Sure enough, this year’s Primavera Sound included all the necessary ingredients of a grand festival: ping pong between stages, losing friends along the way, rushing for beer, fighting for a good spot, finding your friends only to lose them again. But the most important ingredient of all came in abundance: an overdose of uplifting, inspiring music, much more that one man alone can handle (I still tried my best!).
But let’s take it one day at a time…
Day 1: Taking off
It’s only fitting that the music journey about to begin kicks off with names such as Explosions In The Sky and Air. As the Barcelona sky is gradually being painted in shades of purple, the air is filled with the sound of miniature instrumental symphonies and electronic art pop from the Texas post-rock band and the French duo respectively.
Once everyone’s mood and spirits are lifted, Australian psychedelic rockers Tame Impala take the stage. With a set comprising mostly of tunes from their excellent last two albums Lonerism and Currents, they give a dynamic performance marked by colorful, trippy visuals and Parker’s precise delivery of the vocal and guitar parts (almost identical to the actual recordings – perhaps a more relaxed take would be even more effective).
The night goes on with LCD Soundsystem and smaller electronic/dance acts that keep the audience going until the early morning hours. But not me: I feel like I only want to go backwards (toward the exit, that is) and charge my batteries for the following days.
Day 2: Losing one’s self
I arrive in time for Beirut, whose Balkan folk feel and sound gets the blood flowing. It’s already getting dark and I rush to the main stage to secure a decent spot and get a glimpse of Radiohead, the festival’s biggest name and arguably the most important rock group of our times.
The experience is thrilling. It’s been almost a decade since I had last watched them in Amsterdam, and their sound has evolved significantly in the meantime. I know it’s not just me who waits in great anticipation: a deafening silence hovers over the huge crowd that has gahered to watch the revered band from Oxfordshire. And mind you, silence here in Barcelona is not exactly normal during rock concerts.
The first notes of Burn the Witch finally break through, followed by the first half of the band’s acclaimed new album A Moon Shaped Pool. Radiohead proceed to cover their entire catalogue, including tracks from Kid A, The King of Limbs, and In Rainbows. But it’s with the opening melody of No Surprises that the audience’s silent, reflective mood suddenly changes to open endorsement and unrestrained excitemet. And it’s the spontaneous reaction to Karma Police, another track from OK Computer, that marks the concert’s perhaps most memorable moment, as a sea of people keeps singing “for a minute there… I lost myself, I lost myself…” well after the song is over.
Impossible as it seems to follow such an act, the show must go on and The Last Shadow Puppets are next on the bill. Not knowing quite what to expect, I am delighted to see the band accompanied by a string quartet on stage. Alex Turner takes the lead and together with Miles Kane, they give a quite remarkable performance which ends with nothing less than a lengthy jam over the Beatles guitar-heavy dynamite I Want You (She’s So Heavy). That’s a good time to call it a night, and by this point I am pretty exhausted anyway.
Day 3: The witching hour
Today I have a date with pop history: Songwriting genius Brian Wilson performs the entire Pet Sounds album together with a band of seasoned veteran musicians. His voice has lost its old sparkle (and much of its range) and his stage presence can only be described as ‘static’, but somehow the brilliance of his music makes up for all this. And when Good Vibrations comes up as an encore, I just don’t need I could ask for anything more.
But of course there’s more. I pass by indie rockers Deerhunter before moving on to another stage to catch English singer-songwriter PJ Harvey. Her presence is captivating and she delivers an atmospheric performance that blends well with the surroundings as the Barcelona sky turns dark.
The clock strikes midnight and instead of demons and witches, a different kind of supernatural beings appear on stage. It is the Icelandic post-rockers Sigur Rós with their otherwordly, transcendental sound. It seems impossible to grasp how this kind of music is made by human beings; frontman Jónsi Birgisson’s hunting falsetto, ethereal bowed guitar, and the bewitching background visuals resemble more some strange magic ritual than a music show.
Still mesmerized, I stick around for a little longer to explore some more of the festival’s vast territory. As dawn breaks, I am on my way home full of images, impressions and a music playing constantly in my head: I cannot quite pin it down, but I know it is the sound of Primavera.
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