Whether or not one enjoys a concert is entirely subjective. Leaving aside certain objective elements that anyone who steps on stage with a microphone is expected to possess, what ultimately matters is whether what you see and hear truly touches your heart. As 2025 draws to a close, we selected ten international concerts that took place in Greece and, in one way or another, struck a chord with us, made us dance, and once again reminded us of the power of live music. You can find the list of Greek concerts of the year here.

Kamasi Washington | Christmas Theater, April 29, 2025

Explosive Kamasi Washington and his orchestra, in his second appearance in Greece—following his 2017 show at Technopolis of the Municipality of Athens—were also expansive and generous, a blend of Sun Ra and George Clinton. One of the new high priests of the jazz scene, Washington left no fan disappointed and won over new ones.

The concert opened with a prayer in Ge’ez, the liturgical language of the Ethiopian Orthodox Bible. “Lesanu,” dedicated to a friend who had passed away, set the tone. Despite its somber subject, it became the spark for what followed. Next came “Asha the First,” a tribute to John Coltrane, Ornette Coleman and Eric Dolphy, as well as to his daughter. From there, the set unfolded with “Lines in the Sand,” “Ko,” “Get Lit,” “Vi Lua Vi Sol,” “Together,” “Prologue”—a tribute to Astor Piazzolla—and closed after two hours with “Re Run.”

Kamasi on tenor saxophone, accompanied by his father Rickey Washington (flute, soprano sax), Ryan Porter (trombone), Brandon Coleman (keyboards), Tony Austin (drums), DJ Battlecat (turntables/percussion), Joshua Crumbly (electric bass) and vocalist Patrice Quinn, made it clear that the intergalactic jazz universe belongs to them.

Their set was transcendent. Each musician did exactly what they had to do, with consistency and heart. The band gave each piece room to breathe, allowing for extended solos and dynamic interaction. Coleman stood out on keyboards, weaving harmonic magic and deep funk grooves. Tony Austin’s drumming was nothing short of virtuosic, while Crumbly was the connective tissue of the entire performance. Kamasi’s father more than held his own alongside his son on stage. As for Kamasi himself—unrestrained. His solos were explosive, exploratory and profound, moving from crescendos to tender passages. Vocalist Patrice Quinn, through both her voice and her presence, ignited fires or brought calm precisely when needed. She was, in essence, the evening’s indispensable sprite.

Spiritualized | Lycabettus Municipal Theater, May 29, 2025

That May evening, Spiritualized landed on Athens’ musical hill, taking us not only back to the ’90s—at least in attitude—but also into their distinctive take on groove, melody, gospel and… noise. Jason Pierce (J. Spaceman) remains one of the most compelling songwriters of his generation.

They took the stage with Pierce facing his musicians rather than the audience, performed a set of just over ten songs, said a brief thank you at the end—and that was it.

The nine-piece band (including three female backing vocalists) opened with “Hey Jane,” followed by “She Kissed Me (It Felt Like a Hit),” and by the time they reached “Shine a Light” (from their 1992 debut Lazer Guided Melodies), it was clear to everyone that Spiritualized’s space-psychedelic rock can still move people deeply.

The night unfolded with noise and emotion, rising and falling dynamics, soul-infused atmospheres from the vocalists, a striking light show, and a sound that pierced straight through you and carried you along. Songs such as “The Morning After,” “Here It Comes (The Road) Let’s Go,” “Let It Bleed (For Iggy),” “The A Song (Laid in Your Arms),” “Damaged” and “Sail On Through” drew us into J. Spaceman’s world, where guitars and psychedelia are lifelong allies.

Spiritualized did not omit their masterpiece “Ladies and Gentlemen We Are Floating in Space,” performing the devastating “Cop Shoot Cop…” live, before closing the night with “So Long You Pretty Thing.” For 90 minutes, we drifted in space—only to land back on Earth somewhat awkwardly at the end.

King Gizzard & The Lizard Wizard | Lycabettus Municipal Theater, June 4–6, 2025

There are concerts—and then there are concerts. Some you wait a lifetime for, others you attend knowing roughly what to expect, and then there are those that defy categorisation. Or rather, they form a category of their own.

King Gizzard & The Lizard Wizard, those wild Australians, landed on Lycabettus Hill for three consecutive nights (June 4, 5 and 6), presenting their enchanting chaos and leaving no audience member unmoved. From thrash metal to techno/house and punk metal, each night featured a different setlist.

