Amelia’s Magazine | SXSW – Diary of a Festival Attendee

Photographs by Laura Lotti

The South-by-Southwest Festival (or SXSW, in the shorthand) is perhaps the world’s most infamous record company picnic. Every year, hundreds of bands turn up from around the world to play shows after show to rooms filled with A&R suits in the hope of securing a record contract and advance sizeable enough to be able to afford the gasoline for the ride home. We’ve been lucky enough to have had a pair of eyes on the ground for this year’s shenanigans, in the shape of Laura Lotti – she kept a diary of her blitz through four days of gigs and free parties, which we present to you here today. Tomorrow, she’ll be talking some more about some of the more noteworthy performances she caught over the week.



When I got to Austin, I didn’t know what to expect to be honest. I imagined a kind of musical wonderland, but I didn’t think I was going to actually be THE music wonderland I’ve always dreamt of. After all, Texas, apart from Dallas (I’m talking about the 80s soap opera) and cowboys, is mainly known for being home to one of the biggest dumb-asses/suckers on the globe, Mr. George W. Bush, so I had mixed expectations towards this adventure.

I didn’t think Austin was a little liberal hippie centre in the middle of such a conservative environment. I didn’t expect bearded tattoed gringos smoking weed on the streets, and I didn’t think I would have lived one of the best (actually, definitely THE best) festival experiences in my entire life. Forget Glasto or even Bestival, where people are more excited about swimming in the mud and about the amount of MDMA and pills they can fill themselves with (which can be quite entertaining when you’re 15) than the actual music performances.

Now I know why SXSW is still considered the best and biggest showcase for rising bands. The atmosphere is simply joyful and laid back, and for the first time ever I didn’t get that feeling of being at a stresstival that always assails me when it comes to decide which band to see, what to wear for the weather, and how to get to meet your favourite band.

At SXSW you simply breathe music: downtown is taken over by the biggest names in the music industry and you find yourself sharing beers with nice smiling people that turn out being members of brilliant bands like The Death Set and Yacht, or at house parties with the editor of Spin magazine.

It only happens there. It only happens once a year. Like Christmas, but better.

Anyway, what I understood after the first 24 hours is that it’s pointless to make plans. Letting yourself be guided by the music and the odd encounters you make in the streets is the best strategy to discover great acts you maybe have never heard of and to get surprised by the secrets this city has to offer.

As soon as we got there, my Austinian friend Lydia warned me about the few rules for surviving this 4-days of musical overdose. First rule: there are no rules.

Other rules are:
• Everyone for themselves
• Never pay for venues (there’s lots of free parties too – which are the best)
• Never queue for bands (they’re probably going to play somewhere else in a couple of hours)
• Start to RSVP for free-drinks parties one month in advance
• Be ready to walk a lot
• And be nice to everyone, ‘cos everyone here is nice!

This following journal is a collection of the first impressions I took of the festival. Some parts might not make much sense, and that’s because I was stoned all the time (I embraced the local habits pretty fast). I’ve deleted the most embarrassing bits, but I wanted to preserve the enthusiasm that was gleaming through those notes, what I was feeling in those moments. So bear with me.

People are actually so nice and friendly down there that for the first 36 hours I was properly puzzled, being, as I am, used to the detached British politeness. And apart from difficulties in food hunting (I’ve been vegan for a while, but it’s difficult to resist to those deliciously smelly BBQ and breakfast tacos, and at some point I had to surrender to the pizza and free vodka in the artist lounge – it was a matter of survival, for real), this is the heaven on earth I was looking for. Now I just need to start a band and be decent enough to be able to play there next year. Or maybe I could just become a professional groupie…

Wed 17th (First Night)

Maybe it’s because of all the ‘Badass Purple’ they’ve got in here, but I love everything about this city.

We arrive in Austin around 9pm after a 6-hour road trip from Mexico, and we get straight into the Texan groove. We start from Cheer Up Charlie’s, that I would later realize is something of a cool hangout for first-hand hipsters and trend setters. All the gigs put up here are actually NOT part of the official SXSW fest. Instead, they’ve been put together, totally for free and without age limits, by the legendary New York based promoter Todd P, the brain behind the other big festival that will take over Monterrey, Mexico, just on the other side of the border, one week after SXSW. A guarantee of quality, basically.

