"It's like a North-West reunion here."
Concluding yet another end to summer’s festivities, All Points East Festival triumphantly returns for its 2-week residency at East London’s Victoria Park, inciting a smattering of carefully-curated lineups per intricate genre each day.
It’s of no great secrecy that the music and arts scenes worldwide, specifically festivals, have struggled post-Pandemic. Accentuated by a stark downturn in attendance beset by inflated ticket prices and an ongoing cost-of-living crisis across the U.K., All Points East (alongside Field Day Festival) has forged ahead this summer; armed with an arsenal of A-list headliners across a myriad of popular genres of recent (Loyle Carner, Kaytranda, Mitski, LCD Soundsystem, Justice, Death Cab for Cutie & The Postal Service).
Initiating the festival’s latter weekend, a litany of DJs and producers held court within the BBC Radio 6 stage and intimate Cupra tent; Gilles Peterson, Sofia Kourtesis and Floating Points each offering transcending experiences within the wider realms of IDM and house. Elsewhere, eclectic blends of indie-rock from Newdad and The Kills continued throughout the afternoon with Jockstrap taking the limelight with an idiosyncratic melding of electronic-infused rock (complete with cameo of Georgia Ellery's 10-foot sandman-esque outfit).
As evening descended, the historic legacy of 90’s alt-rock came to fruition with Pixies, preceding the interminable force of tonight’s dance-rock headliners, LCD Soundsystem. Offering a marvellous revelation of this dance-inspired rock scene over the last 20 years, the extensive entourage led by James Murphy seemed “devastated” by the recent passing of recording member Justin Chearno; visibly afflicted by a mournful period. Yet from the depths of despair, the group brought an unbridled and indelible evening of hope and celebration: the undoubted legacy of Murphy’s group who’ve truly cemented their mark in music history.
Amidst the wet and wearier conditions the following day, Field Day Festival slowly invited the bank holiday weekend wanderers through the course of the day. Within the confines of the Cupra tent both Yaeji and Brutalismus 3000 acquired sizable, sanctuary-searching crowds whilst inciting their uniquely modern blends of house and techno; whereas the lone rock-inspired act of the day, Yves Tumor, proved as damp and dreary as the ensuing weather.
As the skies cleared and the moon illuminated, the dazzling visuals of Mura Masa and Charlotte de Witte encompassed those drenched onlookers, with the latter accentuating herself a force majeure of the house and techno worlds by virtue of an entrancingly frenetic light show. Concluding in a similar vein, the French duo-maestros, Justice, invigorated and mesmerised amidst their headline set; monolithic lighting arrangements aplenty, animating their house-electro and disco-infused concoctions for the masses.
All Points East’s final day welcomed a great gathering of established indie-rock acts through recent decades. Termed an exciting “North-West reunion” (according to Ben Gibbard); The Decemberists, Sleater-Kinney, Death Cab for Cutie and The Postal Service were all set to appear across the day. Inciting an apt throwback to the grungier sounds of yesteryear, both Yo La Tengo and Sleater-Kinney brought about searing and eclectic performances as the sun radiated amongst this heartfelt Sunday afternoon crowd.
Fresh off the back of their Olympics Closing Ceremony performance, Phoenix enacted their commemorative sounds from 2009, alongside The Lemon Twigs and Spiritual Cramp who also imparted their more recently-manufactured sounds of vintage rock and voracious punk-rock. Eclectic DJ sets also proved a great attraction through the day as BBC’s-beloved Steve Lamacq and artist Self Esteem spun numerous records for insatiable singalongs, as well as pop-R&B trio Say She She who thoroughly energised the Cupra tent.
Brought together by the 20th (or so) anniversaries of their respective seminal LPs, both of Ben Gibbard’s projects closed out this year’s edition of All Points East Festival. For the first act, Death Cab for Cutie enlisted their indie-rock stalwart LP, Transatlanticism, filled with grandiose overtures; neatly conspiring alongside the brighter, synth-laden aura of The Postal Service’s Give Up which supplied the evening's second, and final, act. Such a duo of harmoniously conflicting sounds left a reverberation through the spacious, tree-lined park as we embarked into the night; many discussing the wondrous endings to yet another eclectic year of East London’s most popular festival.
For All Points East, including Field Day, has continued its summer-concluding celebrations by triumphing, yet again, some of the most distinguished artists of their respective genres. Whilst previous years have succumbed to sound issues, such grievances have dissipated this time around with a notable improvement in overall sound quality. Enshrined with local sustainability guidelines (local suppliers, charities, renewable energy sources), All Points East continues to set the current standard of festival production expected in today’s modern age: one which benefits the local communities and offers an unforgettable fortnight of live entertainment. In the face of the ongoing struggles brandishing the festival scene, let’s hope we’re assured of this summery culmination for years to come.
For further info on All Points East Festival, including Field Day, in 2025 please visit here.
Photos are courtesy of Phoebe Fox, Ellie Koepke, Bethan Miller, Matt Higgs, Eric Aydin-Barberini, James Bridle, Greg C. Holland, and Jennifer McCord whose work can be found at their respective links.
Comments