saturday evening, having already wowed audiences the previous two nights as well. Recalling Carly Simon at her most poetic, Hoffman is a beguiling presence and one we’re certain will become a household name before long.

Crossing the US border, New York post-punk outfit Diary are another act that doesn’t hold back when placed in front of an audience. Once seen, never forgotten (UTR actually sees them twice!), their anglophile take on US indie rock reminds us of Blur and Suede as much as any US band which is no bad thing, while their supportive presence at pretty much every other showcase when not playing makes them one of the most popular acts off stage too. Those of you familiar with Under the Radar will already be aware of how much we love Tramhaus, and their late night set at Ty Pawb on Friday evening only adds to the adulation and acclaim bestowed upon them. Playing an eleven songs set including a couple of new and unreleased numbers as well as more established cuts off 2024’s excellent debut The First Exit being a welcome and surprising addition to proceedings.

Elsewhere, French punks We Hate You Please Die stir up a riot of their own which sets the scene nicely for Thursday’s headliners SPRINTS. A band that literally goes from strength to strength with every subsequent show, while in Karla Chubb, they possess a bonafide superstar in waiting. Singer, guitarist, occasional keyboard player and overall mouthpiece for the band’s manifesto, Chubb is a formidable and captivating presence. Aided and abetted by her fellow band members Sam McCann, Zac Stephenson and Jack Callan, if SPRINTS aren’t headlining major outdoor festivals by this time next year I’ll eat my hat. Playing a set comprised of both familiar and unreleased material, every song sounding magnificently huge and urgent. They’re a revelation culminating in a peerless run through early single “Little Fix” at the end that sees Bored Marsh frontman Joe Need plucked from the crowd near the end to play guitar on stage with them.

Closer to home, Manchester also has a big presence here over the course of the festival. Alt-pop outfit Better Joy bring sophisticated tunes to the mix, while dreamy psych outfit Georgian bring West Coast vibes with songs like “Big Lips In Leather” and “Soleil”. Incendiary post punk collective DEAFDEAFDEAF live up to their name somewhat, delivering a set that echoes Mancunian heroes of the past like Puressence or The Chameleons while firmly keeping all eyes on the present. Opener “Milsbeek” and the glorious “Race To The Finish” being particular standouts from their hyperactive set.

Which brings us to the finale. Like all good things, Focus Wales 2025 must come to an end, so who better to bring down the curtains than assorted members of legendary experimentalists Super Furry Animals. While rumours abound all weekend that they would team up on Saturday evening (it didn’t happen, and nor should it) both Gruff Rhys in his audio/visual representation of American Interior and assorted ditties followed by Das Koolies pulsating techno provided the perfect ending to a joyous four days of festivities.