BY GEORGE CASTLE
A Whirlwind of Nostalgia, Sound Troubles, and Unexpected Delights
All Points East kicked off its second weekend in Victoria Park with a lineup that promised a heady mix of nostalgia, cutting-edge performances, and – of course – enough food, drinks, and activities to keep even the most distracted festival-goer entertained. I decided to dive into the Friday lineup featuring LCD Soundsystem, Floating Point, Jai Paul, and the Pixies.
LCD Soundsystem’s set was, in a word, fantastic. The band delivered a tour de force that felt like a high-energy throwback to the mid-2000s, with James Murphy and the band cranking out hits like “I Can Change” and “All My Friends” to a crowd that was equally nostalgic and energetic. It was the perfect dose of the early-aughts indie dance scene, and the audience lapped it up.
The only, slightly ironic, downside to the set was the East Stage sound-system, which left something to be desired. Unless you were dead center in the audience, the sound quality was hit-or-miss, with some of the songs dissipating into the ether before they could fully reach the outer edges of the crowd. A little tweaking and slightly more bass could have turned a fantastic set into a flawless one, but this is to be expected with a festival situated in the heart of our most densely populated city.
Next up was Jai Paul, whose performance was nothing short of electrifying. Jai Paul’s elusive presence on stage matched the mythos that surrounds him, delivering a set that was as visually stunning as it was musically thrilling. The crowd was treated to a sonic journey that felt like being plunged into a kaleidoscope of lights and sounds. The visuals were a highlight, almost overshadowing the music itself – which was impressive, given the innovative blend of electronica and R&B that Jai Paul has become known for. This was one performance where the visuals and sound melded perfectly, creating an immersive experience that had everyone buzzing.
As much as I wanted to bask in the glory of the Pixies, it was clear that the years have taken their toll on Black Francis’ vocal cords. The band’s performance was still raw and energetic, delivering the kind of gritty, garage rock sound that they pioneered, but Francis’ voice was noticeably strained. It didn’t dampen the spirit of the set entirely, but it was hard not to notice that something was missing from the classics like “Where Is My Mind?” and “Debaser.” Still, for die-hard fans, it was a chance to see legends in action, even if they were a little rough around the edges.
When I wasn’t soaking up the music, I took full advantage of the festival’s extra attractions. A spin on the Ferris wheel provided a brief but scenic break from the crowds, and I have to say, there’s nothing quite like enjoying a Philly cheesesteak sandwich while taking in a panoramic view of the Victoria Park festival grounds.
In a moment of self assured bravado, I decided to try my hand at one of those electricity games. You know the ones: slowly guide a metal loop over the course without touching the sides – like a large scale version of operation. Despite my early attempts resulting in utter failure a few rum samples helped steady my shaky hands and my perseverance – or stubbornness – paid off, and I walked away with some fashionable Kraken merchandise. A small victory, but one that I’ll chalk up to festival-induced adrenaline (and intoxication).
All in all, Friday at All Points East was a fun-filled evening that didn’t require taking a day off work – a rare festival feat. While the sound issues during LCD Soundsystem’s set were a bit of a downer and the Pixies didn’t quite hit the vocal highs they once did, the overall experience more than made up for it. From Jai Paul’s mind-bending visuals, to the unexpected delights of the Fair Ground rides it was a day well spent, full of nostalgia, laughter, and a few surprises along the way. Here’s to the next one – hopefully with the sound dialled up just right.
BY SCARLET ACKETTS
All Points East: Field Day 2024 – A Wild Ride Through the Storm
Even as torrential rain poured down, the energy of the festival-goers at 2024’s Field Day was unstoppable – especially with the legendary Justice set to headline later in the evening.
The Cupra tent quickly became the go-to refuge from the downpour, but it wasn’t just a dry spot – it turned into a pulsating hub of energy. Skin on Skin & Kettama stole the show with their mind-blowing remixes, transforming the shelter-seekers into a bouncing, euphoric crowd. The duo effortlessly blended house with DnB, making it impossible not to dance. If you were lucky enough to be under that roof, you experienced something truly special.
