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Kicking off with Honour Before Glory in the Refectory, it was clear to see the bar had been raised quite highly for that day. The Leeds sextet came forth with brooding soundscapes and soaring vocals that went some way to shaking off their ‘opening act’ label, hinting at an ambition and purpose that could deliver the group to further success in the near future. Ultimately, however, a lack of stage presence and some tinny sound production grounded the band’s ambition and marred an otherwise enjoyable performance. Next up were the bizarrely named iLiKETRAiNS whose peculiar title did not do justice to the melodic post rock and thundering breakdowns they efficiently carried out. Frontman Guy Bannister’s baritone vocals stood out well against the barrage of booming guitars, but the morose tone of each song evoked a feeling of tedium and glumness that had this reviewer somewhat a little more down than before performance.
Nevertheless, spirits were perked up by creative turntablist Gold Panda whose innovation and comfort at the decks was clear as soon as he took to the stage. Starting out always with straight hip-hop beats, Gold Panda used a myriad of samples to construct a meditative unbroken groove that had the Stylus bar packed to the brim. Gold Panda truly represented a master at work, and the crowd attendance and reception showed how much the festival-goers appreciated this.
However, if I was blown away by Gold Panda, Local Natives really did steal the show. The Los Angeles five-piece took to the Refectory stage promptly and from the opening song had the audience transfixed. With spiky afropop guitars and infectious choruses, it was clear to see how the group have garnered so much critical attention in recent months. Each note seemed to matter to this band, and this technicality did not get in the way of feeling- it was clear to see that each of the three vocalists sang with such conviction and passion that the audience couldn’t resist their charms. Blasting through new album material as well as fan favourites from the debut album Gorilla Manor, Local Natives left the crowd wanting more of their sweeping indie rock that, for this reviewer at least, was definitely the highlight of the day.
And now onto the headliners. Spearheading the British underground electronica movement, Four Tet was in some ways a disappointment. Now, I think Four Tet’s music is great - his abstract and pensive electro had me very excited for his arrival on stage. But though the music was brilliant, and Four Tet’s mastery of his equipment undeniably skilful, the setting just wasn’t right. This is the kind of music that needs a dancefloor, and a packed one at that. This was not in effect at Leeds that night, however, and Four Tet’s music never really reached the rapturous highs that it is remembered for on record. Ending the festival with Broken Social Scene, it was easy to see how the band has gathered somewhat of a cult following in their years of activity. Though arriving on the stage at least twenty minutes late, the band surged through old and new material with an inborn cheerfulness that dissipated to the audience in no time. With no fewer than six members on stage at any one time and frequently bringing on new members and instruments, BSS served as a welcome conclusion to a day of musical talent and creativity.
Constellations, if repeated, will no doubt be an essential event for music lovers everywhere to pencil in in their diary. Though some acts were more outstanding than others, everyone involved with the autumnal festival has to be commended on their ability to produce such a short but sweet respite from the sometime drudgery of university life. Roll on next year!
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