In fact, we start the night rocking with These Are Powers, preceded by our very own Male Bonding, which are doing pretty well in Austin (I see their name everywhere on the bills of the best venues next to all the up-and-coming bands for 2010-2011). These Are Powers play a supercharged set where the bass (played by ex-Liars member Pat Noecker) mixes with samples and drums – and Anna Barie’s incredibile voice – to create an explosive yet dark atmosphere in between acid house and urban music.

Following, are Javelin, whose style has been cleverly defined (after several Lone Star beers) by the illustrious music expert Atti as, “very 90s, with a bit of the Shamen.” I find them more tropical than ‘shamanic’. On stage the percussions play a primary role, accompanied by fuzzy guitars, samples and distorted vocals.

Glad to see that finally bands are finding the key to put together electronic music with a satisfying visual show on stage. I’m glad to see that people dance at gigs in this country! Yeah!

We move to the indoor stage where Vivian Girls are causing a riot. It’s fun to see a whole army of big boys going nuts for these three fairies from New York.

Thurs 18th

We start the music day at the Insound day party at Club De Ville. Small Black, exponents of the hip chillwave genre that’s bursting out of Brooklyn, are pretty awesome. We’ll hear a lot of them in the next few months. I suddenly realise I haven’t had any food for the last 20 hours, and I haven’t had any water because, “sorry ma’am, we don’t care about water,” but I’m fine! The sun and the music feed me for now!

Vivian Girls are playing again. I think I’m becoming they’re biggest fan. They seem they’ve just come out from a Sofia Coppola movie. They’re fairy but powerful, feminine but tough. And their music reflects all the different angles of their being young women in the 21st century. Liars follow and they’re amazing! Raw and powerful as always, but with the sun shining on me and a cold Lone Star in my hand make them sound even better.

It’s getting dark and we decide to make a move and check out London’s Crystal Fighters at Barbarella. Despite the venue being not literally packed, they are doing a surprisingly good show. Definitely the best I’ve seen of theirs. Their music reminds me of the choruses that hooligans sing at football matches, but with an allure of coolness. And it works. Their beats are very masculine, almost primordial, no wonders the majority of the audience is made by over-excited pogoing guys.

We then move to Cheer Up Charlie’s again, where the gritty surf punk grunge of the losangelenos Shannon and The Clams is rocking hard. At the Iron Gate we manage to see Maluca, the last discovery of the Mad Decent crew, kind of M.I.A. meets Santigold. She looks good on stage, but do we really need another urban princess?

And then we go *back* to Charlie’s for The Morning Bender. They’re considered one of the up and coming bands for 2010 but to me the look like a bunch of 18 year old kids with the attitude of an old crooner. I find their performance a bit flat. Fans of Coldplay and Frank Sinatra might like them (I know someone would kill me for this comparison). I personally don’t.

Then it’s the turn of Tanlines, another Brooklyn band. They’re another electro pop outfit in the guise of Memory Tapes and Neon Indian. Maybe it’s this amazing loveful weed but I really dig them! There’s something powerful in their tunes and I’m totally moved by them. Their use of percussions is great. I personally like percussions. I like seeing people banging on the drums. I find it sexy. Primordial.

Lemonade follow. I’ve seen them already back in London when opening for Aliens and to be sure, I think this was not one of their best performances, but they do good. Their psych-droney pop is catchy and loud. Delorean, from Barcelona, are better than expected. Their noisy acid electronic sound is pretty good, but I’m not 100% sure about the performance.

Fri 19th

Enough live music. Today I decide to hang out with Brick Lane glory The Coolness. They’re a band people love to hate and hate to love, but they’re doing well in the States. Their glam cock rock camouflaged in Shoreditchian outfits is well received at Emo’s Annex, one of the best stages to play. After finally succeeding in dragging the boys out of the artists’ village – indulging in free massage, free food and drinks require time, you know – we get to Mohawk Patio for These Are Powers and – finally! – SALEM.

Brooklyn’s These Are Powers confirm the first impression I had of them at Charlie’s: singer Anna Barie is tough and cool and funny and she’s a great performer, too! She’s probably one of the new acts that would deserve to be compared to Grace Jones. SALEM just get on stage and they are already visually amazing: a mix of metro-hippie grunge with a touch of Marc Jacobs allure. But yeah, the visual impact is much better than the aural one. Theirs is a show built as a dialogue between airy melodies and junkie white rap. Still, in my opinion they sound much better recorded than live.

