The Brighton & Hove News Music Team were out in force at The Great Escape New Music Festival. We strived to cover as many new and up-and-coming artists as possible during the event, but there are far too many acts to cover in just one article, so we have split them up in date order. This article refers to artists that the Brighton & Hove News team covered only on Saturday 18th May, along with the venue and planned time of the performance. Part 1 on the acts that performed on Thursday 16th May can be found HERE and Part 2 for those on Friday 17th May can be found HERE.
This year’s event was different from previous years as there was growing opposition to one of The Great Escape’s sponsors, which led to many folk choosing to attend ‘Unofficial Escape Events’ instead. We therefore felt that it was essential for us to separate all of the ‘Unofficial Escape’ performances and to run those in different articles, which will also be appearing shortly.
In the meantime, here’s our Official Great Escape reviews for Saturday 18th May….Enjoy!
SATURDAY 18th MAY:
TAMARA & THE DREAMS – TGE Beach Soundwaves 12:10 – 12:40
The sun is starting to poke its head out and it’s back to the beach for the Australia Sounds Like showcase in the Soundwaves tent. A good crowd has already formed despite the early start time and no doubt all feeling a bit delicate from the night before, something Tamara herself attested to. Tamara & the Dreams is the beloved indie pop project of Melbourne’s Tamara Reichman and today sporting a pink hairdo, she is playing with a band who have only gathered together over the past 3 days, not that you would have known this from their excellent on stage banter or music skills. I felt this was the perfect start to the morning, the music style is gentle breezy indie pop, the songs were clever and well written, performed beautifully. Tamara gave a good fun chat introducing her songs, very tongue and cheek and sarcastic, but very entertaining, which got good laughs from the crowd. The final song of the set ‘Successful Bisexual’ was probably my favourite from the whole set, great fun catchy lyrics, also probably the most lively of the set, I could have happily listened to more, but the stage turnarounds in the tent all seemed a bit frantic with the artists almost being ushered off stage the second they finish their final note. Tamara is hoping to stick around and tour Europe; she will always be welcome in Brighton.
(Ben Jerry Robinson)
DARTZ – Komedia Studio 12:15 – 12:45
I wouldn’t normally go to see the same band twice at this festival, but I enjoyed Dartz so much I can’t resist. The garage punk four-piece from Wellington, New Zealand seem to have caught the attention of plenty of others too, judging by the size of the queue. I only just get in, and it’s hot and very crowded inside. If you’re not familiar, Dartz are broadly similar to The Chats, whom they were formed to support, only older and even more badly behaved. Singer Danz opens by regaling us with a story about buying suspect pharmaceuticals from a wannabe DJ. This cautionary tale introduces the punky romp ‘Bath Salts’. ‘Earn The Thirst’ is a ludicrously catchy exhortation to get fit so you can drink more. Bassist Clark announces that the band’s album got to number one in New Zealand, which raises a cheer. It got them enough money to pay half a week’s rent. ‘Supermarket’ is particularly manic, with wailing guitar from Crispy and an unrelenting beat from drummer Rollyz. ‘Bush Weed’ returns to the topic of shopping for dubious gear, and Danz remains adamant that the cause of his landlord’s unfortunate fall down the stairs during ‘Flat Inspection’ cannot be proven to be a push: “You can’t prove it in a court of law. You didn’t see what you thought you saw.” We’re all too tightly packed in to get much dancing going, even for the magnificent ‘It’s A Dangerous Day To Be A Cold One’, a blistering end to another superb set.
(Richie Nice)
PLATONIC SEX – TGE Beach Soundwaves 12:55 – 13:20
Second on the line up in the Soundwaves tent were Platonic Sex hailing from Brisbane, Australia, a folk post punk band fronted by singer/guitarist Bridget Brandolini. The opening number of the seven song set was ‘When I Come Home, I’ll Find A Hill To Die On’, a fine introduction to the band in what was now a packed out tent. The second song called ‘Devil’s Advocate’ was directed at mansplainers with the message very much being don’t do it! The vibe of the set I felt was fairly grungy with plenty of heavy burst of guitar, yet songs like ‘Hanging Out Of The Window’ had a far more shoegaze feel going on, it felt far more calm than the fabulous 2023 single ‘Bitch In Heat’ which had preceded it. The set carried on progressively getting heavier until the final number ‘Melon’, a fine raging song with plenty of squealing guitar and bassist Jane Millroy’s heavy pulsating tones all over it, this all melded so well with Brandolini’s soft voice making Platonic Sex a joy to see and hear. Drummer Ryan Hammermeister said “We are called Platonic Sex, it’s a great name and one you will remember”. I certainly will.
