Way
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Way Out West stands as one of the premier festivals in the Nordic countries, this year drawing over 70,000 attendees to the Swedish city of Gothenburg. Beyond a lineup tailored to an indie-centric audience, it promotes itself as a multicultural event, boasting screenings of dozens of films, a vibrant late-night concert program, and a unique, entirely vegetarian culinary offering crafted by renowned chefs.
Let’s get to it.
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 treating us to an unreleased track, "All Night All Day" (new album on the horizon?). It pained me to miss their final minutes, but I had to plug into the provocative, electric, and fiercely energetic Yves Tumor. Their hypnotic aesthetic and stage presence, their outfit (cow print shorts! They know what’s up), and their rockstar attitude screamed 'artist on the verge of a major breakthrough.’
Yves Tumor. Photo: Nathalie Ulinder
I couldn't miss a slice of the frantic, eclectic, and incredibly intense B2B set from Jess Hands & Joanna Party (the fusion of these two artists is nothing short of explosive). After a brief, captivating encounter with James Blake (his "Thrown Around" and famous Frank Ocean "Godspeed" cover gave me goosebumps), I joined the crowd for the legendary Jack White, who didn't skimp on White Stripes classics. Both Blake and White were late additions to the lineup, joining just weeks (or was it days?) before, stepping in to cover the (very) unfortunate cancellations of The Smile and Queens of the Stone Age.
After the main daytime concerts (running from noon to midnight), the festival hosts “Stay Out West,” a nighttime program at a handful of venues across the city. On the first night, I headed to El Perro Del Mar at Annedalskyrkan, a packed church-turned-venue, completely surrendering to the ballads and visual experiences of the established Sarah Assbring, an artist still eluding easy genre categorization.
El Perro del Mar at Annedalskyrkan. Photo: Joel Eliasson
FRIDAY, DAY 2
Friday, under the notorious Swedish west coast rain, I discovered DJ Beverage. His style, a unique blend of influences ranging from Marvin Gaye's soul to Cities Aviv's experimental hip-hop, with nods to cult films like La Haine—left me astounded. The setlist and sample choices were nothing short of brilliant (do yourself a favor and listen to his album My Way Home). I decided to stick around for the sensorial explosion of Barry Can’t Swim's electro-house, hitting a serotonin peak with his fun latest single "Kimbara" (sampling Celia Cruz's Latin anthem "Quimbara").
The first afternoon sunbeams began to peek through, banishing the torrential rain just as Alvvays struck their first chord. This band is, in my humblest opinion, the pinnacle of contemporary dream-pop. Their ability to craft ethereal, retrospective atmospheres—whether through their effect-laden vocals or their lyrics—shines on tracks like "Dreams Tonite," "After the Earthquake" (which could well have been titled "After the Storm" today), or their mega-hit ;-) "Archie, Marry Me." I've been marveling at French band L’Impératrice for months now. Their disco-funk-house blend and stage presence deserve the biggest ovations (and, judging by their festival success, the main stage). With a meticulously crafted set, costumes, and sound, all with a galactic tinge (yes!), it was a joy to see them draw the best crowd I witnessed over the three days.
L’Impératrice. Photo: Pao Duell
It's genuinely hard to describe Fred Again...'s set – the undisputed (right?) headliner of the festival (with all due respect to Pulp). His project is among the most original and innovative in electronic music, elevated by sonically unique experiences (his live finger drumming is absolutely awe-inspiring). Since his rise to fame a few years back (for me, it was his legendary 2022 Boiler Room set), I don't think it's just his noteworthy collaborations, his storytelling and emotional depth, or his savvy platform management. I'd say it's his approachable and humble persona. Truly, the vibe Fred gives off is one of sincere happiness; he seems to enjoy experimenting with sounds and new creative formulas as much as, if not more than, his audience.
Fred Again. Photo: Pao Duell
After the main festival site wound down (it killed me to miss Slowdive), we headed 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 a must-listen for fans of R&B, new wave, and freestyle. At least I got to hear "The Fields" (though my friend Kate missed out on "Had Ya Called").
SATURDAY, DAY 3
Play Donna Summer's "I Feel Love" and Technotronic's "Pump Up The Jam," and you've already won me over. DJ Seinfeld did just that, and more, with an extensive and exquisitely planned setlist, including his iconic "Now U Do" with Confidence Man. Seinfeld was the perfect warm-up for the queen of electronic music, Peggy Gou. Just weeks after dropping her highly anticipated and acclaimed debut album I Hear You, the artist demonstrated her well-deserved triumph (it's no surprise she's on everyone's lips). She commanded the stage with absolute mastery, looking impeccable (they say she knows as much about fashion as she does music), radiating attitude, and backed by a meticulously crafted, fun visual aesthetic reminiscent of her Korean influence. Gou premiered her latest single "Find The Way" and delighted us with a set that didn’t miss Disclosure's "She’s Gone, Dance On" (what a banger!).
Peggy Gou. Photo: Hanna Brunlof
I joined the front row for Fever Ray, the most conceptual and visceral performance of the entire Way Out West. And no wonder, because the general feeling wasn't that of attending a typical festival set (usually scaled back artistically) - quite the opposite. It was a complete, theatrical production where no element was overlooked. Goosebumps and chills during tracks like "Kandy," "Even It Out," and "If I Had a Heart."
Fever Ray. Photo: Way Out West
The National closed the festival, culminating their tour with energy, emotion, and a truly noteworthy live performance. An ecstatic and unpredictable Matt Berninger (just ask the tech chasing him with the mic cable!) gave his all, repeatedly venturing into the crowd and showcasing, with every breath, a potent and mesmerizing voice, especially sweetened on tracks like "I Need My Girl," "Light Years," or "Mr. November" (now "Madam November," dedicated to US presidential candidate Kamala Harris).