After leaving Mohawk, I manage to grab a bit of Neon Indian’s set from the street. He’s playing at Club De Ville, but I can’t be bothered to queue to get in (after all, that’s one of the main rules of SXSW!). The sound quality is awful (still better than certain London venues). The band is good though. I think I’m rediscovering my faith in electronic music.

So I’m standing here outside the venue with other tons of people and a suspect-looking guy comes to me: “Hey do you wanna get in?” I DO want to get in, I’m ready to prostitute my time to talk to this dude in front of a beer (which I don’t like, anyway) even if he looks weird and sleazy: “Yeah”. So I follow him, he whispers something to the bouncer and we’re inside! He then turns towards me, makes a big smile and: “Have fun!” – he says goodbye and leaves! Welcome to Texas, the friendly State for real!! Nice people do exist in the world!

From this new perspective I can see that Alan Palomo is an great performer and he’s got a full band – American Apparel girl included – helping him to translate his bedroom synth-pop in live music. His tunes are weird, quirky but sophisticated enough (the guitarist is pretty good) and the band in itself is visually appealing. Catchy. Pop. But not dangerous. They remind me of Cut Copy – which I used to love 2 or 3 years ago. I look around and suddenly realise I’m surrounded by second and third class hipsters, moms and industry people. And I want to leave straight away. Sorry Neon Indian, I believed in you.

Pit stop at Papparazzi Pizza – pretty healthy by American standards (I had to surrender to cheese, again – sorry, but I can’t live on peanuts and tortilla chips forever).
There’s a party going on in there, kids dancing to Human League and Madonna. Great vibe. In exchange of the sticker I’m wearing (someone stuck it to my jacket the night before – I think) I get to sign their wall (And get a half price pizza!) I love Austin more and more.

Time to catch up with the crew. After seeing electronic dandy Daedalus giving a great performance at Independent – though not on his best ones – we leave, drunk stoned and knackered, but fulfilled by this music overdose.

Sat 20th

After a late breakfast (can a meal at 4pm be called breakfast if it’s the first thing you manage to get into your stomach since the night before?) at Magnolias’s – massive list of tex-mex, the food is clearly unhealthy and damaging, but it’s so colourful and cartooney that put us all of us in the best mood for the last day of our stay at SXSW -and listening to Talking Heads, we down our tacos and get ready for the evening!

It’s fucking freezing today, but we don’t care (we will do later) and head to Cheer Up Charlie’s, where I finally manage to see Toro Y Moi. It’s a semi-acoustic set: he, his Fender and his voice create beautiful airy atmospheres. It feels good and helps bearing the cold. Following is a psychotic performance from Canadian Duchess Says. Singer Annie-C is a sort of Kap Bambino on speed, and the band uses real instruments, which is always better. During their set a spontaneous mayhem explodes and everybody dances among hay bales, sheets and (mic) wire jumping.

The cold is almost as bad as in London, I need something hot to hold in my hands, so we head off to Progress, an ethical coffee shop frequented by the fixed-gear crowd not far from Charlie’s. It works. All warmed up we head back to see Cloud Nothings. It’s always strange seeing a band performing live after listening to their tracks online. Giving a body and a look to someone you’ve heard maybe just online could be misleading. It’s easier when you see someone first: you get excited if they’re good, you start searching information on the internet and then buy records and stuff. But it’s harder for blog bands to keep up with the expectations. And if they do, they’re good for real! Cloud Nothings is actually the solo project of Dylan Baldi, the lead singer, but the band manages to convey the same carefree summer-y vibe given by the recorded version. This is pure surf garage rock. It’s quite relieving after all these bleeps and glitches. They still lacks of the rockstar self-confidence to put up a properly involving show. But maybe they don’t care about that. These are kids happy to make noises with fuzzy guitars and banging drums. Their raw, drunken, lo-fi sound is pure joy after all this electro.

