It’s finally come around and all the boys with tiny hoop earrings and I simply cannot wait. Next Friday, the third of September, I’m setting out for 10 hours of solid reverb and I am giddy. It’s a day for all flavours of alternative and I intend to get my fingers in a lot of pies. So here is who I am planning on seeing during Wide Awake Festival 2021 in (hopefully) sunny Brockwell Park. 

12:15 Lazarus Kane at the Moth Club Stage 

The opening midday slot isn’t an easy one, but if anyone is up to the challenge it’s Lazarus Kane. There are few bands this early in their career who have such an ability to capture an audience. Whether it be their enigmatic frontman, the stonking riffs, or the big big beats, this band will force you to be enamoured, like it or lump it. Get down early for it.

13:15 The Mauskovic Dance Band at the Moth Club Stage

13:30 Dar Disku at the Snap, Crackle, and Pop Stage 

14:30 Porridge Radio at Bad Vibrations Stage 

15:40 Mandrake Handshake at Bad Vibrations Stage 

These Psychedelic wunderkinds asked what if you add some really mad guitars to krautrock? The Oxford 9-piece discovered it was pretty mint. Having released their debut EP Shake the Hand that Feeds You earlier this year, they are still on the way up. But I will definitely be stopping by to get my fix of pedals, pedals, pedals. 

16:15 PVA at The Windmill Stage 

17:00 SCALPING at The Moth Club Stage 

17:45 Lynks at the So Young Stage 

18:35 Black Country, New Road at the Windmill Stage 

20:05 black midi at the Windmill Stage 

21:00 KOKOROKO at the Bad Vibrations Stage 

No more mosh, time to boogie. By this point, I’ll have had a few pints and I will want to dance. Nobody will deliver the energy I need like KOKOROKO. Such an incredibly talented ensemble, that master the joy of Afrobeat and Jazz. Their 2020 single Baba Ayoola has had a firm spot on my party playlists since its release and I cannot wait to see what they do next. 

Clash Casualties

Unfortunately I cannot be in two places at once, but if any of the above don’t tickle your fancy, these are the honourable mentions that I’m gutted I won’t have time to see. 

12:00 Tiña at the Windmill Stage 

14:45 Fenne Lily at the So Young Stage 

15:45 Los Bitchos at the Moth Club Stage 

16:45 Pozi at the So Young stage 

17:20 Goat girl at the Windmill stage 

18:10 Dream Wife at the Moth Club Stage 

Wide Awake have really done an incredible job in representing every corner and crevice of the London alternative scene. I really think no matter your taste it’s going to be an incredible day and a chance to fall in love with some new artists you wouldn’t normally venture to watch live. That’s all from me. See you all in Brockwell Park!

Words & recommendations from Olivia Grace Maskill

The post Who I’m seeing at Wide Awake 2021 appeared first on Pretend.

Words by James Lear, photos courtesy of Khroma Collective and GALA festival

It’s safe to say the suspension of live music during the COVID pandemic has caused frustration for both promoters and punters alike. However, with everyone eager to get back into the swing of things, what better place to start a cultural renaissance than a small, woodland haven in the middle of Peckham?

GALA festival celebrates the history of dance music in London, so it was no surprise that this line-up boasted some of the very best names in British club culture such as, Dan Shake, Midland, Kornèl Kovàcs, Mr Scruff, Jayda G and Motor City Drum Ensemble. These heavyweights of house, techno and disco were juxtaposed with some of the best local talents in jazz, neo-soul and hip-hop. The Rye stage shone throughout the weekend and gave the festival much needed variety if you needed respite from the continuous four-on-the-floor.

Under the current circumstances, the UK governments traffic light guidelines would have surely complicated maintaining a coherent festival line-up. Leon Vynehall, Overmono and Saoirse were all brought in last minute to cover for unforeseen cancellations, but the program flowed seamlessly.

Just less than a week had passed since “freedom day”, yet the careful management of negative lateral flow test admission left festival go-ers free to forget about the pandemic and find themselves in and amongst one of the most convivial crowds I’ve seen.

Rain inevitably made an appearance, however after a long year-and-a-half of lock downs and live streams, dancing in the array of elements thrown our way brought out the “Hallelujah’s” and “Hail Mary’s” from the crowd around me.

Who we saw

Nabihah Iqbal

Opening sets are often foolishly labelled as the dregs of the festival but by contrast, this was the perfect start to the weekend. Nabihah quickly settled into her set, that dreamy niche she has carved out for herself drawing an intimate, attentive crowd, fitting for my weekend’s opening ceremonies. She performed tracks from her 2017 album Weighing of the Heart, as well as more recent material from her 2020 album Blue Magic Gentle Magic, the heavy delay and reverb resonated sweetly through The Rye’s timber frame.

Stood front and centre behind her dazzling polka dot guitar, her signature, indie-inspired soundscapes drew up waves of nostalgia. Stepping through the front gates you were met by Nabihah’s warm vocals and swirling guitar, which drifted out from The Rye and over to the entrance – perfectly complimenting the rush of the return to live music and kicking off the weekend to a great start.

