Now in its second year, In The Meadows has settled into a clear identity: small-scale but curated with care, driven by acts who bring intent rather than just polish. 2025’s edition leaned into punk lineage, experimental edge, and political urgency, even if the production couldn’t always keep up.

The day’s biggest draw was, of course, Iggy Pop, who remains, somehow, fully in command. Walking on to a pre-show playlist of industrial, aggrotech, and digital hardcore—an inspired if slightly jarring choice—he launched straight into “TV Eye” and didn’t let up for an hour. The set leaned heavily on Fun House-era Stooges, with “Down On The Street” and “1969” still hitting with the same blunt force they had 50 years ago. At 78, Iggy’s body might be looser, but his presence is tight: snarling, agile, and strange. He waded into the crowd during “I Wanna Be Your Dog,” donned a studded leather jacket mid-set, and somehow made every act of theatricality feel earned. Later cuts like “Nightclubbing” and “Funtime” reminded us of the post-punk shadow he casts—and gave the Trainspotting fans their moment.

Elsewhere on the bill, Sprints proved themselves to be one of the best live bands in Ireland right now. Karla Chubb remains a commanding frontperson, a mix of precision and feral energy, and the band’s performance was as driven as it was furious. Mid-set, Chubb delivered a firm political statement, condemning far-right rhetoric, transphobia, and the ongoing humanitarian crisis in Gaza. The response was loud and supportive. It was a reminder that In The Meadows, intentionally or not, has become a space where artists don’t just play but speak truth to power.

This same spirit was visible in Meryl Streek’s set, although it was dogged by sound issues that threatened to derail the whole thing. Even so, Streek’s theatricality and conviction carried through. Draped in roses, growling into a barely audible mic, he raged against corruption, hypocrisy, and cruelty. His set might have suffered technically, but artistically, it aligned with his reputation: unpolished, unflinching, and emotionally raw. While his lyrical bent was stifled, but it didn’t stop his fans from hanging on every word, even when they were hard to make out.

Billy Nomates played one of the most controlled sets of the day, stripping things back to a backing track and a bare stage, and still managing to hold the crowd’s attention completely. Her sound drifted between scuzzy post-punk and more reflective art-pop, always anchored by a soulful, expressive vocal. While some may have found minimalism too stark, but live, it worked — she trusts the material, and it lands.

The Scratch, local heroes as ever, were warmly received in kind. Gary Regan has stepped in to help fill the void left by Jordo’s departure, taking lead vocals on “Excuse” and holding his own. There’s still plenty of momentum in the group—tight playing, great craic —but it remains to be seen if their new material will match Jordo’s lyrical spark. A QR code placed onstage to support a Palestinian family was a quietly powerful gesture that reminded the audience of the broader world beyond the music. The band remains deeply embedded in their community — musically and politically — and that matters.

For a festival this compact, In The Meadows still makes room for complexity. It’s not a high-gloss operation; it’s one where speeches aren’t scripted, transitions aren’t seamless, and tech issues occasionally bite. But there’s something refreshing about that lack of polish—something grounded. Artists aren’t just passing through here; they’re connecting. And while not every set landed cleanly, the day as a whole felt purposeful.