Last month, we were given access to Connect Festival 2023 at the Royal Highland Centre. Over its three days, a number of committee members were able to experience the Festival's events, facilities, venues, eateries, and, most significantly, the live music on show: from Connect's smallest Cottage Garden stage all the way through to each day's headliners: Primal Scream, Fred Again.., and Loyle Carner and Boygenius.
Friday, Brought to You by Lachlan and Millie:
Lachlan and Millie’s Take:
Having legged it into New Town, shuttle-bused, and wristbanded, we headed over to
the meadow to find behold the scenic CONNECT sign and begin to absorb the atmosphere of the festival. After getting a pint and bite to eat (marks to Soul Full’s Vegan Soul Burger), we were first able to properly enjoy what the festival had to offer with the Guitars & Other Machines stage’s first act: Ethan P. Flynn. Having just come off tour with Snail Mail, Flynn aimed to blend a mix of new and old music while getting used to being back with his accompanying band – the cellist of which helping to make the set that bit more dynamic than other similar acts. Stating how he went to college with Jockstrap’s Taylor and Georgia – who were next to play on the Guitars stage – before closing with a solo ballad, the set was full of bright moments and a sign of things to come for the rest of the day.
Retracing our steps to the meadow section of the festival, we caught a brief change of
sets at the Garden Cottage stage: which really is a small cottage in the middle of the grounds with a tiny garden-furniture-esque mini-stage as its nucleus. Amongst its apple trees, tomato plants, and lavender, we heard a lot about the Tiny Changes community and their charity support for youth mental health in Scotland (I’ll be putting a link to their website at the end of my section). During the rest of the day, a number of smaller artists played wholesome acoustic sets that matched the aura of the stage perfectly as a quiet escape from the rest of the festival.
With the rest of the day in full I-have-to-be-here-then-there-then-there motion, Future
Islands took to The Grand Parade main stage to showcase Samuel T. Herring’s famously strange vocal performances as powerfully as ever. “Walking Through That Door” purposefully focused the amazing pay-off of the synth building and fixated frontman that the group is most noted for.
Then returning to the Guitars stage, the promise of Mercury Prize favourites Jockstrap
was given to its best degree. From “Jennifer B” to “Greatest Hits” to remixed passages of Ye’s “Monster” and the crowd pleasing (supposed) closer “50/50,” if, amongst the crystalline vocals and strings of Georgia and Taylor’s excellently arranged and rearranged electronics and keys, you had been paying particularly close attention to the duo’s one-stage luggage, you’d have found their arrival to Edinburgh Airport to have come straight from Atlanta – along with a special guest. For the real close to the set, Jockstrap debuted a new single with underground Atlanta emo singer Ian Starr (@777starrdust), who, with Georgia and Taylor circling the stage recording everything for this new song’s music video, threw themself across the stage with an Adventure Time meets the Babadook balaclava on and a kaleidoscopic glitch-pop rave-electronica backing making the suddenness of the whole unexpected situation that bit more unbelievable. We really should’ve thrown an Edinburgh Independent Music Society logo into the video come to think of it now, but Millie's screaming is apparently the only publicity we're getting from it now.
Before continuing with the day, the formality of Connect was emphasised with a festival
toilet visit to… actual toilets. The lack of need to walk through piss, shit, and/or mud to use the toilet mentally separated the festival for me from past experiences. With the Royal Highland Centre as Connect’s venue, there’s a unique bridging between regular live-music facilities and all the open-air benefits that a festival usually brings. It emphasises just how wide the range of audiences were at the festival. From the family zones and attentive accessibility benefits over the grounds, I’ve never seen baby changing facilities at a festival a few minutes after having had a pint thrown over me in the buzz of a hyper-pop crowd.
The Grand Parade was next met with the cult heroes of Scottish rock Franz Ferdinand
– along with a full-on packing up of the weather to a classic festival-measure of rain. Opening with “The Dark of the Matinée” and “No You Girls,” (teenage Millie's Norwich theme tune) you’d have been lucky to hear Alex Kapranos over all the excited screams of: “IT’S ALEX KAPRANOS.” The band soon said how pleased they were to be back playing in Scotland, performing in front of novel, fake amps with each band member’s name printed on it. The electricity the audience brought to Franz Ferdinand’s return was profound and something special to have been a part of.
Then they played the song.
Penultimately, Confidence Man rounded off the form that the Guitars & Other Machines
stage had brought about for the day. With the drummer and keys player all in black and with black sheets over black hats, there was a powerful contrast between the unknown of what they were building musically and how in-your-face and vibrant Janet Planet and Sugar Bones are as vocalists and the disco electropop they communicate collectively. From the housey cuts Clarence and Reggie put together without their vocalists to the synchronised dancing, neon-cone bra, and phenomenal spectacle of “Holiday,” Con Man were something very special for everyone in that crowd.