Oscar Jerome

Oscar Jerome’s spellbinding performance at The Rye had the audience smiling from ear to ear, it looked like he’d finally come home. Standing at the side of the crowd, I could see the adoration they had for the young jazz musician who, likewise, disclosed his love to be back playing live music again.

The stage was packed, and the audience fed off the energy of the front man and his impeccably tight three-piece band. The set was perfectly arranged with a variety of older tracks, which you could see a handful of die-hard Jerome fans singing along to at the top of their lungs, as well as more recent material from his 2020 album, titled Breathe Deep. 

My personal favourites had to be Gravitate and its upbeat grooves, as well as the golden song writing in Sun For Someone.

P-rallel

Gilles Peterson & Mim Suleiman

Giles Peterson and his record label Worldwide FM continued from their previous success running a stage at GALA 2019 and hosted a Worldwide takeover at The Rye throughout the whole of Saturday. With a line-up featuring some of Worldwide FM’s best DJs including Peterson himself, Mafalda, and Global Roots, I was expecting big things. Suffice it to say, each DJ absolutely smashed their respective set, playing tracks which had me constantly reaching for my shazam button.

What I didn’t expect to enjoy so much at The Rye on Saturday was the live performance of Mim Suleiman. The energy Mim gave off was both endearing and infectious and by the end, she had the crowd eating out the palm of her hand. Her Afrobeat/soul vocals combined with the elaborate percussion provided a rare opportunity to buss a move. One of my favourite sets of the weekend and definitely one to check out.

Jayda G

GRAMMY Nominee Jayda G was given Saturday’s closing set and came through with a selection of groovy disco classics and more modern house remixes. However, her skills to select were eclipsed by her enthralling interaction with the audience. She descended to the front of the stage to lead a clap during the euphoric breakdown in her self-produced track Both Of Us and brought a level of positivity which translated across so easily. Everywhere you looked you could see strangers turning to each other with smiles on the faces, declaring their love for Jayda and the chance to be back grooving again.

The Main Stage had been bolstered into a formidable show-stopper and the event organisers complimented Jayda’s performance with big inflatable balls that were released into the crowd mid set. This, combined with a dazzling light show made it a set to remember, and left me eager to return the next morning.

Pinty

Peckham MC Pinty came to this festival with a mission to kill his set and he did just that. Playing tunes all the way through his discography from tracks off his debut EP, City Limits, to the new, intriguing steps found in tracks off his recent project such as Red Lorry (I’m Sorry). He came out supported by friend and Rhythm Section collaborator Bradley Zero and the energy on the stage was super-charged.

Having said that, he came across incredibly humble and grateful to be playing in his local park and you really got the impression he was a man of the people. His music, landing in the grey area between jazz, house, garage and hip-hop, captured exactly what the young audience was after and the energy in the crowd was probably the most electric and energetic one I saw all weekend.

Dan Kye

Following Pinty was another member of the Rhythm Section family. Hailing from New Zealand and going by the alias Dan Kye, Jordan Rakei’s live set was possibly my most anticipated set of the weekend. He delivered hits such as his long-standing single Like You Wanna, as well as my new-found favourite Focus – SE Edit, a track taken off his most recent album.

You could tell the man is an incredible musical talent. Delivering a triple fret masterclass, Dan Kye manned the decks, a mic and processed live piano loops all at the same time. I found myself again, in awe at a performance in The Rye stage. Decorated with colourful DOJO-like panels and a tasteful amount of jungle-like greenery, this stage brought the energy out of the crowd all weekend long. It was a real joy to experience.

Motor City Drum Ensemble

The final set of the festival seemed to come all too quickly, but the atmosphere and jubilation from the crowd combined with the euphoria in Motor City Drum Ensemble’s set combined for a perfect finish. Their set had a little something for everyone, packed full of groovy bass-driven house for your die-hard raver entwined with unheard, joyful disco that would’ve left any crate digger in awe.

There was an overwhelming feeling of togetherness and community within the crowd. As the night ended, dancers gradually turned and exchanged details of their weekend highlights. I could sense a genuine feeling of relief and appreciation for the music after such a long wait. An immense golden confetti cannon topped off the set, my only complaint being that they wrapped it up all too soon at 10pm.

A success in the face of chaos

The GALA crew should be proud of their efforts this year, curating a line-up that flowed seamlessly. The focus on sound production, set design and line-up shows how staying true to your humble beginnings will often result in the perfect balance between flare and necessity.

The site was littered with thoughtfully placed decorative fixtures, such that everything fit satisfyingly together. Big shoutout to Peckham Platform’s highly talented Youth Group, who designed an interactive installation inspired by their local communities. This featured mesmerising Batik and Ankara fabrics and a wall for sharing personal messages and doodles, something perfect to bring the community back together again.

For me, the success of GALA 2021 marks the start of a cultural renaissance. With careful attention to creating a COVID-secure environment, the festival guaranteed an opportunity to break away from “the new normal” and look to the future.