As confirmed on the first night, the Australians know how to land their punches—and King Gizzard hit us square in the gut. Explosive and inventive, they proved why they are one of the hottest bands on the planet right now. Over two hours, they gave everything and took everything back from a crowd vibrating with excitement—while the less initiated watched in a mix of astonishment and admiration.

Their sound was thunderous beyond description, matched by an equally overwhelming light show. With more than 25 albums in their arsenal, they moved effortlessly between thrash, boogie, psychedelia/garage, funk, electronic music and dub. The highlight came during a roughly 20-minute segment featuring a massive synthesiser that appeared on stage like a computer from a 1950s–60s sci-fi film—decibel levels that may well have reached Mount Hymettus.

Among the songs performed were “Automation,” “Mirage City,” “Altered Beast,” “Alter Me,” “Raw Feel,” “Boogieman Sam,” “Change,” “Her and I” and “Magma,” each triggering relentless headbanging. They should come back.

IDLES | Release Athens 2025 – Plateia Nerou, June 18, 2025

Photo by Athens Release Festival

This was the concert of the summer—leaving the audience speechless not at the end, but from the very beginning. The explosive post-punk band set the stage on fire, and the crowd not only refused to extinguish it but kept adding fuel. Around 90 minutes of relentless musical eruption, energy and excitement swept everything and everyone along.

The setlist included, among others, “Colossus,” “Gift Horse,” “Mr. Motivator,” “Mother,” “Car Crash,” “I’m Scum,” “Jungle,” “When the Lights Come On,” “Divide and Conquer,” “Gratitude,” “Benzocaine,” “POP POP POP,” “The Beachland Ballroom,” “Never Fight a Man With a Perm,” “Dancer,” “Danny Nedelko” and “Rottweiler.” The collective explosion—band and audience alike—during “Danny Nedelko” and “I’m Scum” is impossible to describe.

Through Joe Talbot, IDLES delivered punk ferocity, rock psychedelia and their clear political stance: against fascism, in favour of peace, solidarity, social justice and migrants. Alongside Talbot, Adam Devonshire (bass), Mark Bowen (guitar), Lee Kiernan (guitar) and Jon Beavis (drums) gave everything they had. It will take a long time to forget them.

Kaleo | Technopolis of the Municipality of Athens, June 19, 2025

Photo by Afroditi Zaggana.

Kaleo’s journey—from the glaciers of Iceland to Memphis, Tennessee and Mexico—was exactly what was needed that June evening. With their blues-rock sound and songs such as “Bloodline,” “USA Today,” “Break My Baby,” “Broken Bones,” “I Can’t Go On Without You,” “Automobile,” “Hey Gringo,” “Hot Blood,” “All the Pretty Girls,” “Lonely Cowboy,” “Sofðu Unga Ástin Mín,” “Skinny,” “Way Down We Go,” “Back Door” and “Rock N Roller,” they transported us from Icelandic sunsets to the American South.

JJ’s distinctive voice wrapped the songs perfectly—rocking where needed, pulling back elsewhere—freeing his emotional world to meet that of the audience and flow into blues-rock. Supported by drummer Davíð Antonsson, bassist Daniel Kristjánsson, guitarist Rubin Pollock and harmonica player Þorleifur Gaukur Davíðsson, he clearly enjoyed the night himself.

Kaleo are honest in the best sense: they do what they do as well as they possibly can—well above average—and deserve far greater global recognition than they currently receive. Captivating and moving.

Beth Gibbons | Lycabettus Municipal Theater, June 20, 2025

Those in attendance realised that calling Beth Gibbons “the voice of Portishead” is not only outdated but almost insulting. She is a self-luminous artist, songwriter and singer who left Athens’ most musical hill spellbound. The audience travelled and dreamed alongside her during a live performance difficult to put into words (with the support of Release Athens 2025).

With her seven-piece band, she stirred the audience’s emotions, brought fears and dreams to the surface, and ultimately led them to catharsis. In this mystical exchange—not only with the audience but also with herself and her musicians—listeners were mesmerised as she opened with five songs from her 2024 solo debut Lives Outgrown.

The emotional peak came with “Mysteries” from Out of Season (with Rustin Man, 2019). She performed the entire Lives Outgrown album, revealing it—especially live—as deeply introspective and inward-looking. As an encore, she offered “Roads,” “Glory Box,” and closed the night with “Reaching Out.”

Her appearance at Lycabettus was not simply “a concert.” Whether it was one of the best of the summer is almost beside the point. The reverence shown by Gibbons, her musicians and the audience created an atmosphere of ritual—a musical ceremony. Mutual respect prevailed on both sides of the stage, with the audience honouring silences and absorbing every second. Melancholy and hope walked hand in hand throughout the Sunday evening, guided by her voice. Emotional, expressive and almost cinematic.