(Ben Jerry Robinson)
THE BELAIR LIP BOMBS – TGE Beach The Deep End 13:15 – 13:40
I’m at the beach, catching bands from the Sounds Australia Showcase. The Deep End stage is in a massive marquee, and next band on are The Belair Lip Bombs, a four-piece from Frankston, Victoria who play a thrashy sort of indie pop. Maisie Everett is the main songwriter, on lead vocals and guitar, and she’s likeably engaging, in an unassuming way. Mike on guitar, Jimmy on bass, and Liam on drums are all bringing plenty of energy with their playing, although they’re not particularly animated on stage. Opener ‘Say My Name’, from last year’s ‘Lush Life’ album, motors by agreeably, briskly strummed. ‘Gimme Gimme’ is slightly more angular, with a jolting rhythm and riff. The chorus hook, bolstered by effective backing vocals, is a real delight. Bass and drums bounce jauntily through ‘Lucky Nine’, accompanied by trebly stabs of guitar, and there are some neat pushes on ‘Suck It In’. I quite enjoyed watching this band, and would be keen to check out their album.
(Richie Nice)
LALA HAYDEN – Hope & Ruin 13:30 – 14:00
Laura “LALA” Hayden is a talented British-Spanish singer whose music career began fronting indie band Anteros. Nowadays she has a solo career under the name LALA HAYDEN. She took to the stage in a white wedding dress, and started her dramatic performance with a spoken word delivery as if in therapy while lying on the stage floor. She then came to life for her first song. Lala Hayden sang to a backing track combining electro-pop and alternative pop. The first two tracks had heavy techno beats. The third song was a new one, ‘Honeymoon Suite’, which was a much softer song and vocal style. Lala Hayden made the most of the empty stage, especially during the upbeat ‘Monster’ where she sang parts lying on the floor and others at the very edge of the stage. Her closing song, ’Woman’ had a disco backing track, and saw even more of the crowd dancing. Lala Hayden’s singing and music only tell part of the story of her set. She gave the most stunning theatrical performance I saw all weekend, with an amazing stage presence that totally captivated her audience.
(Peter Greenfield)
SMOL FISH – TGE Beach Pirate Studios Stage 13:30 – 14:00
I’m flitting between stages at the Sounds Australia showcase at the beach. Already playing, although scheduled to have been on earlier, are smol fish (styled in lower case). They are an indie four-piece from Perth. Clancy and Hannah share lead vocals, and swap between guitar and bass. Cat is on drums, and George is on keyboards, depping for regular band member Josie, who is back at home completing her PhD. The first song I hear is ‘If Only’, which chimes with a chirpy, singsong vocal by Hannah and a naggingly catchy chorus hook. ‘Conditionally’ is slow and thoughtful, with some effective stops. The lyrical themes seem to be about the tribulations of navigating the emotional minefield of being young. Clancy and Hannah swap instruments and lead vocal duties for the steady paced ‘Big Love’. They proceed to try out a new number, and conclude with the mellow strumming of ‘Cry All The Time’. Some audience participation is encouraged, and I’m impressed by the take up of the vocal refrain of “I wish I did not cry all the time” by the extensive crowd, most of whom are lolling on the beach pebbles, looking perfectly content.
