The first weekend of September saw nomadic festival-goers from all corners of the UK traverse to the Isle of Wight for Rob and Josie Da Bank’s 13th edition of Bestival. The location was an extravagantly decorated, rain-drenched, muddy field and according to its theme, set somewhere in a debauched and hedonistic future.
Compared to previous years however, Bestival’s output was of a more limited nature. On our arrival on Thursday we soon discovered the consequence of reduced ticket sales – namely uncomfortably cramped camping conditions thanks to the closure of a number of outer camping areas. Mr Da Bank has since lamented issues around sound quality and tent size and the strength of the line up seemed lacking relatively to other years. Another cock-up was the misplaced transition of the Port from its previous state of excessive extravagance personified in an all-guns-blazing raving ship. Whilst still impressive, the toned-down Spaceport this year left much to be desired for those who had previously witnessed its former incarnation.
Criticisms out of the way, Bestival still provided ample space for enjoyment at what remains one of the best festivals in the country. Thursday provided plenty of incentive for people not to pace themselves and take the first night easy. Hot Chip closed the Big Top whilst Artwork weaved his way through hit after hit on Temple Island – the rapturous reception to the dreamy intro of Late Nite Tuff Guy’s ‘Do I Believe In God’ being one of the standout highlights of the festival.
Friday provided plenty more for us to sink our teeth into. Benji B eased a number of dancers out of their enduring hangovers, setting them on the path for another night’s festivities with soothing grooves and delectable classics like Pepe Bradock’s ‘Deep Burnt.’ Bestival’s organisation may have been somewhat lacking this year but the enthusiasm of punters was still palpable. Benji B’s set for example was interrupted half-way through by Artwork co-ordinating a mass, interactive dance-off featuring the entire crowd down at the Spaceport. Carl Cox’s late night anachronistic set was another spectacle – 90s house classics played to a crowd of people dressed for a future age as astronauts in tin foil costumes and Dr Emmett Browns in lab coats. Famed for staying relevant on today’s circuit with big-room tech house sets, Cox remembered his roots perfectly with the rawness of tracks like Ron Trent’s ‘Afterlife’ and Joey Beltram’s ‘Energy Flash’ highlighting to many the origin of today’s influences.
Saturday was the most limited in terms of music. Nevertheless, The Cure played a well-received setlist of hits and classics, impressive considering that many were written over 30 years ago whilst Richie Hawtin delivered a dark and battering set in the Big Top. In any case, Bestival provides space for fun, and sometimes, welcome distractions from music. Whether it’s midnight explorations into the site’s forest or discovering the weird and wonderful decorations, activities and other random extras that can be found at the festival, the organisers’ commitment to going the extra mile is well appreciated.
If by Sunday some revellers were beginning to anticipate Monday and the warm bed and shelter that it would provide, it didn’t show. Rob Da Bank and Heidi’s Prince set and Greg Wilson’s slot provided plenty of encouragement for people to get moving with their feet. The weekend’s last hurrah was made with a visit to the Bollywood stage. By day it was an extravagantly decorated tent with a capacious interior. By night it transformed into a wall-to-wall sweat fest, full to the brim inside and overflowing out of the exits. The closing triple-salvo of Black Madonna, Heidi and Bicep got the whole tent shaking, with perspiration dripping from the ceilings in a successful effort to end the weekend on a high.
Whilst still a fantastic weekend bonanza to formally end your summer, this year felt as if something was lacking – something not quite identifiable but nonetheless something which obstructed Bestival from being considered one of the standout events of the year. According to Rob Da Bank’s subsequent comments, ‘Bestival was a different beast this year,’ and suggested that future prospects may not be all that bright. Excusing a handful of exceptions, the best received festivals in recent years have all been abroad and whilst Bestival still has a lot to be proud about, it might have to step up its game if it wishes to compete with these and remain one of the go-to choices for festival attendees next summer.
Chris Caden
https://www.youtube.com/watch?v=vJsVZtJ2cTA
(images: facebook.com/bestivalfestival)