To follow, more surf rock from Beach Fossils. The reverb plays a big role for them as well (like for most of the bands I’ve seen these days) giving to their music that 60s lo-fi vibe that’s so hot right now. After them, one of my favourite rising stars: Pearl Harbor, an almost all-girls band from Los Angeles who make beautiful drone-y psychedelic music. I can see that the 60s are back in full force. Lots of bands show clear psychedelic and surf influences but updated with shoegaze-y guitars and 80’s synths. It’s a winning recipe for new decade’s music.

More psychedelia with a noisy touch from Texan Indian Jewelry: they’re one of the hotly tipped bands for 2010-2011. Someone compared them to Led Zeppelin. Not sure about this, but they are brilliant anyway. Change of atmosphere (and temperature) at Stubb’s where we dine listening to Scissor Sisters playing in the backyard stage (embarrassing, I know – I’m stoned and cold, every place is good as long as its warm and close – and serves food. I’m so starving I could actually eat a roast!).

The venue is packed and at the bar we hang out with Mischa Barton (well, we’re standing next to each other waiting for drinks). Today is such a surreal day. This freezing wind has nothing to do with the summery weather we had yesterday. We give up and go back home, dreaming of a hot cup of English tea as soon as we get there.

Sun 21st

I can’t believe it’s over. Austin, I’ll definitely see you next year.

Categories ,austin, ,bands, ,beach fossils, ,cloud nothings, ,crystal fighters, ,daedalus, ,delorean, ,Diary, ,duchess says, ,festival, ,hipster, ,indian jewelry, ,javelin, ,laura lotti, ,lemonade, ,liars, ,maluca, ,neon indian, ,notes, ,pearl harbour, ,SALEM, ,scenester, ,shannon and the clams, ,small black, ,south by southwest, ,sxsw, ,tanline, ,texas, ,the coolness, ,these are powers, ,toto y moi, ,Vivian Girls

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Amelia’s Magazine | Review: Dot-to-Dot Festival 2010, Nottingham

Illustration by Yelena Bryksenkova

Animal Bandido are a fashion label with a difference. They’re totally anti-establishment and detest the omniprescent multi-national fashion empires that exploit workers and fabrics, price case and are on a mission to create a renaissance for struggling manufacturers who cannot compete with the big boys.

Their collections range from the vibrant to the downright whacky; weird and wonderful creations which illustrate fruits and other objects make up there range, pharm which includes knitwear, fabulous graphic prints and casual basics with a twist. Viewing their collections draws comparisons to Jean Charles de Castelbajac, nutty nu-raver Carri Mundane and knitwear brand Sibling. I caught up with Zosen and Claudia, aka Animal Bandido, to find out what’s behind this fresh new label…

What made you guys team up and create the street-wear label Animal Bandido?
Claudia: We started to talk about this project in September 2007. I finished studying fashion design a year before that. I was designing my own collections, doing super-limited editions that I sewed on my own.
At the beginning I was sceptical because I had collaborated on projects before, and most of the time it’s very difficult to agree with the ideas of other people. I thought I’d give this one a go because our backgrounds are different, each of us bringing different ideas and ways of working.
Zosen: I printed my designs on t-shirts for years and I collaborated with fashion designers, but I wanted to go forward producing other garments and control the process. Animal Bandido was born to make something in collaboration and use different techniques; Claudia brings her experience with the patterns and fashion design and I with the graphics and design in general.
But, day-to-day, we both take part in every process.

Spring/Summer 2009

What does the label represent for you?
The label represents other way to create pieces and to show our stuff to as many people possible.

Zosen, you are a well known urban artist in Barcelona. What made you move into fashion?
After the zero tolerance law against street art in Barcelona, I decided to use another techniques to spread the word. Using my graphics and colours on clothes, it’s another way to have a presence on the street and give the message to the street’s citizens.
Also, it’s interesting for me to experiment with other media and other people – it’s a great way to learn.

Autumn/Winter 2010

Claudia, tell us more about your background, in fashion?
I studied a degree in Fashion Design in Barcelona and then studied millinery at Central Saint Martins in London, followed by jewellery workshops at Casa Espiral, Barcelona.
I interned with Alberto Tous for his fashion show for Barcelona Fashion Week, and then began designing my own collections and selling them in little shops in Barcelona and Berlin.

