has Primavera Sound outgrown its charm?

Primavera Sound 2016

Thursday 2nd to Saturday 4th June 2016
Parc del Forum, Barcelona, Spain, Spain
175 euros plus booking fee

Daily capacity: 35,000

When the Primavera line-up was announced in January the Internet nearly exploded. A festival renowned for its line-ups, had somehow undone itself. But as a third time Primavera attendee the question is has the festival outgrown its charm?

Suffice to say I've worshipped Primavera since I first came across the line-ups. Seeing two of my favourite bands of all time on the same stage on the same weekend in 2010 (Wilco & Pixies) will always been an unforgettable festival for me. Then again in 2013 as it grew bigger and better (and deservedly so.)

The line-up this year, as usual, was rammed full of acts that I couldn't possibly all see. Once I stumbled upon the official Spotify playlist for the bands I didn't know, it became quickly apparent that the only possible way to catch them all was to clone myself about a dozen times. And this, this is what makes the festival so brilliant. The curation is outstanding, that is a team of people checking every nook and cranny to bring the best established, new and upcoming acts of all disciplines to the festival and the main reason why it's hard to touch. The first thing we see is at the Primavera stage itself with Geoff Barrow's BEAK> project. Admittedly, not a band I'd heard much of but one that proved a delightful surprise. There is something unsettling and jarring about Beak that's missing from a lot of music these days. The kind of atmosphere you remembered from bands with some balls about them. Beak seem willing to tackle a taboo, or perhaps in Beak's case peddle it. Wulfstan II is probably the big hitter of the set which sets the bar for the rest of the weekend. There is a debt to everything from Krautrock to hip hop throughout the set but it never seems messily meshed together. They are tight as fuck on stage, and you get the feeling Barrow wouldn't accept it any other way.

Next up a jaunt to the H&M stage to wait for Air, as someone asks "Are Air still this relevant or big to appear on this big a stage in 2016?", and the answer proves to be a resounding YES. In a set that could be described as a greatest hit set you could pick any track and it would be a highlight. There is a fear with Air about how the lightness of some tracks can work on a great open door space. Cherry Blossom Girl, Sexy Boy and Kelly Watch the Stars had enough added robustness to propel the songs to an even mightier point live.

I'm convinced to take a walk to the Ray-Ban stage after to see Floating Points (live), I'm usually apprehensive when it comes to electronica live sets as I fear it'll just be one dude tinkering about on a laptop. But the stage is one of the most scenic you'll ever see - an amphitheatre that looks over the Mediterranean Sea. There is not many like it, so who am I to say no? And I'm glad I did. What was originally a solo project has transformed into a collective of some of the very best musicians working today. There are at least ten people working at making this music into something more than the sum of its parts on records (that's not to say it's a bad record). Simply, unmissable live.

Next up is John Carpenter. Legendary Hollywood Director and Composer playing some of his best known tracks in one of his very first gigs, the thought had crossed my mind this will either be incredible or shit, and it was very much the former. Starting with the theme tune to one of the best films of all time, Escape from New York, is a quick fire way to my heart. The surreal-ness of fist pumping and letting out a 'Yeooooo' to it isn't lost on me. An absolute nostalgic treat to hear on such a sound system and I'm not alone as the crowd thrive instantly. Next up is Assault on Precinct 13 sounding even more immense. They Live, Halloween and many more appear and they are all played superbly with a charismatic Carpenter on top form with an outstanding band to help him out. Possibly my highlight of the weekend, it could have been great just for nostalgic purposes but it was just bloody great as a musical one too.

LCD Soundsystem is next up and probably the best example of how huge this festival has got. One move to the bar and there is no hope of getting back to meet my friends. Plus, the idea of hearing 'All My Friends' alone was too depressing to incur so I decided to check out some of the other stages.

Mbongwana Starplay the Ray-Ban stage to one of the smallest crowds of the weekend (that's what happens when you clash with LCD). A literal few hundred at most doesn't reflect what the band offer. The Congolese funksters have guys going off on all manners of percussion, drums, and FX pedals to create a sound that reflects their well-received 'From Kinshasha' album. And they play it like they were doing so to thousands.

LCD's existence means I can also get pretty much right up the front for Thee Oh Sees. A band I've heard a lot about in a live setting but haven't had the chance to yet check out. And let me tell you these guys are fucking bad ass. No prisoners rock n fucking roll. Either get involved or get yourself in the bin. One of those bands you see and when you're 10 mins into the gig, you know you're probably on board for the rest of your days.

Battles are pretty renowned for a live showing and any time I've seen them they're pretty on point. As they play on the Ray Ban stage it becomes apparent that Thee Oh Sees just blew me away so much I can't really afford them the attention they deserve, the crowd seem to dig it though so who am I to argue? And with that it's time to call it a night.

review by: Paul Mullin

photos by: Paul Mullin