Tom Jones | Lycabettus Municipal Theater, June 21, 2025

Before his Lycabettus performance, doubts were raised about the quality of Tom Jones’s appearance. They were dispelled by the second or third song. The Welsh Sir, who had turned 85 just days earlier (June 7), silenced all sceptics. In his first Athens concert in six decades, he showed how to handle his past with dignity, reworking arrangements into more rock, blues and soul-oriented versions better suited to his current age and vocal abilities—without betraying the legend.

Every seat was filled, and the audience was ready from the first note: applause, cheers, sing-alongs, occasional dancing, and ultimately a standing ovation. Both performer and audience renewed their appointment for many more “Tom Jones nights,” as the singer himself promised.

Over roughly 100 minutes, Jones delivered a setlist that had it all: global hits alongside deeply personal moments. He opened with “I’m Growing Old,” a self-deprecating, humorous nod to his age that set the tone. Backed by a superb band, he performed songs such as Leonard Cohen’s “Tower of Song,” Bob Dylan’s “Not Dark Yet,” “Across the Borderline,” “Lazarus Man,” and his own “I Won’t Crumble with You If You Fall.”

Naturally, classics like “It’s Not Unusual” and “What’s New Pussycat?” were met with rapture. Particularly striking were the blues versions of “Sex Bomb” and “You Can Leave Your Hat On,” the funky “Kiss,” and the rapturous finale with “Delilah.” As the night ended, a spectator was heard saying: “Imagine what he must have been like in the ’70s…” We agree—but there is no going back (at least not yet).

The Jesus and Mary Chain | Gazarte Ground Stage, June 24 & 25, 2025

Old loves are lasting loves. As is the case with Scotland’s The Jesus and Mary Chain, who defined an era and a sound—and the more you see them live, the more you love them. The audience was ready to adore them, and the band returned the favour.

From the opening track, they won everyone over. Their sound—electronic, synth-heavy and guitar-driven—ignited with songs like “April Skies” and “Far Gone and Out.” The Reid brothers, through their stage presence and attitude, proved why they remain vital 40 years on.

“Happy When It Rains,” “All Things Pass,” “Head On” and “Cracking Up” showed that time is on their side. Noise pop and shoegaze went hand in hand throughout the night, culminating in “Blues from a Gun,” when more than a few eyes welled up, transporting listeners back to their own years of innocence. Like fine old wine, The Jesus and Mary Chain only grow more necessary with time.

Air | Odeon of Herodes Atticus, June 29, 2025

The French duo performed their debut album Moon Safari—a cornerstone of electronic music—alongside a best-of set at the ancient Roman odeon. Nicolas Godin and Jean-Benoît Dunckel presented their blend of space pop, dream pop, progressive rock, downtempo, chill-out, trip-hop, ambient and electronic pop.

Labels, however, matter little in live music. What counts is emotion—what you hear, what you see, and what you feel. In all three, Air earned top marks.

Photo by Afroditi Zaggana.

From the opening moments, a wave of soothing, dazzlingly beautiful music unfolded, paired with the duo’s elegant retro-futurism. Godin on guitars, Dunckel on synthesizers, and their drummer appeared inside a rectangular structure filled with video screens and lights. Dressed in white, they resembled an astral band.

For “Venus,” the structure transformed into a spaceship deck gliding past vividly coloured planets, straight out of a sci-fi film. Two atmospheric instrumentals written for Sofia Coppola films reinforced the sense that this was as much a cinematic as a musical experience.

Air’s concert at the Odeon could not be judged by musical criteria alone—the visual element was integral. That June night, they took us by the hand, carried us into the universe, and invited us to dream and create our own inner film.

Wim Mertens | Athens Conservatoire, November 27 & 28, 2025

The Belgian minimalist composer proved, over two Athens performances, that he remains one of music’s last true intellectuals. For his devoted audience, he presented—world premiere—his latest album As Water Is to Fish (2025), while also revisiting defining works such as “Struggle for Pleasure,” “Close Cover” and “Often a Bird.”

Known for a style combining philosophical thought, mathematical precision and emotional depth, Mertens delivered a deeply personal programme. A musical journey spanning more than 45 years was condensed into two and a half hours, demonstrating his ability to remain relevant by blending foundational minimalism with contemporary sounds.

Intimate yet gripping, he reaffirmed the value of listening—and the audience followed. One of the most powerful musical moments of 2025.