With the eighteenth Primavera Sound Festival now over, we look back at the climatic third day of the festival.
Here is our round-up of the day’s best acts.
Best-friends Rosa and Jenny, better known as psychedelic-pop duo Let’s Eat Grandma, gave a reality-shattering performance at the Heineken Hidden Stage.
After releasing their debut album I, Gemini, back in 2016, the pair started to gain an underground following thanks to their ethereal synth-pop music, and it also landed them a spot at last year’s Primavera Sound Festival.
But they upped the ante in a big way at this year’s event and, despite playing together since the young age of just 13, the two-piece performed with the same enthusiasm and energy as they did at their early gigs; it was a pleasure to watch them still enjoying themselves on stage after so many years.
And with their new album, I’m All Ears, out later this month, the audience was also treated to some new songs.
On the personal-sounding ‘Falling Into Me’, the singer unleashed her thoughts and her perspective of life and the lyrics really came across even in a live setting. Whilst the performance of ‘It’s Not Just Me’ refined the group’s already successful formula, but added a more catchy and commercial feel.
This definitely won’t be the last time you see Let’s Eat Grandma at Primavera Sound Festival. But it may be the last time you see them on a festival stage this small.
Swedish pop-star, Lykke Li performed on the Mango stage during the final evening of Primavera Sound Festival. And anthems, entrancing electronica beats, and soprano vocals were all on display during Lykke Li’s intense set
“Muchas gracias,” said Lykke Li after finishing the ambient and graceful ballad ‘Just Like A Dream’, from the 2014 album I Never Learn. Dressed in all black latex and with a tambourine in hand, Li sprung across the stage with elegance and passion
Capitalising upon the anticipation for her forthcoming new album So Sad, So Sexy – the front cover of which acted as the stage’s visual backdrop – Li performed a variety of the LP’s lead singles, as well as album tracks that are yet to be released; ‘Two Nights’ and ‘Deep End’ were well received from the Spanish crowd and they were in the palm of her hand for the gig’s entirety.
The highlight of the performance was when Li played her hugely successful track, ‘I Follow Rivers’, before her latest track, ‘Utopia’ closed the set in emphatic fashion.
In an age of undistinguishable and duplicated pop music, Lorde is one of only a handful of artists striving for innovation; a glorious anomaly amidst a swarm of uninspired, money-chasing regurgitators.
Her performance at last year’s Glastonbury Festival, for example – for which a mammoth, glass box on hydraulics filled with interpretive dancers and actors dominated the stage – proved her to be capable of not only achieving a sense of true artistry and imagination on record, but in a live capacity as well.
Unsurprisingly then, the New Zealander’s set over on the Seat Stage during the final night of Primavera Sound Festival, was an expressive and forward-thinking affair – if not a little too flawless and pre-planned at times.
Combining jilted pop music with a dash of the experimental, the 21-year-old’s setlist was perfectly balanced. Tracks from the coming-of-age, party playlist of Melodrama, for example, zig-zagged seamlessly between cuts from her debut release, Pure Heroine; each song’s brilliance as prevalent and undeniable as the last.
‘Sober’ kicked things off with a troupe of dancers performing emotive choreography, whilst Lorde broke-out her manic and possessed, individualistic moves in between each vocal.
”Have you had some good dances this weekend? Because you’re in my house and in my house we dance,” shouted an enthused Lorde before gliding into the sarky electropopper ‘Tennis Court’.
An airing of ‘Magnets’ – her collaborative effort with electronic duo Disclosure – came shortly after, and provided one of the more mainstream moments, whilst ‘The Louvre’ cleverly incorporated the chorus to Frank Ocean’s ‘Lost’.
A beefed-up rendition of the millennial breakout hit ‘Royals’ and the unglamorous story of excess on ‘Perfect Places’ were both rapturously received, of course, but it was a more tender moment that truly stood out.
The beautifully-composed and poignant, piano-led ballad of ‘Liability’ was delivered as Lorde sat perched on the front of the stage; legs dangling with an endearing, child-like naivety. Tears streamed down the faces of fans as her delicate vocal tugged at the heartstrings.
Pure Heroine‘s ‘Team’ followed – quickly re-picking up the pace – and finally saw Lorde abandon the safe haven of a relatively to-the-script performance, in favour of a slightly more spontaneous and freeing gallop across the front of the crowd.
Closing the set with the fractured, shouldn’t-work-but-it-does mega-hit ‘Green Light’, foreseeably saw her disciples erupt into inhibition-less abandon, as a waterfall of confetti rained down; the sight of over 40,000 baggy limbs bouncing in unison to the hook of ”I hear sounds, in my mind” was definitely one to behold.
Praise the Lorde.
Words: Cameron Poole (Let’s Eat Grandma, Lykke Li) and George King (Lorde)
Featured Images: Paco Amate (Let’s Eat Grandma), Sergio Albert (Lykke Li), and Eric Pamies (Lorde)