Tomorrowland 2025 faced a major crisis just two days before opening when a fire broke out on the mainstage during final setup. What could have shut the festival down turned into a display of fast recovery. With crews working nonstop, a new stage was ready in time, and Weekend 1 opened as planned. The fire made headlines, but the weekend itself told another story.

The replacement mainstage came together in record time, with reports confirming it was assembled in just around 12 hours following nearly two full days of round-the-clock preparation. Though smaller than the towering Tomorrowland mainstages of previous years, the new structure stretched wide across the front of the crowd and featured prominent LED panels bearing the word "UNITED" on both sides. The DJ booth was noticeably lower, creating a more intimate setup that reminded many of Tomorrowland’s earlier editions, where fans stood nearly eye-level with the performers.

Behind the setup, the charred remains of the original Orbyz stage were still partially visible, casting a raw and dystopian visual contrast that festivalgoers described as “surreal but powerful.” In a show of solidarity, Metallica lent equipment from their M72 World Tour, including sound infrastructure and scaffolding, to support the rebuild, reinforcing the idea that music communities, across genres, often show up for each other when it matters most.

One of the most talked-about sets of Tomorrowland 2025 Weekend 1 came from Hardwell, who returned to the mainstage with an extended two-hour set celebrating his United We Are album and the music he released up until 2017. The set included crowd favorites like Spaceman, Apollo, Mad World, and Zero 76, taking fans back to the era that shaped his rise. With a lower stage and fewer production distractions, the focus was on the music and the energy between DJ and crowd. Hardwell also brought back the classic “sit down” moment, with thousands dropping before jumping together at the drop. It was a throwback in every sense, and many fans said it captured the spirit of what made the early days of Tomorrowland so special.

Another key moment came from John Summit, who closed out the Freedom Stage with a set packed full of unreleased IDs and fresh remixes. Throughout his performance, he looked fully in his element, teasing new material that had the crowd locked in from start to finish. At one point, he climbed on top of the decks, soaking in the cheers with the kind of expression that said everything. It felt like a personal milestone. The updated Freedom Stage design, with layered LED walls and a more open layout, gave the whole set an elevated feel. Earlier that day, fans even spotted him dancing in the crowd during Martin Garrix’s set, which only added to the sense that he wasn’t just performing at Tomorrowland, he was living it.

Martin Garrix closed out Weekend 1 with a set that reminded everyone why his Tomorrowland performances are so anticipated. Even without the original mainstage, the moment he dropped High on Life still felt unexpectedly magical. He also previewed a new original ID, teasing parts of Inside Our Hearts, his upcoming collaboration with Alesso, which kicked in during the set’s outro. The crowd’s reaction to that moment, captured in videos online, showed it was more than just another tune. It felt like a glimpse of the future. The combination of nostalgia and anticipation gave the set a personal vibe that matched the rebuilding spirit of the weekend.

Anyma returned to the mainstage for Weekend 1, but this time without the immersive visuals that usually define his shows. The stripped-down setup gave more weight to the music itself, especially during Syren, when the crowd’s response took over. As thousands sang along, he stepped back from the decks, visibly emotional, placing his hands on his head while looking out at the audience. It was a rare moment of stillness on a stage that usually overwhelms production. Without the visual layers, the emotion in the music felt amplified, and the connection between artist and crowd stood on its own.

Swedish House Mafia, made up of Axwell, Sebastian Ingrosso, and Steve Angello, performed a full B3B set at the Crystal Garden stage during Weekend 1. Unlike their usual headline slots, this one took place in a more compact setting, which created a different kind of atmosphere. Without the large-scale production that usually surrounds them, the set focused purely on track selection and flow. They played a mix of older tracks and new edits, allowing the crowd to experience them in a closer and more stripped-back environment. The Crystal Garden setup gave the set a more personal feel, and for many fans, it was a chance to see the trio in a way that felt more connected to their roots.

Charlotte de Witte made Tomorrowland history by becoming the first artist to open and close the Mainstage on the same day. Her first appearance came during Saturday morning’s Daybreak Session, where she brought her trademark techno to a crowd just starting to settle into the weekend. Later that night, she returned to close the same stage with a much darker and more intense set. Experiencing both ends of the day from the same artist gave the Saturday crowd something no other edition has offered before. It also reflected how Charlotte’s role at the festival has grown, from niche stages to holding space at the very center of Tomorrowland.

Weekend 1 of Tomorrowland 2025 was shaped by more than just music. It was a reminder of what holds the festival together when things don’t go to plan. From the rebuilt stage to the artists who stepped up and the crowd that never backed down, it felt like a weekend built on resilience. With Weekend 2 still to come, the story is far from over.