(Richie Nice)
THE SOUTHERN RIVER BAND – TGE Beach The Deep End 14:00 – 14:25
Next on in the big tent of The Deep End Stage are The Southern River Band. They’re a four-piece classic rock outfit from Thornlie, a suburb of Perth, and I suspect my mouth might be hanging open. Frontman Cal is shirtless, and with his big hair, ’tash and pointy-headstocked Charvel guitar, looks like he might have come straight from a casting call for ‘Spinal Tap’. Guitarist Jase and bassist Ace both favour short hair and beards, whilst drummer Carlo sports a ‘Travis Bickle’ mohawk. Any misgivings on my part are blasted out of the tent the moment the band starts playing. Crikey, do they rock! It’s great stuff, too, and the large crowd are absolutely loving it. ‘Cigarettes (Ain’t Helping Me None)’ rattles along at breakneck pace, driven by chunky rhythm and driving bass, embellished with busy lead and super-fast fills. Cal’s voice is quite high-pitched, like an Aussie version of Justin Hawkins from The Darkness. A massive snare roll takes us into ‘Watch Yourself (You’re Gonna Hurt Somebody)’, with a glorious chiming dual guitar lead motif that sounds like something Thin Lizzy might come up with. The verses strut along on a pub-boogie shuffle, with a cracking tune and an irresistible chorus hook. ‘Vice City III’ lays razor-sharp stabs over a spectacularly busy chug, and the “we got another man down” refrain is shared between the front row players. Cal asks the audience to nudge anyone with a green lanyard, to encourage someone to sign the band. “No disrespect to the music industry, obviously,” he quips, raising a chuckle. Whilst hardly groundbreaking, I could easily see this music being very popular indeed, given some exposure. The stunning dual guitar riffing of set closer ‘Chimney’ tops off a superbly assured performance of the highest quality.
(Richie Nice)
ROWENA WISE – TGE Beach Pirate Studios Stage 14:15 – 14:45
Rowena Wise’s set is already underway on the Pirate Studios outdoor stage at the Sounds Australia showcase on the beach. The Melbourne-based singer-songwriter, backed by a bass player and drummer, is playing to a large crowd who are mostly sitting on the pebbles. ‘Nobody’s Saviour’ is a steady-paced piece of indie introspection with a nicely-written tune, and the emotional vocal line reminds me a little of Courtney Barnett. I don’t catch the title, but I’m rather impressed by a number with punchy bass and a rather satisfying lyrical trope of “the truth comes tumbling out”. I imagine it’ll be on the forthcoming album, ‘Senseless Acts of Beauty’. The set concludes with ‘We Are Nothing’, a song introduced as about being in the moment. It’s slow, thoughtful, and rather beautiful, with a nice playout of “la la” vocals. I like Rowena’s songwriting, and could easily imagine myself sitting at home listening to the new album.
(Richie Nice)
SAMXEMMA – Three Wise Cats 14:15 – 14:45
Manchester based electronic duo Samxemma injected some much-needed post-lunchtime Great Escape energy with an uplifting set of infectious danceable original techno infused with D&B with a touch of autotune on the vocals. Sam oversaw the electronic wizardry using laptop synth and keys, while Emma was on main vocal duties, stepping forward into the crowd to elevate the interaction in the room and inviting those who were dancing at the back to the front of which some obliged. An enjoyable 30 minutes of quality uplifting tunes. Look out for new material and projects from the duo soon!
(Martin J Fuller)
KING HANNAH – Upstairs Patterns 14:30 – 15:15
Liverpool’s King Hannah crafts a musical tapestry that seamlessly weaves between the serene depths of meditative pop and the expansive, sonorous landscapes brimming with darkness, wit, and wry humour. Hannah Merrick’s vocals, a smoky delight, imbue her words with profound weight and potency, complemented by the bluesy canvases Craig Whittle masterfully paints beneath them. Their sound effortlessly transitions from moments of post-rock expansiveness to evoking the sensation of Springsteen straying onto a gritty side-street off his highway to freedom. Their new album ‘Big Swimmer’ is due for release on 31st May via City Slang. The record was produced by Ali Chant (PJ Harvey, Aldous Harding, Perfume Genius). ‘Big Swimmer’ finds wide-screen inspiration from the band’s time on the road over the past few years across the US, with stints supporting Kurt Vile and Thurston Moore plus festivals across Europe and North America. King Hannah’s accolades include being hailed as Stereogum’s Band to Watch, The Guardian’s Ones to Watch, Paste’s Best of What’s Next, and featured in DIY Magazine’s NEU segment. The set starts with a deep, doomy fuzz. Hannah reminds me of Patti Smith and PJ Harvey which is particularly interesting as their producer Ali Chant has worked with said Polly Harvey. They’re bluesy, delicate at times then crashing rock guitar driven. Most of the songs are, they say, from their new album of which they’re clearly proud. Merrick’s delivery is intense and deadpan but when she broke into a smile it lit up the room. There was a mixture of spoken and song vocals delivering heartfelt intelligent lyrics with faultless honesty. “We appreciate this so much” “you seem to love them” (the songs) Hannah says as the set comes to a close. More than a band to watch they’re a band to follow as big things are ahead for Merrick and Whittle.
