Words: George Gray, Images: Primavera Press
Our final update from this year’s Primavera comes as we prep for round two of Barcelona’s world-beating festival season, Sonar. However, before we get stuck into another helping of festivities, we look back on a day to remember that capped off Primavera in the perfect way.
The day began with a quick chat with Gareth David, lead singer of Los Campesinos! Tucked in a much sought after shaded corner of the press area we discussed everything from their evolution as a band to the love for playing in Spain (full write-up coming soon), in what was not only an interesting view into the group but also the scene itself. So with that we decided to jump right into the scene ourself, delving into the Saturday’s offerings at Parc Del Forum.
As we left the press area we spotted Sherelle, saying a quick few words to perhaps the realest DJ out there before venturing out to the main stage and sitting back to take in the experimental blends of alt-indie Aussies Glass Beams. What ensued were sand swept soundscapes.
A set where the raw music and instruments were put first, building from storm-like energy to chilled riffs and even cranking it with club energy, Glass Beams had a bit of everything on their palette. Overall it appeared a fusion of desert blues with untamed indie rock energy and even some hints of electro – a mix that alongside a warm summer evening with a caña in hand ticks a lot of boxes.
As their set progressed we’d gently moved our way through the crowd forward, assuming the perfect position for the upcoming set. Perched on the slight rise to the right of the main stage we planted ourselves for an act that’s grown at an unprecedented rate the last year or so, the indie-rock icons Fontaines DC.
The boys kicked things off with a slow-burning performance of Romance, ominous bass guitars and echoing vocals, a metaphor for the way their set evolved through the sunset. From older hits to fresh album hits, the crowd’s energy gradually grew as the set went on never surging too high or low until, darkness fell and Fontaines knocked it into another gear. The last songs going in a blink of an eye with the crowd bouncing head to toe and belting out lyrics, before things were brought to a close with a song that could incite a rebellion in any listener, a true indie anthem – Starburster.
What transpired next was the clash of all clashes, a nightmare for fans that go beyond one genre – for once Primavera had treated us too much. A toss-up between experimental alt-rockers Squid, a DJ set from the infectiously care-free duo of Confidence Man or the alt-rock and country blend of MJ Lenderman. In the end the decision was taken out of our hands, as the swell of the masses trying to leave Fontaines whilst the Chappell army arrived pushed us right front and centre for the final Powerpuff girl performance.
With no choice, but still full of excitement with our fortunate spot we settled into life amongst the Chappell Roan Ultras. Pink cowboy hats, bold outfits and lots of love tied together more than a crowd but a community for the pop singer that’s sound goes beyond typical modern pop. With an arsenal of music that seems to take from new-wave, 80/90s electronica and her Country/rock roots, we new it’d be versatile.
Chappell blasted on to the stage in a staple fantastically bold outfit amongst fantasy themed fairytale staging, there was really no holding back. Hit after hit was then delivered with tenacity and deep emotion, shedding a tear herself on stage as fans reverberated back the love.
With a cover of Heart’s 1977 Barracuda paired right after 21st century icon track HOT TO GO!, the set was a rollercoaster and we were right there for it, emerging at the end of finale anthem Pink Pony Club drenched in sweat. Charli may have called her show that, but it was Chappell that firmly topped the headliners.
We beelined back to the press tent to replenish some minerals and watched Central Cee from afar, a serious juxtaposition from Chappell’s set but still very engaging, witnessing the pop-grime star play out his hits to a sea of locked-in fans. Cench’s presence is world-wide and Primavera was just another affirmation of that.
As the clock hit 1am it was time for the set I’d been waiting for all weekend, a group that have shaped the evolution of music all the way from electronica to alt-indie heartlands: LCD Soundsystem. James Murphy’s greatest talent seems his ability for collaboration, taking inspiration and working with others from any and all genres of music, then combining that with his own personal love for hardware, tech and a jaw-dropping vocal range.
With Nancy Whang and fellow LCD originals by his side they dropped into proceedings so casually it felt as though they could’ve been playing in your own home. Oh Baby started things before dance-rock classic You wanted a Hit launched things into momentum. A Korg-synth driven Tribulations then split the night sky, emerging as if it were breaking through the speakers itself a living heart-beat, with the whole audience now firmly jumping.
This energy didn’t subside, as classic after classic proceeded, including a special rendition of Kraftwerk’s The Model merging into I Can Change. The set drew to a close with the classic double jab of the band’s nostalgia anthems. The first slow and warm, New York I Love You… had the whole crowd swaying, tears on faces, arms around each other, but things didn’t stay soppy for long. All My Friends boomed from the speakers jolting everyone into euphoric joy. A true ten out of ten performance.
Our minds then turned to the dance, as we’d learned the days before Primavera doesn’t go down without a fight. Sparking off the rest of the evening was Joy Orbsion, the British producer and DJ that rarely misses, his reputation proceeds him. Something that unfortunately meant we couldn’t get into the rammed Nitsa Plenitude stage. So instead our heads swivelled to Turnstile, on face value a hardcore punk band but beneath the surface a lot more.
Admittedly I’d not heard much of the band before, but my I’ve been missing out. The American rockers delivered an incredible hour or so of music, sweeping from heavy guitar riffs to the rich and light vocal range of lead singer Brendan Yates, all laced with a punky-ethereal blend. They truly are a modern rock band, even taking the odd touch from the electronica that surrounded them on the later stage.
Once we’d had our punk fix their was time for one more act of the weekend and who better than British Icon SHERELLE. Having already done bits for 6 music through the day, SHERELLE took to the Nitsa Plenitude stage with a fierce and unrelenting energy that defines her music. People were locked in all over the dancefloor, a moody green bathing the ravers, whilst SHERELLE’s chrome horse logo spun above centre stage.
A scene to remember, and one that won’t be leaving our memories soon – we can’t wait to be back here and sure it’ll be even better when we are. Over and out from ASBO….
