Farr festival, now in its eighth year, has grown considerably since its beginnings as a small party for friends. With a very affordable ticket price and many big names on the bill, a visit to Bygrave Woods this year was a must. I headed down with 5000 other dance music fans to check it out.
Thursday evening was a fairly quiet affair, with only three smaller stages open and music finishing at eleven. Nebraska played an enjoyable live set followed by Detroit Swindle who treated us to ‘Edit Channel XXX’ by JV, the early finish was a little disappointing but understandable for a Thursday.
Image Credit: Michael Njunge for Here & Now
Friday gave us a chance to check out the site in its entirety. Upon entering the arena you find food stalls and attractions (no sign of the dodgems that were advertised on social media) in a field just outside the woods. The woods are where Farr really comes to life. Five stages are dotted around the woodland and real attention has been put into the ramshackle decorations, it really is a wonderful setting for a festival.
Having got our bearings we headed over to the Hidden Palace for a varied set of chilled house such as Pepe Bradock’s ‘Deep Burnt’ along with some funkier stuff from Funkineven. Towards the end of his set he took to the the mic saying, “This is one of the best festivals I’ve played this year so far.” The crowd seemed to agree.
Image Credit: Michael Njunge for Here & Now
Having left to go to the bar I was told the stage was at capacity, this seemed odd to me as I had just been in there and there was plenty of room. After standing around for ten minutes, I found that the place was practically empty. I’m all for safety but this seemed to be overkill and was slightly ruining the atmosphere at the Hidden Palace.
The festival really got going with the brilliant decision for Joy Orbison, Ben UFO and Midland to play a 6-hour back-to-back set at the terrace. It was a great combination of styles and although I had intended to spend more time at other stages I just kept getting drawn back to them. I did drag myself away to see Move D, however, about an hour in, a power cut brought his set to an abrupt halt.
Upon returning to the terrace for the last few hours of the three-way b2b we did notice a serious lowering of volume levels. Fortunately tracks such as Four Tet’s Kool FM edit of ‘God Made Me Phunky’, Boddikas ‘Mercy VIP’ and Bizzare inc.’s 1992 hit ‘I’m Gonna Get You’ kept energy levels high. Hunee closed out the evening at The Shack, playing one of the wide-ranging sets he has become well known for, dropping Kiki Gyan ‘Disco Dancer’ a personal favourite of mine. With a great light show bouncing off the tree canopy above The Shack has a lovely feel to it and Hunee’s selection made for a quality conclusion to day one.
Image Credit: Michael Njunge for Here & Now
On Saturday having enjoyed sets from Maurice Fulton and Young Marco I would have loved to catch Gilles Peterson but due to the hidden palace being at capacity I was unable to. At ten we headed to The Shack for an excellent performance from Palms Trax dropping ‘Music Sounds Better With You’, which went down a storm. He then mixed that into ‘Women Beat Their Men’ by Submission it was a great transition and a standout moment of the weekend.
I was completely blown away by Helena Hauff who played two hours of relentless hard-hitting acid techno that went to show why she has become such a sought after booking these days. Again as the night wore on volume levels at all the stages were a real problem, I had to get really close to the speakers in order to avoid music bleeding in from other stages. As some of the stages are quite close together it may make more sense to reduce the number of stages and keep them further apart to avoid this.
For the final hours, I moved between Optimo and Mike Dunn and finally settling on John Talabot for the closing moments. Towards the end of his set he dropped Midland’s ‘Final Credits’ this was the fourth time I had heard that track over the course of the weekend. Finally bringing the festival to a close with ‘Everybody Dance’ was a nice touch and went down well with those of us still dancing.
Image Credit: Michael Njunge for Here & Now
Farr festival is great value with an intimate feel, however, more food stalls in the campsite would help sooth morning hunger and volume levels can be a little frustrating. These problems aside, the small number of attendees, delightful setting and well-curated line-up mean Farr is certainly one to keep on your radar.
On the 14th July, Farr Festival makes a greatly anticipated return to Bygrave Woods in Hertfordshire. The festival has always prided itself on being located just 40 minutes from London, and its handy location has proved popular with the fans it has amassed over its 7 years in the running. Although by no means a landmark UK festival, Farr has popped up on the radar of electronic music fans from across the country and really made a name for itself. The line-up for 2016 is stellar and makes Farr an unmissable festival this summer.
The likes of John Talabot, Palms Trax and Jungle all appear in the woods this July. Palms Trax’s recent appearance in York was one of the best bookings of the year for this historic city and so seeing the German producer play again at Farr would be an experience not to be wasted. Hunee also appears at Farr after his brief but memorable stint in Fibbers this year. Festival organisers have cannily booked pop outfit Jungle to give a light touch to the otherwise more underground scene of Farr’s line up.
Day one at the much-anticipated Amsterdamse Bos site, is like entering a dystopian playground. This is going to be my haven for the next three days and I can’t wait to start exploring it. Some of my absolute favourite sets take place during that Friday. On my first visit to the famous Boiler Room stage I am greeted by an uplifting and feel-good set by Tripeo, who gave us an hour-long House set highly influenced by Disco beats. The bright sun instantly transports my thoughts to a chilled summer in Majorca as I dance along to the sound of summer.
