The last time I came to a festival in Brockwell Park, it was chaotically organised and we ended up effectively getting kettled in the queue for about three hours. So I was happy that Wide Awake was a far smoother affair and began without even a hint of riot policing. This superior organisation (in conjunction with unceasingly sunny weather) meant that the music could really shine.
And what a day of music it was. Appealing to a varied crowd with its blend of indie, art pop and electronic acts, the bill had something for everyone, containing acts hinting at future greatness and those announcing their positions at the top.
Due to the aforementioned lack of kettling, I was just about able to make it into the festival in time for the start of Blondshell’s set on the main stage. Performing with the air of an act already bigger than she is, she tore through her grunge and alt-rock infused pop with gusto. Her impassioned lyrics of regret and self-analysis were engagingly at odds with her laconic stage presence between songs and the crowd, though small, were in the palm of her hand throughout. I have a sneaking suspicion she will go on to be massive.
Arooj Aftab showed that volume wasn’t needed to capture the audience’s attention – she performed accompanied by the most delicate of acoustic backing arrangements and in a blinding early afternoon sun that wasn’t the most natural of bedfellows for her music, but her woozy, ethereal folk inflected music had the crowd spellbound.
Sadly, the first of the day’s clashes meant that I had to cut her set short to catch the second half of Los Bitchos’s set. Having previously seen them in the intimate Scala, they showed they were equally capable of getting a party started on a big outdoor stage. Their surf rock/cumbia/disco hybrid was the perfect soundtrack to a festival afternoon, despite the volume not being quite as loud as I would have liked.
Tirzah was, sadly, the first partial disappointment of the day, grating feedback killing the atmosphere and marring what was an impressive vocal performance.
I had never heard a note of Alex G’s music, but I had time to kill and he was playing in the sun. I’m glad I checked him out. His singer-songwrifer routine, drawing on elements of country, folk and rock, was charming and melodic and ideal for listening to with the sun on my neck. Bar one ill-advised track that sounded like a bad cover band attempting early Red Hot Chilli Peppers, it was a polished and compelling set.
Once again, clashes meant I had to leave early, but boy was I glad I did. In the Moth Club tent, Jockstrap turned in one of the essential performances of the day, finding a sweet spot between earnest balladry and kinetic art pop that the audience lapped up. The tent was so rammed, in fact, that I had to watch from the fringes. If there is any justice, Jockstrap will soon be tearing up even bigger stages than this.
From there to the more cerebral electronic soundscapes of Oneohtrix Point Never. I really enjoyed his set, having loved his music but never caught him live before, but couldn’t help but feel that early evening in a festival tent wasn’t necessarily the best setting for him. The crowd was a little restless and not quite as appreciative as you might have expected.
Via the tail end of Viagra Boys’s set, whose ironic blend of post-punk and sleazy rock was far more engaging live than on record, I then made my way to Black Country, New Road. Having completely forgotten that singer Isaac Wood left the band last year, I was initially taken aback by the difference from their two records. Whilst retaining elements of those albums, they have leaned more heavily into a beautiful chamber-folk sound that hearks back to the British folk tradition whilst sounding entirely its own thing. They were so assured in their performance, you would never know they had been through a major lineup change. There is also something wonderful about the fact that a band like this can be releasing Top 5 albums and second headlining festivals.
With my energy flagging after 6 hours on my feet, I scarfed a pizza and dropped my head into Joy Orbison’s set to get my pulse racing. Energy levels restored, I headed to my most anticipated set of the day: Caroline Polachek. I last saw her perform with her old band Chairlift 5 or 6 years ago, and it was amazing to see how she has evolved as a performer. Performing as dusk turned to darkness, she turned in a highly theatrical set which made many of the excellent ones that preceded hers seem half-hearted and called to mind Kate Bush. Most of the songs came from her excellent newest record, and they and her voice held up very well live. The crowd sang virtually every word back at her and seemed absolutely enthralled throughout. I certainly had a smile on my face the whole time. Near the end she mentioned this being her first festival headline performance. On the evidence of this set, itwon’t be her last. It really felt like a star asserting their rightful place.
As I followed the hordes of people leaving the festival and heading towards Brixton on foot, I still had a beaming smile on my face. Apart from the £7.30 pints and a few of the smaller tents being too small and full for the acts performing on them, it had been a brilliant day. I will definitely be going again.
Words by Will Collins
Picky Bastards 