Festival Review: Primavera Sound 2024
Primavera Sound returned to its beloved one-weekend fiesta in Barcelona’s Parc del Fòrum from May 30th to June 2nd. The festival’s scale was immense, not just because of the big names like Pulp, Lana Del Rey, and Deftones, but also due to its sprawling seaside setting and efficient transport links into the city. It was a weekend bathed in the Spanish sun (usually), featuring an eclectic mix of genres from metal to R&B to Berlin techno until dawn. This long weekend truly felt like a dream.
The first day, Thursday, felt chaotic initially, with long queues under the blaring sun. Mannequin Pussy was the first act I caught, playing on a surprisingly small stage considering their huge turnout. They opened with the dreamy "I Don’t Know You" before transitioning to pure metal rock in the latter half of their set. Their blend of indie and hardcore rock had everyone in high spirits—an excellent kickoff for the festival.
Thursday’s high spirits were reflected in the festival’s layout, with plenty of food vendors and bars within a short walk. However, the heat made the lack of water fountains a notable issue, and better signage for the existing ones was sorely needed.
Next up was Amyl and the Sniffers, who rightfully took a main stage slot at 9 PM against a gorgeous sunset. Lead singer Amy Taylor’s energy was palpable, as she spent the entire hour-long set jumping and running across the stage while maintaining flawless vocals. It was clear she was a standout front woman of her generation.
Amidst the buzz, I checked out Amaarae. The Ghanaian-born singer, known for her TikTok-famous remix of "SAD GIRLZ LUV MONEY," captivated a large Spanish crowd on the Amazon stage with her dreamy falsetto and authentic R&B style. She engaged the audience with a dance challenge, adding a sweet, interactive element to her set.
Then came Pulp, and as someone who had never seen them live, I was blown away. Sixty-year-old Jarvis Cocker and his recently revived band, in the wake of bassist Steve Mackey’s passing, delivered hit after hit. Amidst a sea of timeless hits, Jarvis Cocker's words reverberated through the night air, infusing the crowd with an infectious energy. "We just want you all to enjoy life," he proclaimed, setting the tone for a euphoric evening. As the band launched into "Sorted For E’s & Wizz," the audience erupted into joyous sing-alongs, creating a surreal scene of happy faces and intergenerational camaraderie.
Despite their veteran status and the late hour, Jarvis Cocker’s energy and charisma were infectious, making the 1 AM set feel like the peak of the night. Cocker’s, typically candid, joked about his usual bedtime routine, all while captivating the audience with his vibrant stage presence. His infectious enthusiasm, coupled with the band's electrifying set, left spectators in awe. They concluded with "Common People" and "Razzmatazz," complete with cannons—a fitting end to an electrifying day.
However, the night was far from over as Peggy Gou took the stage at 2:15 AM. Despite her undeniable electronic prowess, the performance was marred by inadequate lighting and extended crowd shots on the screen, prompting early exits from many attendees.
Friday saw a large audience, many dressed in the ‘Coquette’ style, drawn by headliner Lana Del Rey, The Last Dinner Party, Troye Sivan, and Omar Apollo—all of whom have achieved viral fame on TikTok.
The Last Dinner Party made their Primavera debut with a dramatic and divine stage presence, from their outfits to their perfectly synchronised performance. They romped through much of their debut album in just under an hour, with clear audience favourites like "The Feminine Urge," "Sinner," and "Nothing Matters." Their magical and whimsical show was a much-needed reprieve after the previous night’s late events. Starting their set just before 7 PM, relatively early for a Spanish festival, they captivated the crowd with their enchanting performance.
Omar Apollo, originally from Indiana but born to Mexican parents, confidently addressed the crowd in Spanish as he bounced onto the stage. Performing at 7:20 PM on the main stage, he faced an audience already gathering for Lana Del Rey, many adorned in Del Rey merch and flower crowns. Despite this, Omar showcased his impressive vocal range, seamlessly transitioning from poignant, sad songs to upbeat dance tracks, effectively engaging the crowd and demonstrating his versatility.
Troye Sivan followed on the main stage, understanding the challenge of engaging the predominantly Lana-centric audience. Although there was overlap with Omar Apollo’s fanbase, Troye’s set attracted a distinct group of men dressed in what appeared to be a uniform. With a full backing band of singers and dancers, Sivan’s choreography-fuelled performance was high-energy and engaging. While his vocals were not extraordinary, the set maintained its excitement throughout, featuring well-known tunes like "1999," his collaboration with Charli XCX and “Rush,” arguably his most well-known track.
Lana Del Rey had a lot to live up to, considering the immense hype surrounding her set and what seemed like a larger audience on Friday. Fans had reportedly been queuing outside Parc Del Fòrum, the festival site, since 5 AM, just to secure a spot at the barrier. As a huge Lana fan myself, I was eagerly anticipating her performance. However, it turned out to be somewhat underwhelming and disappointing.
First, there was a 20-minute delay before Lana even took the stage. When she finally did, the immediate reaction from those around me was that the volume was too low; several people commented, "This is quiet" or "I can hardly hear her." Initially, it seemed like a sound technician’s issue, but as the set progressed, it became clear that the problem was more about Lana not putting her full effort into the performance. The entire set felt slow and lacking energy, and for most of it, Lana’s voice was barely audible. Many in the audience shared this sentiment and began leaving early. Despite the lacklustre delivery, Lana’s setlist was almost perfect, including well-known older songs like "Summertime Sadness," "Video Games," and "Young and Beautiful.” She did however take some time to sign autographs and meet fans at the barrier. However, her minimal interaction with the crowd and the absence of a proper goodbye left the performance feeling incomplete and uncharacteristically unremarkable for Lana.
