Words: Miles Holder

When we first touched down at ASIAT, a former military site in Vilvoorde now pulsing with new cultural life, we knew Horst Festival 2025 wouldn’t be a typical three-day rave. From the moment we passed through the well-organised entry system – no unnecessary queues, plenty of signage, and mercifully efficient wristband top-up stations – we felt like we’d stumbled into a blueprint for what the modern music festival should be.

Horst Festival 2025 was an all-sensory, design-focused experience and a testament to what happens when architecture, electronic music, and contemporary art join forces.

At Horst, it’s not just a matter of rigging up speakers in a field and calling it a day. From the circular splendour of The Ring, redesigned this year by Piovenefabi, to Moon Ra by Leopold Banchini — gone were simple DJ booths and instead we partied in immersive sculptures. The reinterpretation of the Veshcell Stage provided a particularly surreal experience: part monument, part spaceship, part dream, we didn’t quite know where to look.

Each structure seemed to act as its own character, inviting, enigmatic, and totally at home among the industrial buildings and repurposed terrain of ASIAT. Even when we veered off the main paths, we stumbled into shaded installations, art displays in progress, and quiet corners that rewarded curiosity.

It’s no surprise that these stages were co-created with Horst’s Atelier participants, embedding the next generation of spatial thinkers directly into the festival’s DNA.

A Lineup Built on Energy, Not Hype

There’s a quiet confidence to Horst’s programming. Rather than chasing flashy names for the sake of ticket sales, the curators offered a refined mix of cult favourites, rising stars, and local legends. What mattered most was energy and how they could move a crowd.

On Day 1, we kicked off with R.omy at The Swirl, whose set was full-bodied, driving, and emotionally textured – a perfect primer for what lay ahead. Dr Banana served serious heat at The Ring, their joyful curation bouncing off the sunlight like a mirrorball. Coffintexts drew a massive crowd at Weaving Weeds, and we welcomed their collection of South American/Caribbean flavoured electronic sounds. Meanwhile, JakoJako reminded us why her live sets never feel formulaic, every beat seemed attuned to the shifting mood of the dancefloor, and as per usual, we hated to see it end.

The evening closed out with For All The Queens, a powerhouse showcase of queer talent featuring Arakaza, Sadiq Bellamy, and Rokla Bamba, with the always-electric MC Fitzgerald on hosting duties. A ferocious, celebratory end to day one.

On Day 2, as the sun dipped, we danced to Desyn at Le Soleil Rouge, all under the gaze of an illuminated power plant that turned into a canvas for kaleidoscopic visuals. Later that evening, we squeezed into the Moon Ra stage for Torblo, it was crowded, sure, but the vibes? FAULTless.

On Day 3, our final morning began slower, understandably, but DJ Oceanic hit the sweet spot with a set that felt like a cool splash of water on a summer day. He later tore up The Garage with even more fire, which we had to be dragged from kicking and screaming if we were to make the most of the welcome glints of sunshine.

The evening? Unforgettable. OMOLOKO set spirits soaring, followed by four mesmerising hours at Le Soleil Rouge with Perra Inmunda, Hannah Holland, Josh Caffe, and a sublime closing from Eris Drew.

Meanwhile, we heard on good authority that Plezo, CCL & Objekt, and Boudeqijn Ericx had their own crowds in similar states across other stages – a reminder of the difficult choices Horst demands from its attendees. But what a problem to have!

What Worked at Horst Festival 2025 and What Could Improve

Organisation deserves its own applause. Toilets? Plentiful. Bars? Well-staffed and sensibly priced. The dreaded wristband deposit system (which I will always detest…), often a festival mood-killer, was handled smoothly thanks to numerous recharge points and proactive staff.

Food, though, left us wanting. Vegan options were appreciated, but execution didn’t always match intent. A limp and costly “birria taco”, a paper-textured vegan bratwurst, and a 14-euro pizza that tasted like defeat reminded us why most festivalgoers eat just enough to survive. That said, you come to Horst for the beats, not the bites.

We also want to spotlight Horst’s care and safety teams. Free earplugs at bars, hydration points, and a well-signposted Rave Spa offered thoughtful counterpoints to the intensity of the dancefloors. Five minutes in the Spa nearly ruined us, we almost didn’t return to the music.

Even off the dancefloor, the art was unavoidable – murals, kinetic installations, and performance pieces all wove themselves into the festival fabric. Much of the festival’s art will remain on display throughout summer 2025, transforming the festival site into a publicly accessible exhibition.

Horst revitalises the space and invites community involvement, and rethinks how music, art, and cities interact. There’s genuine intent behind this. A desire not just to entertain, but to build.

We arrived at Horst not knowing quite what to expect and left with it circled in permanent ink on our festival calendar, for all the right reasons. Horst is measured, creative, welcoming, and above all, FAULTLess in spirit.

Whether you came for the sound systems, the architecture, the art, or just to dance in the sun with friends, Horst had space for you. And as we learned across three beautiful days in Vilvoorde, it’s not just what a festival sounds like that matters – it’s what it shapes

For more music updates, lineups and reviews, follow us on Instagram. Explore The Best Music Festivals of 2025