What makes you different to big fashion corporations?
Well, there’s only two of us! There are no hierarchies; we work together and are both involved in everything, all the time. We produce everything locally, we pay worthy salaries, and we keep our manufacturing quantities reasonable to avoid waste.

Illustration by Natsuki Otani

Do you think your label is art or fashion led?
Our clothes are fashion, but treated as small pieces of art. We don’t follow the trends or encourage throwaway fashion, as the corporate giants do. We create and manufacture to order (for shops and customers) again to reduce waste.

Do you usually agree on everything? How easy is it to compromise when working as a creative partnership?
Claudia: It depends on the project, normally we just discuss everything thoroughly, allowing both of us to express our point of view. Sometimes Zosen is forced agree with me when we are talking about patterns and shapes or different ways of finishing a garment, but he controls more in graphic and web design!
We always try to be equally satisfied with everything related to the brand.

Autumn/Winter 2010

Do you experiment with anything else apart from clothes?
Zosen: Oh yes! We do many things, the most recent thing being a sculpture to present the new collection, that we installed in our studio to photograph the collection against.
It’s huge and gives so much new life to our studio that we are hoping to relocate it to some public space.
Claudia: Zosen always has a million and one projects on the go: a giant mural for the people on walls in London, an exhibition of customised records in Rome…
Now I’m coming up with a few surprises for September for Animal Bandido.

Illustration by Yuann Shen

What does Animal Bandido support?
We support the national textile industry in Spain, as opposed to the over-production and the exploitation of the third world. We pay people fairly. We’re behind a renaissance of the companies that became obsolete as a result of insurmountable production levels in third world countries; we want to give the possibility of growth to small companies so it’s not just the yucky multinationals that dominate the local market.

What makes Animal Bandido unique?
Our fabrics have our own original and unique designs printed on them. We make no more than 100 items per piece, so they are truly limited edition. When you consider that we now sell in Basel, New York, Barcelona, Madrid, Seville, Zaragoza, Sweden and Nottingham and our pieces are divided between those places, there aren’t many per country.

Autumn/Winter 2010

What’s up next for Animal Bandido?
For the summer we’re launching printed bikinis and swimwear; lightweight hoodies using prints from the collection and a new, retro-inspired one. We’re also looking at launching accessories.

Another year, seek another bank holiday at the start of the summer, sale and another edition of the Dot-to-Dot Festival, sickness a sprawling mess of bands and audience occupying venues and bars in cities up and down the land. This year sees it spread from birthplace Nottingham and second city Bristol to Manchester, taking in three regional centres that, it could be argued, have long lacked massive centrally-located indie festivals to call their own and to ground their musical calendars.

Thanks to a snail-paced jam on the M1 we missed the first band of the day (Frontiers, in Rock City’s main hall) – instead, the day began for us in Rescue Rooms with the lads of The Cheek, who sadly failed to sparkle in the mood of the glorious sun twinkling down outside. Their name may bring to mind something skinny and sharp from the late 70s but the lead singer’s suit certainly didn’t. It looked like he’d borrowed it from his dad. Their poppy punk sound came across like a sort of watered-down Suede, which held my interest for all of ten minutes before I headed out for a wander.

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Trent SU, the second-largest of the venues at the festival, had what seemed to be the most appealing consistency in acts, even if it meant foregoing Blood Red Shoes and Wild Beasts (both bands having appeared at previous editions of the festival, however, and both bands were, inevitably, awesome – also, it illustrates just how frequently Dot-to-Dot manages to pick out the next big bands mere months before they break).

Small Black were gracing the stage as we arrived – hailing from Long Island, they’re something of a blog darling in corners of the web and I can completely see why. Their music is a very carefully crafted pop that bears a resemblance to geographical cousins like Beach Fossils and Memory Tapes, bands that specialise in a kind of laid-back, fuzzy sort of sound. It’s instantly unlike anything specific that you’ll have heard before, but equally, instantly recognisable. The four lads manage to balance melancholy, longing, joy and ecstasy in a way last seen regularly in the films of John Hughes.

