No matter which side of the fence you sit on, adoring every move they make or loathing the fact that they are frontrunners for the new generation, it is undeniable that Sleep Token have had an exceptional 2025. From the release of their fourth full-length album Even In Arcadia, which topped charts in both the UK and the US on release, not to mention in Belgium, The Netherlands, Austria, Germany, Canada, New Zealand and Australia too, to their spine-tingling headline performance at Download Festival, they have further cemented their place as one of the world's biggest bands. Letting the music speak for itself in an insatiable world of their own creation, blurring the lines between lore and real-life emotions, their efforts have allowed them to push outside of the rock and metal remit, with institutions such as The New York Times even granting them their coveted Best Song of 2025 Award for Caramel.
Those just jumping on the ST train may still be surprised by just how influential they have become within the world of heavy music. But for those who have been with them since the beginning, they know exactly why this has come to pass. Just ask their manager, Ryan Richards.
Speaking to Music Week for their end-of-year analysis of trends, he says much of it comes down to letting the art take the front seat and letting everything else fall into place as it should. By crafting something so immersive without ever telling the audience what any of it is precisely pointing towards, it has meant that more people have been able to find themselves within what the band are doing. That's especially true when it comes to Even In Arcadia, it seems.
“For us, the key has always been letting the art lead. Sleep Token haven’t built their world through traditional media or personality-led activity – it’s all been about creating something immersive that people feel part of. The intention behind the music, the visuals, and the live experience all works together and invites a global audience in without ever compromising who they are.”
Ryan also notes that, despite this approach, cracking the US as a UK band is still a major achievement. A practice that has been attempted, triumphed and failed by many of the country's prime exports, he feels as though the success of Sleep Token in the States, personified by shows on their Autumn headline tour over there selling out in minutes after going on sale, is a sign of things to come for other bands that sit in the heavy spectrum.
“Breaking internationally is not easy for UK acts at the moment, particularly in the rock space, so seeing this project connect so strongly across the US and Europe has been incredibly satisfying," he adds. “Scoring No.1 albums in both the US and UK felt like a major moment not just for the band, but for heavy music more broadly. It shows that if you build something authentic and distinctive, the audience will follow.”
And in looking forward to 2026, it is that hunger that seems to be driving more and more acts to have their moments in the sun. One look at the GRAMMY nominations, in which Sleep Token feature in Best Metal Performance with Emergence and Best Rock Song with Caramel, and you will see that Spiritbox, Turnstile and YUNGBLUD, to name a trio, are also experiencing the same sort of surge. Ryan states that it sets a great foundation for other bands to make their move, and puts it down to the fact that people are actually searching for something new, not just clinging onto what they liked in the past.
“Looking ahead to 2026, the opportunity is there if we keep investing in artist development, live infrastructure and giving fans meaningful experiences," he finishes. “The audience for heavy music is absolutely growing – younger listeners are discovering rock and metal in big numbers, and they’re engaging with it in the same way they do with any major genre. It feels like expansion, not nostalgia."
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