- On the whole, inner-city festivals in the UK don't have a very good reputation. They're renowned for cramming too many ticket-holders into small spaces with too few toilets and too few bars, while using below par sound systems to project sets from stale, copy-cat lineups. Often the only redeeming qualities are you and your friends.
But as was proven by Bristol's Love Saves The Day, there's an exception to every rule. Once you've stood at the front of a crowd, engaged in a frenzied call-and-response session with Skepta, amid a staggeringly good rendition of grime smash "Too Many Men," things don't seem all that bad anymore. That track was the highlight of the Londoner's closing slot on Sunday, and the energy coursing through the throng was tangible. Joined later onstage by the rest of the Boy Better Know ensemble, Skepta and co. reminded me exactly what made this scene so vital in the first place: tough, commanding breakbeats fused with even faster lyrical delivery.
If there's one major selling point about Love Saves The Day, it's that it's actually a fully-fledged festival, rather than simply a handful of marques erected in a park. Less over-the-top pyrotechnics and oversized inflatables and more bizarre side attractions (such as a church offering marriage services to the sound of blistering drum & bass), the silliness is all part of the experience.
Amidst all the shenanigans, day one also offered up a selection of musical highlights. George FitzGerald kept things bouncy enough to retain our attention as the sun beat down on those outside his darkened tent, and, a little later, local favourite Maxxi Soundsystem ushered us outside for a set of detailed house rollers that sat between the progressive and deeper ends of the spectrum.
Ultimately, though, it fell upon Craig Richards, who was making a not-so-common appearance outside of London, to truly impress. He unleashed a swathe of electro-inflected techno in the way only he knows how, followed by a selection of powerful, hypnotic beats courtesy of Âme, including their own "Ensor."
Boasting a stronger lineup than the Saturday, and a far more relaxed, family-friendly (though no less debauched) atmosphere, Sunday was Love Saves The Day at its best. Once inside the grounds I sidestepped the on-site roller-disco for fear of breaking a leg, and headed straight to see Erol Alkan play at what was a woefully under-attended Paradiso arena. Despite the feeble numbers, the Phantasy Sound boss persevered, launching into a complex set of synth and hook-dominated techno, before dropping Aphex Twin's "Windowlicker" in all its funky-then-aggressive glory.
Alkan's spell sat in stark contrast to Grandmaster Flash's insistent chart hip-hop and R&B on the Main Stage, but was an apt warm-up for the infectious sounds of Floating Points, who drew me in and refused to let go. Of the remaining talent, Daniel Avery also deserves a namecheck, excelling with some typically chugging, dirty beats.
With dance music as popular as it is in the UK at the moment, many of these more urban events will always bring with them their fair share of issues—from men in terrifyingly bad vests ogling girls, to exiting woes (too many tired legs, not enough taxis). This was barely true of Love Saves The Day, though, meaning the Bristol festival easily ranks amongst the friendliest, most enjoyable and well-organised of the UK's city-based offerings. Here's hoping the rest are taking notes on what made this weekend such a success.