After Lana’s set, Barry Can’t Swim’s performance on the Cupra stage was a breath of fresh air. The Scottish DJ, riding the wave of success from his recent album, drew a lively and enthusiastic crowd. His energetic set was exactly what the audience needed to shake off the lethargy from the previous performance and get everyone back into the dancing mood for the latter half of the night and early morning.
Disclosure, although overlapping slightly with Barry Can’t Swim, closed the main stage for the night from 1:45 to 3 AM. They delivered a solid performance filled with their well-known hits like "White Noise" and "Latch," alongside the debut of their recent single "She's Gone, Dance On." The brotherly duo, now seasoned festival kings, maintained their reputation for putting on a big and engaging show. However, the large stage felt somewhat impersonal, and their performance might have been better suited to a smaller, more intimate stage like the Cupra stage.
Saturday was a rollercoaster from start to finish, starting with a 12pm wake-up call announcing Charli XCX’s surprise "Party Girl" set on Barcelona Beach. Accompanied by A.G. Cook, her recent album co-producer, and her fiancé George Daniels, drummer for The 1975, the event didn’t require a Primavera ticket, making it accessible to all. By 1 PM, a lime green box on Barcelona beach was surrounded by hundreds of Charli fans, casual beachgoers, and even someone’s nan who made it past security to get close to Charli.
The set was phenomenal, with Charli delivering a flawless back-to-back performance with her fiancé and co-producer under the blazing sun. After an hour-long set, Charli promised, "Barcelona, I will see you all at my set later," and swiftly exited before the streets filled with fans chasing her.
The afternoon continued with a chilled vibe as Royel Otis took the stage back over at Parc Del Forum. This Australian duo, who recently gained fame with their viral cover of The Cranberries "Linger" and "Murder on the Dancefloor," delivered a dreamy 45-minute set. Their own track, "Oysters in My Pocket," stood out, showcasing their potential for even greater success.
Something you wouldn't expect from a summertime festival in Barcelona is a thunderstorm, and this wasn't just a light drizzle. The clouds opened up, unleashing hours of thunder, lightning, and torrential rain straight into Mitski’s 10 PM set. There was a lot of talk about pausing the day, but most of the audience sought shelter at either the Boiler Room x Cupra stage, which felt like a greenhouse with its nonstop DJs, or under the numerous covered food vendor tents. Despite everyone getting drenched, spirits weren't dampened, and as the rain started to lighten up, many people made their way over to catch the middle and end of Mitski's set.
Mitski’s performance was incredibly raw, intimate, and performative, even on the main stage. You either get it or you don’t, and despite the stark contrast in musical style and genre with SZA, who followed her, the crowd seemed to appreciate what Mitski offered. She saved her most well-known songs for last, interacting with people, objects, and spaces with palpable respect. From her air guitar to her interactions with the crew around her, Mitski made sure everyone knew how much joy performing brought her. Her sheer energy was evident on her face and in her performance, setting a high bar for SZA, who was up next just 15 minutes later on the adjoining second main stage.
SZA followed Mitski with a stunning performance. Despite the mixed crowd, her flawless vocals, impressive range, and engaging dance routines shone through. She effortlessly transitioned from high-energy tracks like “F2F” to emotional ballads like “Nobody Gets Me,” ending with a powerful rendition of “20 Something.” Her set featured a variety of songs, including the crowd-pleaser “Rich Baby Daddy” featuring Drake, which had everyone singing along. SZA’s ability to blend different genres and showcase her versatility was evident, and even with a diverse audience, she managed to deliver a captivating performance. Swinging from bulldozers and interacting with the audience, she brought a unique energy that set her apart, leaving the crowd in awe.
Charli XCX, however, was the true headliner of the weekend. Her set on the Amazon Music stage at 2:30 PM was a highlight, with fans eagerly anticipating her upcoming album “Brat,” set to release on 7th June. Charli’s commanding stage presence, singing along to fast-moving tracks, and urging the crowd to get on their shoulders showcased her as 2024’s “it girl.” She owned the festival, leaving the audience craving more despite cutting her set short. The closing with “Vroom Vroom” and the mass sing-along to “I Love It” left everyone soaked, suntanned, and in a daze from three days of madness, ready to head home after the 3:30 AM finish.
Primavera is a festival for everyone, featuring a diverse lineup that spans genres and has maintained a 50/50 gender split since 2019. From little kids with their families to dance music aficionados and rock enthusiasts, there’s something for everyone. Acts range from Amyl and the Sniffers to Barry Can’t Swim, and everything in between, ensuring a variety of music that appeals to a broad audience. Set in the vibrant city of Barcelona with relatively cheap pints of Estrella (roughly £4), it’s a must-attend event next summer. And if you can’t make it to Barcelona, consider catching one of the other Primavera dates, like Buenos Aires this November. The festival’s commitment to diversity, quality music, and a vibrant atmosphere makes it an unmissable experience.
Words by Lucy Holden
Photography provided by Good Machine