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Hull post-punkers LUMER kicked off the first day with their welcome return to stage after a four-month absence. Charged up with renewed vigour, they ploughed through a set of entirely unreleased material, and proved worthy for those that braved the afternoon rain that hung over much of the first day. Unfortunately, Irish industrial shoegazers Just Mustard, one of our picks for the festival, had to pull out due to travel problems, so it was left to Working Men’s Club to provide the next highlights. The West Yorkshire group are still relatively fresh on the scene, but are already starting to make a name for themselves, recently signing to legendary label Heavenly Records. Blending Parquet Courts-style post-punk with a more pop edge evident in the catchy choruses of their debut track ‘Bad Blood’, the BBC 6music faves may likely become one of those groups that Gold Sounds can claim it found well ahead of the curve.

Representing the US was North Carolina’s The Nude Party. Bringing a relaxed brand of ‘boner pop’ to the Brude and on tour supporting their 2018 debut LP, they provided a welcome escape from the damp conditions outside. Regrettably, I missed Partisan Records’ Pottery as the day progressed. The Montreal group are just starting a short EU tour and are likely to follow IDLES and Fontaines D.C. in becoming the next of Partisan’s bands to gain widespread critical acclaim. Not to worry though cos they played in Leeds again two days later (yeah I missed that one as well). Next up in the Main Room were Pip Blom making the trip over from Amsterdam. A name that I’d heard bouncing around for a few months but had failed to follow up on aside from the occasional radio listen, the Dutch bedroom project-turned-group flew through the first 45-minute set of the day with an impressive amount of energy. Another off the line-up signed to Heavenly Records, they made a well-argued case to check out all the bands on the bill, regardless of previous knowledge, and were possibly my pick for the first day.

Queen Zee followed in the Community Room. Hailing from Birkenhead, the group have been growing in stature since the release of their debut LP in February, earning them a slot before headliners The Blinders. Not my personal cup o’tea, but their pure energy and power was undeniable, and fans of the genre will have had more than their fill with the Merseyside rockers. Speaking of The Blinders, they returned once again to Gold Sounds for a triumphant headline slot. Occupying the main room for a full hour, they powered through tracks from last year’s debut LP ‘Columbia’ with little relent. No strangers to the Yorkshire music scene, top billing at Gold Sounds was just reward for a group that’s climbed its way up through the region’s venues. Unfortunately, those wanting to catch the start of Pigs Pigs Pigs Pigs Pigs Pigs Pigs’ closing set had to head off early to the Community Room, but those who did were justly rewarded. The Pigs exceeded all expectations this year and have ended up spearheading a renaissance of British metal. A slot at the end of the day might have thrown them a few curveballs; some of the crowd had clearly indulged a bit too far by this point and presented the band with an audience that is unlike that of a usual Pigs gig, but they handled it well and the crowd calmed down after a telling off from singer Matt Baty. Long live the Pigs.

Hull dream pop/shoegazers bdrmm brought us into the sunny second day at the Brudenell, and hold the accolade for the only band to start on time. Fresh up from a one in-one out show in Brighton the day before, and under the wing of Leeds’ Pizza For The People, they’re turning into a real force within the Yorkshire alternative scene. They’ll be back on 13 th June playing Oporto. With the main room already behind by an hour before the first band, local post-punk group L.D. Moses were up next. They’ve installed themselves rather suddenly in the Leeds scene, and show local influences almost too openly. Vocals could be plucked straight out of Eagulls, and while they’re clearly capable of writing competent post-punk, as they mature hopefully they’ll develop a more distinct sound.

With timings out the window, the next catch of the day was W. H. Lung in the main room. Riding over from Manchester, the group are a month into touring their debut LP ‘Incidental’. Drenched in drum machines and synthesisers, they manage to blend the driven sound of groups like LCD Soundsystem with the more ethereal like DIIV. Another real discovery of the festival. Now for the big guns. Viagra Boys kicked off the degenerate double bill in the main room. The Swedes have been making a real fuss in the international post-punk scene with the release of ‘Street Worms’, their debut LP, last year. A pounding rhythm section brought a surprisingly dancey vibe to the main room, interrupted by violent bursts of saxophone and synth. Singer Sebastian Murphy, a tattoo artist by day, quickly shed his clothes and descended into performed anarchy (I’ve never seen a man crack open Smirnoff on stage let’s say that).

The Brudenell crowd was fully enthralled with the Scandy punks, and hungry for more with the dawn of Fat White Family’s set. Third album ‘Serfs Up’, released on Domino Records, seems to really have gifted the ever-rotating band a new lease of life given the multiple points when it seemed the group was about to crumble. The main room now definitely over-capacity, the seven men, headed up by a nearly-shaven headed Saul, dragged a crowd already teetering on the edge of chaos all the way down. Although a few expected songs from the new album were absent, regardless they exhibited a real tour-de-force, and showed why they have now headlined the festival twice in five years.

Wordsmith: Leo Joslin. Picture Witch: Iona Skye Wood

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