Review Way Out West 2024
originally published in vistodeotrolado.com
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Now, onto the festival itself:
THURSDAY, DAY 1
Fresh off her latest solo album and tour, Adrianne Lenker returned to her indie folk-rock project Big Thief with palpable energy, even debuting a new track, All Night All Day (new album on the horizon?). It pained me to miss their final moments, but I had to catch the provocative, electric, and high-energy set from Yves Tumor. Their hypnotic stage presence, killer outfit (cow print shorts! they know what’s up), and rockstar attitude gave the distinct impression of an artist on the verge of hitting the next level.
Yves Tumor. Photo Credit: Nathalie Ulinder
I couldn't miss part of the frenetic, eclectic, and intense B2B set from Jess Hands & Joanna Party – the fusion of these two artists is explosive. After catching some of James Blake (his performance of Thrown Around and his famous cover of Frank Ocean's Godspeed gave me goosebumps), I joined the crowd for the legendary Jack White, whose set thankfully included some of The White Stripes' most iconic tracks. Both Blake and White were late additions to the lineup, stepping in just weeks (or maybe even days?) beforehand to cover the (very) unfortunate cancellations of The Smile and Queens of the Stone Age.
After the daytime concerts wrap up (running from noon to midnight), the festival organizes "Stay Out West," featuring after-hours programming at various locations across the city. On day one, I caught El Perro Del Mar at Annedalskyrkan, a packed church converted into a venue, completely captivated by the ballads and visual experiences of the established Sarah Assbring, who remains intriguingly hard to pin down to a single genre.
El Perro del Mar at Annedalskyrkan. Photo Credit: Joel Eliasson
FRIDAY, DAY 2
Friday, under the signature drizzle of the Swedish west coast, I discovered DJ Beverage. His style – a unique blend of influences ranging from Marvin Gaye's soul to Cities Aviv's experimental hip-hop, even touching on cult films like La Haine – left me stunned. The setlist and sample choices showcased sheer brilliance (do yourself a favor and listen to his latest album, My Way Home). I stayed put at the same stage for the colorful explosion of electro-house music from Barry Can’t Swim, hitting a serotonin peak with his fun latest single Kimbara (sampling Celia Cruz's Latin anthem Quimbara).
The first rays of afternoon sun started to break through, leaving the torrential rain behind just as Alvvays struck their first chord. This band is, in my humble opinion, the ultimate expression of current dream-pop. Their ability to craft ethereal, retrospective atmospheres, whether through their effects-laden vocals or their evocative lyrics, is evident in tracks like Dreams Tonite, After the Earthquake (might as well have been "After the Storm" today), or their beloved hit Archie, Marry Me. I've been marveling at the French band L’Impératrice for months now. Their disco-funk-house blend and stunning stage presence deserve the biggest ovations (and, judging by their reception here, a main stage slot). With an extremely polished set, costumes, and sound, complete with galactic touches (yes!), it was a joy to see them draw what felt like the best crowd of the weekend.
L’Impératrice. Photo Credit: Pao Duell
It's genuinely hard to describe Fred Again..'s set – arguably the festival's undisputed headliner (with apologies to Pulp). His project is among the most original and innovative forces in electronic music right now, elevated by sonically unique experiences (his live finger drumming is absolutely mesmerizing). Since his meteoric rise a few years back (kickstarted for me by that famous 2022 Boiler Room set), I don't think it's just his notable collaborations, his knack for storytelling through music, or his savvy use of platforms. I'd argue it's his approachability and humility. Truly, the vibe Fred gives off is one of pure, sincere joy – like someone who enjoys experimenting with sounds and creative formulas as much as, if not more than, his audience.
Fred Again.. Photo Credit: Pao Duell
Post-festival (it killed me to miss Slowdive), we headed over to Folkteatern for "Stay Out West" and managed to catch the end of an intimate set by an artist whose name you should remember: Nourished By Time. His album Erotic Probiotic 2 is essential listening for lovers of R&B, new wave, and freestyle. At least I got to hear The Fields (though my friend Kate unfortunately missed out on hearing Had Ya Called).
SATURDAY, DAY 3
Dropping Donna Summer's I Feel Love and Technotronic's Pump Up The Jam is usually enough to win me over, and DJ Seinfeld did just that with an extensive and exquisitely planned set, even including his iconic collaboration with Confidence Man, Now U Do. Seinfeld served as the perfect warm-up for the reigning queen of electronic music, Peggy Gou. Just weeks after releasing her highly anticipated and acclaimed debut album I Hear You, she demonstrated exactly why she's the name on everyone's lips. With absolute command of the stage, looking impeccable (they say she knows as much about fashion as music), radiating attitude, and backed by meticulously crafted, fun visuals nodding to her Korean heritage, her triumph felt utterly deserved. Gou premiered her latest single Find The Way and delighted us with a set that, to my surprise, included Disclosure's recent banger She’s Gone, Dance On.
Peggy Gou. Photo Credit: Hanna Brunlof
I made my way to the front row for Fever Ray, easily the most conceptual and visceral performance of the entire Way Out West. And understandably so, because the feeling wasn't remotely like attending a standard, often artistically scaled-back, festival set. It was the complete opposite – a full theatrical production where no detail was overlooked. Goosebumps and chills were mandatory during tracks like Kandy, Even It Out, and If I Had a Heart.
Fever Ray. Photo Credit: Way Out West
The National closed out the festival, bringing their tour to a powerful conclusion with energy, emotion, and a truly remarkable live show. An ecstatic and unpredictable Matt Berninger – evidenced by the poor technician often seen trailing behind him with the microphone cable – gave his absolute all. He repeatedly ventured deep into the crowd, showcasing with every breath a potent and mesmerizing voice, sweetened to perfection on heart-wrenching tracks like I Need My Girl, Light Years, and Mr. November (pointedly introduced as Madam November, dedicated to US presidential candidate Kamala Harris).
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