Love Saves the Day

The Bristolian two day event kicked off to a sunny start, bringing in flocks of hipsters from far and wide to Eastville Park. Saturday was a sell-out with queues of up to two hours to get into the festival site and huge lines for both the bar and toilets too. Despite the lack of amenities the curation of the festival was really well done, with all tents hosting an array of sounds for all tastes. With lots of Bristol performers, caterers and exhibitors, Love Saves the day 2015 definitely seemed a joyous celebration of the cool and diverse city.

Established as one of the best and biggest selling electronic acts, Groove Armada was one of the most legendary names to perform at Love Saves the Day this year. The relaxed and chilled vibes of daytime main stage instantly filled into a crowd of avid fans eagerly awaiting the electronic music duo. At the first kick drum the crowd went wild, kicking off the party atmosphere at main stage. Playing samples of 'I see you baby' the duo quickly move on delivering to a sea of raised arms and shoulder riders. Towards the end, the crowds attention began to slant just before teasing us with the legendary party anthem 'Superstylin' then kicking into it in full at the end just in time for sunset.

Cloud 9 presented by Apex proved to be tent for the party atmosphere hosting the likes of Tourist and Gorgon City. Tourist- a Grammy winning artist is certainly grabbing the musics lovers attention and 2015 has been a good year for him. As well as an excellent musician, he proved himself as a phenomenal DJ for Saturday Love Saves the Day. At no point did the crowds attention seem to stray. Gorgon City also provided a high finish to a night for the house/ garage fans.

The London singer/songwriter Jessie Ware, turned out to be a wonderful wind down a predominantly DJ and dance night. With some technical difficulties at the beginning Jessie Ware smoothly brushes it over by greeting the crowd. Her soulful and flawless voice eased us into sways of utter blissful happiness. Right before the end of the set Ware announces to 'slow dance with person you are standing next to' to which we complied singing the heart stopping 'Wildest Moments'. With the stage lights now turned off and heading back through the cold, the atmosphere of sheer satisfaction was upon the crowds face as you could hear passers-by singing Jessie Ware lyrics.

Saturday’s sunshine and atmosphere was the perfect way to really kick off the festival season and although the prior weather reports suggested otherwise, Sunday’s proceedings started in much the same way. Again, queues for the bars and toilets were a slight annoyance, even though tickets were still available on the door but it was nowhere near as bad as the first day. Perhaps the fewer people seeing the entire festival through were really making the most of the penultimate bank holiday before Christmas!

Giant illuminated signs outside the festival gates informed Sunday’s crowd that it was ‘party time’, and if any of the stages at Love Saves the Day lived up to this promise, it was the ‘Shambarber’ stage. Tucked away in the corner of the site, sheltered from the wind by the Paradiso tent and a slightly quieter bar ;) – this place was alive with festival spirit. It was a suntrap, with Dirtytalk and Jethro Binns providing the perfect accompaniment of feel-good house tunes making it really difficult to leave.

After a day outside, it was time to get some shade inside the paradise stage – one of the festival’s two larger tents. Floating Points’ stepped out, accompanied by a familiar face in Kieran Hebden (Four Tet), who must have been getting into the zone for his set later in the night. Floating Points’ impressed with yet another feel-good festival set – something he can be relied on. Whilst scatterings of electro-funk and disco took the premise, it was his own record ‘Nuits Sonores’ which really stood out as being something special.

After this a set by Daniel Avery which was again a lot of fun (although a little tamer than the last time I saw him at Manchester’s Soup Kitchen) it was the turn of Four Tet to take to the stage once again. Four Tet is an artist in the true sense of the word and once again he sculpted the perfect set to close the festival for the Paridiso tent’s crowd. He threw out tunes from every corner of the world, with samplings of African music seamlessly transitioned into deep electronic soundscapes. He treated our ears to some of his own tracks, with the reaction of the crowd to the haunting ‘Angel Echoes’ standing out as a highlight to the whole festival.

The time had come to get ready to round off a really memorable weekend and it was down to Harlem’s own Azealia Banks to close it out in style. Whilst Miss Bank$ has been known for a number of high profile arguments with other certain celebrities in the past, at love saves the day she let her music (and dancing) do the talking. Donning her sparkly purple jacket and white high tops and joined by her backing dancers, she covered and owned every inch of the stage. Singing and rapping along to songs which ducked and dived between hip-hop and popular dance in style, she brought her A-game from in the opening song of ‘Idle Delilah’, continuing to impress through to her arguably most famous track in ‘212’. There was no grand exit from Azealia – a simple ‘Thank you Bristol’ and she was gone.