(Kairen Kemp)
ELSY WAMEYO – TGE Beach The Deep End 14:40 – 15:05
Back in the big tent of the Sounds Australia showcase we have Elsy Wameyo, backed by a four-piece band of guitar, keyboards, bass and drums. She’s obviously based in Australia, but originally from Kenya, a heritage acknowledged by walking onstage carrying that nation’s distinctive tricolour flag with a motif of a Maasai shield and spears. A vibey spoken-word introduction ‘The Call’ ushers in ‘Nilotic’, a rapidly jolting rap over a rather trippy fusion of African vibes and a staccato hip hop beat. Elsy is an engaging performer with a strong look, and soon has the audience waving their hands in the air to a steadier, poppier number that features an impressive wailing guitar solo. If any confirmation was needed of this singer’s mastery of stagecraft, she soon has the whole tent singing along with the “da da” hook of ‘Promise’. This isn’t my kind of music at all, but I can see when something is being done well, and the crowd seem to be loving it.
(Richie Nice)
RUM JUNGLE – TGE Beach Pirate Studios Stage 15:00 – 15:30
There seem to be some technical difficulties on the outdoor Pirate Studios stage, so there’s a slight delay getting Rum Jungle’s set started. I take the opportunity to grab a quick bite to eat. With the issues apparently resolved, the band launches into the appropriately brisk ‘Upbeat Lord’. A guitar four-piece from Newcastle, New South Wales, they play a sunny sort of psych pop. I’m entertained to note that the three front row players all sport baseball caps, sunglasses and moustaches. They’re having fun cavorting around on the amusingly titled ‘Electric Snowman’, another bouncy and uptempo song featuring some wailing lead guitar and a sustained note chanted hook. ‘All The Way Round And Back’ starts slowly and builds steadily. It’s got a catchy tune, though some of the vocal pitching sounds a bit wayward. Maybe the sound problem involved the monitors. ‘Make It EZ’ is dreamy and languid, and the front row players are having a good old bounce along to the similarly themed ‘Everything Is Easy’. It’s all a little poppy for my taste, but I can see the appeal of this music as a soundtrack for lounging on the beach, which is pretty much what we’re doing right now.
(Richie Nice)
ELISABETH ELEKTRA – Three Wise Cats 15:20 – 15:50
Glasgow based Elisabeth Elektra and her excellent drummer Johnny offered up an entertaining set of art-alt pop powered by pulsating synths and live drums with Elisabeth’s striking outfit and forays off-stage elevating the performance. Notable highlights were ‘The Dream’, a brilliant track with an expansive sound and ‘Promises’ originally featuring Mogwai, Stuart Braithwaite being Elisabeth’s husband and musical collaborator on the track. There was a new song I believe called ‘Heartbreak Baby’ played only once before which sounded good. It’s a shame there weren’t more people there to see this set, but there should be bigger audiences in the future for such quality performances.
(Martin J Fuller)
VENUS GRRRLS – Hope & Ruin 15:30 – 16:00
Venus Grrrls are an alternative rock band from Leeds, who recently played Brighton’s Patterns supporting Sprints. I, and it appears many others, were keen to see them again. The band’s sound combined alt-rock with riot grrrl attitude. It was built around unforgiving guitars, bass lines and thumping drums, with the synth adding a dark spooky feel. Front and centre, singer Grace Kelly gave a great performance. She varied her vocals from quiet and almost sinister to shouting and screaming, often in the same song, as on ‘Hex’. On one song she started as if telling a horror story, while on ‘Glisten’ she sang almost solo with minimal accompaniment. Venus Grrrls did a very interesting and clever cover of Siouxsie and the Banshees’s ‘Spellbound’ starting stripped back before flipping it into a heavy rock song. Venus Grrrls closed one of the best sets I saw with the fast loud song ‘Goth Girl’.