Then came the time to see one of the most important Scottish albums from start to
finish. And somehow, we were right at the front of the crowd for the ride. With the band on stage alongside a gospel choir, Bobby Gillespie – wearing a full, outrageous Screamadelica suit – looked to the crowd for a bit of help with a Scottish gospel song called “Movin’ On Up.” From then on, very few words can summarise just how inspiring and meaningful it was to stand and watch a classic of the acid house scene unroll before your eyes. So, I wont even attempt it for the majority of the set.
Noticing that “Loaded” had been skipped halfway through the set, the set’s ending
was ensured to be the most memorable spectacle of the whole Friday date, and as a lone piper walked onto the stage to replace “Loaded”’s opening trumpets with bagpipes, I don’t think anyone can argue with that fact. The rest of the song gradually built up in layers as each member of Primal Scream was shown in their own spotlight – extending the track’s mix without being arduous or feeling like too much at all. It could have unnoticeably gone on forever. Before closing with some more upbeat tracks – Gillespie’s words, not mine – Scream’s frontman quoted Johnny Thunder in saying, ‘If it doesn’t get the kids dancing, then it’s not rock.’ If you were to replace “rock” with “fucking brilliant music,” then there wouldn’t have been a single act that failed to deliver on Connect Festival’s Friday date.
Tiny Changes’s Website: https://tinychanges.com/
Saturday, Brought to You by Kate and Cameron:
Kate’s Take:
Arriving at lunchtime, Cameron and I investigated the different eateries available to
satiate our hunger. To my surprise, the choices were brilliant. I went for my old favourite, halloumi fries and sriracha mayo dip from Luxford Burgers.
After stuffing our faces, we were on the move. Tucked away from the hustle and bustle,
we stumbled upon our first act of the evening, Cara Rose at Gardeners Cottage. This Tiny Changes stage was a lovely personal space with a great atmosphere. Sitting amongst the various flowers and plants of the cottage garden, I was in awe of the passionate music flowing from fellow Glaswegian Cara Rose. Please take the time to check out the amazing work Tiny Changes does for young people's mental health in Scotland with the link below.
Next, we followed the trail back up to catch Biig Piig playing at The Grand Parade
main stage. We basked in the glorious Edinburgh sun with our cold pints as Biig Piig performed the very fitting single “Sunny” for an excitable crowd and showcased her energetic electro-pop sound from her debut mixtape "Bubblegum".
After a great set from Biig Piig, we retraced our steps back to Gardeners Cottage where
we caught Scottish indie rock duo PAWS performing some new singles stripped back, such as new release "Disenchanted" and old classics like "Sore Tummy".
Heading over to the Guitars & Other Machines stage for the first time, Leith Ross, who
rose to fame on TikTok, was getting the crowd going by performing singles from their 2020 album “Motherwell” and songs from their new album “To Learn”. Ross explained during the set that it was great to be back in Scotland, proudly proclaiming their Scottish descent and paying a heartfelt tribute to their Scottish grandfather.
Throughout the festival, exciting “secret sets” would pop up with clues as to who was
performing available in the app. Our secret set was Haiver (Billy Kennedy from Frightened Rabbit) playing on the Tiny Changes stage. Haiver generated a massive crowd for the not-so-big stage with people standing on their tiptoes right at the back to catch a glimpse of the music.
Back to the main stage, we watched indie pop band MUNA perform the energetic
“Runner’s High” and close with their hit “Silk Chiffon” from their latest self-titled album. With the weather staying dry - everyone was dancing and moving, having much-deserved fun.
Deciding to check out the VIP area, Cameron and I slipped away from the crowds and
found the VIP section kitted out in deck chairs, picnic tables, and comfy bright green bean bags. The VIP area had a beautiful building catered with a bar, bathrooms, and a lovely seating area inside with views to the main stage due to the floor-to-ceiling glass windows.
Deciding to grab a few pints from the VIP bar and take a break, we left for the
Speakeasy tent to see the Inside Voices set. The music collective Anoraq created an ambient and sonic environment that immersed us in the poems that a lineup of guest poets performed alongside them. The tent became a very relaxing and tranquil area on the festival grounds.
On the Guitars & Other Machines stage, we saw rising star Olivia Dean, who began
her career collaborating with Rudimental, produce a feel-good live performance. Cameron and I were captivated by her magnetic performance and relatable lyrics from her debut album “Messy”. Dean captured the audience with her beautiful melodies and left us in awe at the end of the set.
Before Young Fathers hit the main stage, we headed to check out the festival facilities.
Both indoor and outdoor toilets were available, equipped with baby changing facilities and accessible lavatories.