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Upstairs in the bar, Islet were going through their usual routine of tearing up the stage. I’ve been an ardent fan of theirs since their lead singer screamed in my face back in March when they supported Los Campesinos! at the Koko in Camden – their bizarre mélange music, all drum circles and hollering and ambient noise and funk grooves and… oh, why bother with a description when I can offer a demonstration:

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Back downstairs, and Washed Out (or, rather, New York resident Ernest Green) has taken to the stage with his tripped-out ambient house and his friends (and geographic neighbours) in Small Black join him, adding extra layers to his sound. The clash with Blood Red Shoes appeared to have left the audience numbers a touch low, but nobody there regretted their decision – there’s something of the madchester in Washed Out’s sound, like a chilled-out evening at the Haçienda (or at least how that would seem in my mind). A case could also be made for saying it sounds like Chicago house played on a tape player with low battery. The results, regardless, are wonderful.

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The second of my 50-50 choices then arrived, as Liars won out over Wild Beasts – but can you blame me? The American art-punk band has doggedly refused to stick to any kind of consistent style, with their latest release, Sisterworld, yet another masterful addition to their discography. Lead singer Angus Andrews cuts a demented figure on stage, strutting and preening like a preaching Mick Jagger – his voice, the drawl of a doorstep drunk at 4am, smitten with violence, joyfully spitting the lyrics to ‘Scissor’ like some kind of mental declaration of war. Proper, proper good.

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It is then, unfortunately, something of a timetabling error to follow this violent display with Beach House, a delicate washed-out band that would have sat much more comfortably next to, well, Washed Out. The audience, still somewhat full of bloodlust, is quickly bored and begins to dissipate, which is a terrible shame considering just how brilliant Victoria Legrand and Alex Scully’s sultry Kate-Bush-meets-a-shoegaze dreamscapes are.

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I’ve written at length about how much I love Los Campesinos!, so for some of you it will be no surprise that I’m going to say that their set headlining at Trent SU was something of a triumph. I’m not being biased here, though, in all honesty – this really was a magnificent performance. The crowd, who all day had looked a little bit sun-frazzled and unable to conjure up much more than the occasional whoop (even during Liars there were visible signs of struggle during the rounds of applause), suddenly sparked into life. Jumping! Singing along! Gareth couldn’t have looked happier, and his usually awful singing was merely average. A definite peak for the day.

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Had to take a quick break here, because at this point it had been something like 8 hours of standing up with neither break nor sustenance – I grabbed some a sandwich in the still-open Lee Rosy’s Tea Room, a wonderful establishment that’s at the heart of Nottingham’s alternative music and arts scene. Somewhat a shame, then, that this year it isn’t hosting the acoustic acts – Primavera Sound, held on the same weekend, appears to have snapped up many of the bands and artists who usually make it here, leaving us with a smaller-than-usual Dot-to-Dot. It is inescapable, too, to note that the festival is far from sold out. Usually leaving a venue for another is something of a risk – in previous years it has been impossible to see the headliners on any stage without waiting through several hours’ worth of bands beforehand. The breathing space is a welcome change, but the lack of people inevitably means that the festival feels less like a party.

Yuck took to the stage of the Bodega after midnight, looking every bit like they’d been enjoying the £3 pints of 7% cider in the bar downstairs for the past few hours. Already something of a convert to their cause, having seen them several times around London over the past few months, I’d been waxing lyrical to friends all day about their brand of borrowed-from-the-90s slacker rock. Their stage banter was a little dry, and their response to a call from an audience member for their closest thing to a hit, ‘Georgia’, was met with a deliberate omission of the song from the setlist, meaning that this was not exactly their most friendly appearance, but nevertheless it proved a decent gig.

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Dot-to-Dot ends with Stealth putting on the last of the shows as the night turns slowly into early morning, and after fighting my way inside for the end of Casiokids’ brittle dance set I realised that my day (and my feet) were done. Another excellent bank holiday weekend festival – despite the smaller crowds and slightly smaller lineup, it’s still proving itself one of the most important festivals in the regions that host it, and it also provides an excellent way of kick-starting the festival season.

Categories ,Alternative, ,Annual, ,beach fossils, ,Beach House, ,Blood Red Shoes, ,bristol, ,casiokids, ,Chillwave, ,Dot to Dot, ,festival, ,Frontiers, ,Indie, ,islet, ,liars, ,Los Campesinos, ,manchester, ,Memory Tapes, ,nottingham, ,punk, ,small black, ,The Cheek, ,Washed Out, ,Wild Beasts, ,yuck

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