(Peter Greenfield)
FULL FLOWER MOON BAND – TGE Beach Soundwaves 15:35 – 16:05
Wow! Nothing had prepared me for this set, I had marked down Full Flower Moon Band (FFMB) as one to try and watch and boy o boy am I glad I did. They have it all for me, raw energy, power, and Babyshakes Dillon who fronts this astounding band is totally captivating in her stage presence, honestly she is on a whole other level. Why have I never heard of this band before? My initial thought when I saw the band’s name, was maybe they are a folk band, far from it! FFMB hail from Brisbane, Australia and most definitely are a rock outfit. After some soundchecking, proceedings were a bit delayed due an amp issue, Dillon talked with the crowd, joking they were going to have a noise battle against their friends Battlesnake who were playing in the other tent, the amp issue continued so Dillon did a calm solo number on her own, beautifully done and goes to show her versatility and they are not to be pigeon-holed, it did however very much lead me down a totally different path of what was yet to come. With four guitars in the flow including Marli Smales on bass and Luke Hanson’s utter killer drumming this very short set was a tour de force. Some of the guitar work reminded me of Rage Against The Machine. I could probably write 1000s of words about how brilliant each song was, how amazing each band member played and it’s all true and that’s all you need to know. Due to the delay the band ended the set short, but were brought back with chants of one more song from the packed out crowd who, like me, did not want it to end. We were treated to the song ‘Roadie’ at double speed. Their third album ‘Megaflower’ is out soon, I’ve already pre-ordered it and am going to have to search out the other two.
(Ben Jerry Robinson)
FOREST CLAUDETTE – TGE Beach Pirate Studios Stage 16:30 – 17:00
My colleague and I arrived at the busy beach venue in time to catch an entertaining performance from Melbourne’s Forest Claudette. Talented and humorous but with thought-provoking lyrics, this alternative rap and R&B artist gave an expressive show entertaining the crowd who were largely relaxing with drinks whilst enjoying their performance (Forest is non-binary). The songs ‘Big Wigs’ and ‘Kobe Beef’ from their latest EP ‘Jupiter’ released earlier this month were notable standouts. If you like R&B with added oomph, you need to check out Forest’s music.
(Martin J Fuller)
CAT & CALMELL – TGE Beach Pirate Studio Stage 17:15 – 17:45
Cat & Calmell is an Aussie pop duo from Sydney, one of them is Cat, the other is Calmell, hence the name. There was a third person on stage, a DJ playing the tunes and techno beats over which the duo sang. There were great vocal harmonies between the two singers on their alternative pop songs, all the more impressive given their very lively energetic dancing. Their show soon saw many at the beach venue dancing along. Before ‘Give Urself 2 Me’, they invited the audience to “respectfully bump and grind to this one” with its heavy bass line. A hen party in the audience was well into their dancing by this time. I also thoroughly enjoyed Cat & Calmell’s bouncing fun pop performance.
(Peter Greenfield)
HELSINKI LAMBDA CLUB – Jubilee Square 17:15 – 17:45
There aren’t many official events on at this time of day, and there is quite a queue at Jubilee Square. I get in just in time to catch Helsinki Lambda Club, a Japanese four-piece alternative rock band led by guitarist and vocalist Hashimoto Kaoro. They open with a languid and dreamy number which I recognise as ‘See The Light’, with mellow strums of guitar over a gently shuffling snare. I can’t see a setlist, and I imagine it would be written in Japanese anyway, but the second number is contrastingly brisk, with an urgent motorik beat. It develops into a trippy psych-out that I enjoy very much indeed. It’s becoming apparent that each piece has a completely different vibe, as we’re next treated to some happy pop, with the bass player doing a freaky dance. They clearly have an eclectic range of influences, as the mood changes again to an urgent glam stomp with some great riffing. We’re back to sunny pop with the distinctively bouncy ‘Good News Is Bad News’, driven along by some brisk and nicely played rhythm guitar. The final piece transitions from a lilting pop vocal to a heavy guitar wig out. I’ve enjoyed the set, but good luck to anyone trying to pigeonhole Helsinki Lambda Club.