We ran to the pit as crowds gathered to see the incredible Young Fathers light up the
headline stage with enthusiasm and energy. Formed in Edinburgh, they are one of the most ground-breaking acts in recent years. Cameron and I could not wait to hear their passionate and raw songs live. The pit was jumping with everyone ecstatic to loudly sing the singles “Queen is Dead” and “Get Up”. There is no doubt Young Fathers will put on a fantastic show and get everyone moving no matter where they play.
As darkness settled on the Royal Highland Showgrounds, it was clear to see the buzz
and excitement omitting from the crowd as they took their places and waited for English DJ Fred Again.. to appear onstage.
I took this as the perfect opportunity to grab dinner and decided upon a scrumptious
margarita pizza from Wanderers Kneaded Pizzeria.
When Fred Again.. hit the main stage, the roar from the crowd was unbelievable.
Everyone was going wild while Fred Again.. performed hit songs such as “Marea (we’ve lost dancing)” and “Turn On The Lights again..”. The atmosphere was electric as Fred Again played a Frank Ocean remix that had me up and moving.
Fred Again.. was a great way to close the Connect Festival Saturday date and conclude
the amazing music showcased throughout the day.
Tiny Changes website: https://tinychanges.com/
Cameron’s Take:
After hitching a free shuttle bus from the Ingilston P+R tram stop, I started off the
second day of the weekend by watching Glasgow based Humour at the “Guitars and Other Machines” stage. Their kinetic, fast-paced, and unconventional version of UK post-punk/new wave pairs amazingly with frontman Andreas Christodoulidis’ eccentric shouted vocals that rocked the festival alive at half past midday. The main downside of their performance was that they were on so early, meaning there wasn’t enough of a crowd to build off the energy that they were putting out. A shame, I thought, considering the drama and intensity of their solo gigs. But surely the Royal Highland Centre would fill up soon, right?
After seeing Humour, I nipped over to inspect the main stage area, and was delighted to
be met with a pop-up stall from Newington’s finest burger joint Luxford Burgers. I was even more delighted to find that the quality of their burgers was maintained, and I enjoyed a fantastic halloumi burger in the afternoon sun. This prompted me to have a look around and see the other food options on display, of which there were many, from loaded fries, to loaded mac n cheese, gyros and kebabs, there was a pretty good assortment of independent eateries. What was odd though, was the bizarre placement of the food areas, with less space dedicated for food trucks by the main stage than there was by the entrance.
This sense of befuddlement at the choices of layout for the festival only continued, but
not until after enjoying a joyful set from Biig Piig, who’s electronic variations on neo-soul and hip-hop made the perfect soundtrack to a festival summer. The set was front-loaded was more mellow songs, prompting many to sit on the ground sunbathing while letting the warm tones of the music float over them, before launching to their feet to dance through the second half.
To refresh, we sat through the stripped back PAWS set at the “Gardeners Cottage”
stage, which was run by Tiny Changes, the mental health charity set up in the memory of Frightened Rabbit frontman Scott Hutchison. It was here though that the odd planning became evident. The Garden aesthetic made for lovely photographs and videos of the small wooden stage, however created an odd and uncomfortable viewing experience, forcing the audience to crowd into the tiny gated area, or sit on the rows of planters sat directly in front of the stage, dodging the bees who are really just trying to get on with their job (one of which tragically drowned in my pint in the line of duty).
But the worst part of the smaller stages was that whatever act was on at the main stage
bled through over the top. This wasn’t just the case for the Gardeners Cottage; Leith Ross’ heartbreaking writing, beautiful vocal parts, and fantastic singer-songwriter composition at Guitars and Other Machines had to compete with the powerful dance electronica of Kelly Lee Owens. Later, the same issue arose at the “speakeasy” stage, where the improvised ambient jazz courtesy of King Tuts regulars Anoraq was punctuated by the sounds of Roisin Murphy on the main stage. Though, it seemed that for Leith Ross the sound desk had messed up the mixing, as even when the noise from the main stage couldn’t be heard, the vocals were muddied and hidden behind the band, unfortunately stunting some of the emotional weight of their impactful writing to first time listeners like myself.
After walking back round to the main stage to see the next headline act MUNA, I was
left seriously wondering where everyone was. I showed up as they took the stage and had no issue walking almost directly to the front without touching the shoulders of anyone else. That being said, the crowd did fill out as their set went on, but by the end the crowd area looked no more than half full. But what a set it was. Both the guitarists and the bassist had Bluetooth jacks that allowed them to walk, run, and even skip round the stage during each song, orbiting round and jostling with the gravitational charisma of lead singer Katie Gavin. The energetic indie-pop group draws you in and you end up having as much fun as they seem to be having. Their infectious energy gripped everyone watching, and from the front the only reminder that this wasn’t a packed-out event was the occasional shot of the crowd on the big screens which showed a suspicious amount of grass for one of the days main acts.