Over at the Amex Unsigned Stage, a lineup of fresh, up-and-coming DJs had the crowd hooked from the first beat. The vibe was electric, with people singing and chanting along to some seriously well-chosen tracks. Junior Simba was a standout, turning heads and moving feet with his engaging stage presence and killer remix of Kendrick Lamar’s “Money Trees.” The transformation into an upbeat dance anthem was pure genius. By the end of his set, the crowd’s roar of applause was a clear demand for more.
Mura Masa delivered one of the festival’s most unforgettable DJ sets, paying tribute to Pink Pantheress and getting the entire crowd involved. The energy was sky-high as everyone sang and rapped along, with a sea of gun fingers shooting up in sync to the beat. Mura Masa’s ability to command the crowd and craft an infectious atmosphere made this set an undeniable highlight of the day.
Then came the moment everyone had been waiting for – the phenomenal Justice, who closed out the night with a back-to-back set that was nothing short of extraordinary. Performing in their signature suits, they solidified their status as techno royalty. The light show was mesmerising, pulling the audience into an immersive experience that felt like we were part of the performance itself. Justice didn’t just meet expectations – they shattered them, proving once again why they’re considered the kings of their genre.
Field Day 2024 at All Points East was an exhilarating ride, rain or shine. The lineup delivered in every sense, from rising stars to seasoned legends, and the atmosphere was electric. Justice’s headlining set, in particular, was the perfect way to cap off a festival that’ll be remembered long after the mud has dried.
A Sunday of Nostalgia and Indie Bliss
The final Sunday at All Points East in Victoria Park was a masterclass in nostalgia, perfectly wrapped up with a double dose of Ben Gibbard’s melancholic magic. With Death Cab for Cutie and The Postal Service headlining, the festival’s last day was a time machine back to the early 2000s, leaving a crowd of thirty-something millennials basking in the warm glow of memories.
The day kicked off with a jolt of energy courtesy of Sleater-Kinney, who delivered a powerful set that served as the perfect wake-up call for the final day. Their raw, unfiltered sound cut through the early afternoon haze, setting the stage for the eclectic mix of acts that followed.
As the day unfolded, indie-pop stalwarts Phoenix brought their signature polished sound, while The Decemberists wove their enchanting folk tales, casting a spell over the audience. American trio Gossip turned up the volume with their electrifying presence, and English art rockers Everything Everything added their unique, experimental edge to the mix.
As the sun dipped behind the London skyline, Death Cab for Cutie took to the stage, all dressed in black, with Ben Gibbard leading the charge through the entirety of their iconic fourth album, *Transatlanticism*. With every note, the band transported the crowd through a journey of introspection and longing, starting with the anthemic “The New Year” and peaking with the haunting beauty of the title track “Transatlanticism.” They closed the set on a tender note with “A Lack of Color,” leaving the audience in a reflective silence.
The mood shifted as The Postal Service took the stage, this time with Gibbard and his collaborators Jimmy Tamborello and Jenny Lewis donning all-white outfits, a stark contrast to Death Cab’s dark attire. The crowd erupted as the familiar intro of “Such Great Heights” filled the air, accompanied by joyful clapping that echoed throughout the park. The set was a perfect blend of nostalgia and energy, capped off by a rare treat – an acoustic rendition of “Such Great Heights” followed by a stunning cover of Depeche Mode’s “Enjoy the Silence.”
Victoria Park was filled with scenes of couples hugging, friends swaying arm in arm, and groups reminiscing. The night was a bittersweet reminder of simpler times, beautifully encapsulated by the soulful performances that closed out the festival.
As the final notes faded and the lights dimmed, it was clear that this night was a fitting end to two weekends of incredible music. All Points East 2024 will be remembered as a celebration of both the new and the nostalgic, leaving us all eagerly anticipating next year’s lineup.
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