(Richie Nice)
AL COSTELLOE – The Arch 19:00 – 19:30
London born musician and songwriter Al Costelloe was originally part of the shoegaze duo Big Deal. She is now a solo artist, but had a full band for her Great Escape show at The Arch. There was a strong country element to her relaxed sound, especially in her vocals. Often Al Costelloe would start songs as a solo with the band joining later. As her voice was that good, she carried it off well. There was a melancholy feel in many of her songs’ lyrics, which she expressed well in her emotional vocals. The final song of her set ‘Badmouth’ had a positive message about not letting yourself feel bad because of what others say. It was a quality and thoroughly enjoyable set that put a smile on the faces of those in the audience.
(Peter Greenfield)
EAVES WILDER – Alphabet 20:15 – 20:45
Thankfully I had a leisurely stroll of a mere few years down to Alphabet (from St Nicholas Church) to see what young Eaves and her band had to offer. It’s nice to finally see the newly refurbished downstairs bar in operation which opened two weeks ago. Born and raised in London, Eaves began songwriting around the age of eight, harnessing an early obsession with ‘60s Motown records and the left-field pop of Lily Allen. She dropped her debut EP, titled ‘Hookey’ last year and hidden behind dreamy shoegaze guitars and Eaves’ sweet voice, lies honest lyrics which are direct and deceptively cutting and this is very much the case during this evening’s performance. Eaves is on lead vocals, and plays her fancy pink Fender guitar as well as Roland RD-800 keys, her trio of also young bandmates supply assistance on second Fender guitar, Fender Mustang bass and backing vocals, and drums. The first floor venue is very busy and lap up this rock-pop set. The quartet flew in from Amsterdam this morning and already this is their second performance of the day. Eaves has been writing her first album and wants to try out tunes from it, the first being song two ‘Daisy Chain Reaction’, followed by track three ‘Ropeburn’ and for this (and the next few) she traded in her guitar for the keys. After this we were treated to ‘Better Together’ which is about fancying a boy that has a girlfriend. Despite their tender years, all four are already accomplished musicians and they signed off with another new song called ‘Mountainsized’. Suffice to say, they went down a storm! Expect to hear more from Eaves!
(Nick Linazasoro)
LAVELLE – Paganini Ballroom 20:15 – 20:45
Apparently Sheffield’s Lavelle Daley reached the semi-final of Britain’s Got Talent as part of a girl group ‘The Miss Treats’ in 2017, but having never watched the programme or heard her music before, I can only judge tonight’s performance on its own merits, and it didn’t disappoint. Appearing on the BBC Introducing Stage and at her first festival, she admitted she was “sh***ing herself”, but needn’t have worried, Lavelle has twice scored a No1 on the UK iTunes R&B and Soul Chart with her 2023 single ‘Baby Boy’, and 2024’s ‘Honest’ with both songs strong 90’s and noughties vibe which is not surprising as influences include TLC, Aaliyah and the like. Both delivered as live tracks with the big sound filling the room and the crowd dancing along. Lavelle’s two female dancers who appeared intermittently were fabulous and it was an enjoyable half hour of nostalgic sounding R&B.
(Martin J Fuller)
BIRD – Fabrica 21:15 – 21:45
TGE is known as a showcase for the best in new music… but occasionally it throws you a curveball, as is the case with Janie Price, better known by her stage name Bird. Not to be confused with Birdy with a Y, Bird is an award-winning songwriter whose debut album ‘The Insides’ delighted me way back in 2004! So hardly a new act, but I’ve never seen her live before so now’s my chance. The hushed performance space of Fabrica is the perfect setting for Bird and her band to showcase some songs from her fourth album, due for release in July. Backed by a string section – and indeed playing double-bass herself for the final song – Bird’s compositions are beautiful and haunting, and it’s easy to see why this collection of songs has been created as the soundtrack to a short film she’s been working on. New single ‘She Turns To Stone’ is a highlight, but it’s actually a stripped-back cover of Taylor Swift’s ‘Shake It Off’ that really steals the show this evening.