Roisin Murphy’s set too failed to draw a significant crowd, the first half of which I
watched from the VIP area, which was disappointing to say the least. Although true that the bar queue was far shorter than at the rest of the festival, and the toilets were far higher quality, there was a lack of food options, and the view of the main stage was worse than if you lay on hundreds of yards of empty grass between the end of the VIP area and the start of the general crowd. There were beanbags and some benches that you could sit on, but nowhere near enough to fit everyone, leaving most people perched on the steps up to the inside area (which itself was empty except for those at the bar due to the unceasing glorious weather).
A quick stop off at the Glenmorangie tent to catch a bit of Billy Woods’ genre bending
DJing was followed by swinging round to Guitars and Other Machines to see a few songs from Olivia Dean gave the impression of genre whiplash, which I think sums up the main issue with Connect. It is trying to be too many things at once, encompassing too many genres and trying to please too many disparate groups, all within one tiny area. This isn’t a festival with the sprawling magnitude of Glastonbury, so it physically cannot manage being so many things at once without it all bleeding into each other. There didn’t seem to me to be any guiding principles or consistent vision on which the festival was organized, as it caters to far too many leaving many unfulfilled. And even the space it does have is organized poorly, with an acoustic stage round the corner from the booming main acts, while you can walk to the edge of the grounds and find a massage tent.
The crux of this issue was demonstrated by the space in between the sets Young
Fathers and Fred Again... The former’s relentlessly unique mishmash of gospel, hip-hop, electronica, and punk exploded across the main stage to an underwhelming crowd. What should have been a triumphant return to their hometown arrived to a half-filled crowd that was one part hardcore fans and one part uninterested bystanders waiting to see Fred Again... Walking back to the media village to prepare for the final set, the question I’d been asking all day was finally answered. A stream of Fred Again.. fans were coming through the gates, perfectly timed to miss the previous act on the main stage. I can’t even fault the apathy of the house giant’s fans; there really wasn’t much else for them on the other stages throughout the day, bar a few underground names from Scotland’s dance and techno scene.
So as my day at Connect ended I left feeling bittersweet. There were plenty of great acts
on during the day, but unfortunately my main takeaway ended up being that the organizers had cocked up not only the lineup for the day, the layout of the festival, but hadn’t thought through a full plan of what the festival was, or what it wanted to be. That being said, the variety did mean that there was quite a range of people all enjoying music together in Edinburgh’s late August sun, I just feel that the execution of the “festival for everyone” vibe may have been better achieved somewhere other than a small field next to an airport.
Sunday, Brought to You by Caitlin and Eve:
Eve and Caitlin’s Take:
Just to start, we’re both incredibly grateful to Connect Fest for giving us VIP/media
access to the festival, we had an amazing day and loved sharing our experience online with the society. Although the festival featured incredibly exciting headliners boygenius and Loyle Carner, there was so much more that it had to offer. There was such a relaxed, inclusive and friendly atmosphere at the festival, which was reinforced by the various relaxation focused and creative activities Connect had to offer. Our day started slightly later than expected (career girly problems) so the first act that we caught was a secret acoustic set from Arab Strap on the lovely Garden Cottage stage, this intimate set and great crowd started our Connect festival experience off the right way. Next set of the day was from incredibly talented London based artist Kamal. on the Guitars & Other Machines stage followed by a captivating set from Public Service Broadcasting on the main Grand Parade stage. The atmospheric music and sampling of vocals/old voiceovers combined with the insane visuals proved these guys to be one of the standouts of the day for me besides the headliners – been playing on repeat since! This also feels like a good time to pay my respects to the food options at the festival, with a particular shout out to the bao bun van!
Our next set of the day was from the icon which is RAYE on the main stage. This genre
hopping set really showcased RAYE’s phenomenal vocal talent, however our favourite part of the set was getting to experience her personality, leaving us just wanting to be her pal and go to the pub. After RAYE the anticipation (as well as number of doc martens around) was rising for the appearance of boygenius and dear lord they did not disappoint. The beautiful vocals and musical talent of Phoebe Bridgers, Julien Baker and Lucy Dacus took the crowd on an emotional rollercoaster and had to be my favourite set of the day. On top of the music itself, it was just so lovely to see three people enjoy performing together so much and was just such a stunning set to be privileged enough to experience.
As someone relatively new to the world of hip-hop, Loyle Carner is an artist I was some-
what unfamiliar with in terms of his music itself. This set was bloody amazing and really highlighted his insanely talented songwriting as well as the incredible band behind him which made his set one to remember for me and has definitely led to me listening to much more of his music since.
Once again, I would like to say a big thank you to Connect Fest for having us and to you
dear reader for listening to us ramble on about music…again :))
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