(Phil Newton)
LOUPE – One Church 21:15 – 21:45
Amsterdam-Antwerp four-piece Loupe created the most wonderful hypnotic soundscapes to fill One Church. Their unique sound blended synth pop, alternative folk and indie rock. The variety within their set was clear from the opening three songs. The first song was dream pop, the next dance and funkier, and the third punchier and rockier. What was constant throughout the set was the quality. Nina Ouattara’s heavenly relaxed vocals fitted so well with the different tunes and melodies. Lana Kooper on bass and Annemarie van den Born on drums worked as well as any rhythm section I saw all weekend, especially on the longer instrumental sections. This allowed Abel van der Waals to play some interesting intricate guitar parts, often eyes closed in a bubble. Loupe, like bands such as Warpaint, brought the different individual parts of their songs together to produce something beautiful.
(Peter Greenfield)
MALVINA – Alphabet 21:15 – 21:45
I’m in Alphabet to check out something contemporary. Malvina is a French artist, and I’m very pleased that the techno backing is to be provided by a couple of actual musicians rather than a laptop. After a sampled intro, the drummer comes on, adding an intricate beat. His elaborate and extensive kit includes a distinctive spiral stacked cymbal on a high stand. It looks like the shape you get if you peel an apple in one go, and it sounds great. He’s joined by a second player on keyboards, who also has a violin and a bass guitar set up ready. Finally, the vocalist takes the stage to a loud cheer, clad in baggy jeans, clumpy boots, and a hoodie. Exploration of sexuality seems to be the theme, with the world of BDSM a particular focus. It’s an energetic performance with some coquettish booty shaking in the first number, although it would seem that the artist envisions herself in a more dominant role. The hoodie top is discarded to reveal a latex crop top. She has a new album out called ‘Mercedes’, and second track ‘Forever’ is from it. There’s a fine section of violin, where the singer grooves with the player. ‘FinDom’ features a staccato chant with a complex rhythm of tom hits and shaker, supplemented with a trigger pad. An echoing vocal takes us to a stabbed playout of shrill keyboard sounds. Another number features bass guitar and a slow section of reverb-drenched vocal with a slightly religious feel, needless to say accompanied by plenty of suggestive posing. The crowd are really loving this performance, and join in enthusiastically with the chanted refrain of final number ‘Brat’. There’s a charming moment where the delighted vocalist does a linked-arms folk dance with the two players to conclude an interesting and arrestingly entertaining set.
(Richie Nice)
EBBB – Dust 21:30 – 22:00
It had finally come to my final festival performance, number 33, and one that I had very much been looking forward to, having read an account of a previous Brighton performance from the trio of Will (lead vocals), Lev (Dell laptop/synth, vocals) and Scott (drums), who collectively go under the banner of Ebbb. Sometimes an act comes along and you think “How the hell did they think of doing that!”. This is very much the case with Ebbb where the lads have been seriously thinking outside the box. Different music styles are grabbed from every direction and cooked into a melting pot of live music joy. Now written down here it’s going to sound bizarre, but you have to witness them live in order to understand. So where do I start? OK you grab the serene echoey vocals of the Beach Boys, throw in some quiet ambient repeated lyric loops, add the most frantic drumming imaginable and round it all off with bangin’ electronic Underworld meets Happy Hardcore meets Gabber beats and et voila!. I know mad, eh? The Dust venue is very busy indeed, I wonder why! Words out I guess on this exciting act who are ploughing their own furrow. Everything seems juxtaposition and competing with each other and yet it works superbly! It’s tribal, it’s exciting, it’s like watching TR/ST and I for one want more…much much more! A must see live act, even if you have to travel a distance to see them! It will therefore come as no surprise to learn that it was one of my favourite festival performances!
(Nick Linazasoro)
N FAMADY KOUATÉ – Unitarian Church 22:15 – 22:45
The final act of the 2024 Great Escape for myself and my colleague was N Famady Kouaté, a young musician from Guinea now residing in Cardiff who put on a charming showcase of his native country’s music in the atmospheric surroundings of the Unitarian Church. His main instrument was the Balafon, a traditional wooden xylophone and his music is an amalgamation of his West African heritage and western influences. N Famady won the 2023 Glastonbury ‘Emerging Talent’ competition and it’s easy to see why, he plays the Balafon beautifully, singing in his native language and interspersed his set with electric guitar. The acoustics in the large room enhanced and amplified the sound. The standing ovation he received from much of the audience at the end was a demonstrable endorsement of a mesmeric performance.
(Martin J Fuller)