After the attending the start of Robert Hood‘s ruthless set in the UFO stage, my impatience grows as I am aware the time for Ben Klock to grace the Main Stage is fast approaching. Arriving before his set, I am happy to find that his predecessor Model 500 is closing his set with a hard punch. After a long anticipatory silence Ben Klock takes the stage. The sun behind us is setting to the perfect soundtrack and we are all on the same train to sundown as he transitions into darkness, seamlessly easing into a steady beat. The next set by Marcel Dettmann is perfectly complementary. His sound descends all God-like and you know that the darkness has finally taken over. The bright sun has set with Ben Klock and the dark moon is rising with Marcel Dettmann.
I leave the main stage half-heartedly to catch another set I am dying to see in the UFO stage. I arrive whilst Blawan is ending his set with a surrounding embryonic sound as a clash of machineguns blasts through the speakers. Squarepusher has signalled his presence. His signature mask, often slightly different with each appearance, is easy to make out in front of the geometric colourful visuals which appear behind him and his white fencing suit. The white iron mask completely hides his face. Feelings are intense, like stepping into a Matrix world of which he is the leader. The deck might as well be controlling us and not the beat. It’s something amazing to witness; his control of both the unpredictability of the beat and the crowd. He stops after every track to impose seconds of torturous silence before hyping the next one and backtracks the tempo just to test us before the track climactically ends. If I had to use just one word to describe his set it would have to be ‘orgasm’. Pure orgasm. Mixing in Andy Stott’s ‘Damage’ was just the cherry on the top. Definitely my personal highlight.
As the second day kicked off, I move straight up to the tower between the Main Stage and the entrance. Aphrohead’s ‘Let’s Prance’ echoes from Mano Le Tough‘s set, who played before John Talbot took the Main Stage. I move to The Lab stage in time for Palms Trax. The vibe during his set reminds me of an exotic house party; chilled, light groovy house music with a nice selection of vocal samples and melodic synths. I notice the groovy track by Jack J, ’Thirsting’ come on and instantly everyone is whistling and swaying to the beat.
The glorious weather persuades me to leave The Lab and return to the tower. The vantage point towards the Main Stage and the crowds gives me no reason whatsoever to want to move. The long silence between John Talabot and Four Tet was agonising but the soaking sun and friendly vibe on the tower made up for it. When his set kicks off I know I’ve made the right choice. His musical choices such as ‘OAR003-B’ by Oni Ayhun are another perfect soundtrack to the perfect sunset. My only regret on that day is not witnessing what must have been an impressive 5 hour long set up to the end of the day by Antal RH, Hunee and Floating Points at the Selectors stage.
On the last day I decide to see a majority of female artists. Helena Hauff in The Lab is going to be my first lady. I see her standing behind the deck, nonchalantly smoking one cigarette after the next whilst she spins the crowd into motion. To my surprise the German techno artist shies away from her usual acid techno touch and brings in some hard-core bass lines into what can only turn into an extremely ruthless set. Instead, she surprises us with some ‘on your feet Disco’ beats and RnB samples which put the pop and lock into her classic techno. It turns out to be a highly experimental and varied set impossible not to dance to. One look at the stacked speakers in the lab and you can see them helplessly emerged into a continuous tremble. Each beat feels like a punch and the more she punches the more we yearn for. She is certainly giving us all she has.
The other lady I am dying to see is Nina Kraviz. Upon my entrance to the UFO stage the black widow of techno descends like a dark cloud. The vibe on the dance floor is animalistic and she is ruthless from start to finish, playing some of her favourite tracks such as the relentless ‘All Aboard The U.S.S. Severe EP’ by Barcode Population from 1996.To finish, she brings in some groove to calm us down with Cafe del mar song ‘Energy 52 (remix by DJ Kid Paul)’. And although the energy and undeniable talent bursts out of the stage, part of me leaves the stage with a desire to see her bring something new to her next sets.
I return swiftly to catch a bit of Clark‘s visually stunning dark set before setting off for the main stage to catch UK hit artist Carl Craig. His set brings the UK scene to Amsterdamse Bos with its groovy and vocally rich tracks. It is now only one set before the end of the last day and the crowds are going wild. A drone-like voice echoes around the main stage ‘You have been the best audience that we ever had’ and the words are being projected on the massive screens ahead. Germans Siriusmodeselektor (Modeselektor + Siriusmo) appear on stage. Hip Hop, RnB vibes and vocal samples blast from the speakers after a majestic intro. Their monkey logo appears playfully on the screen as the presenter stands on the control panel with a microphone reaching out to the audience. the hype is rising as he waves his hand in the air as if saying ‘Dance monkeys dance!’. He does the same throughout random moments of the set; a powerful figure on top of our world reminding us to dance as if it is our last chance …because for some it is. Some of their hit tracks featured in the set include ‘I’m not into twerk I’m into Kraftwerk’ and ‘Evil Twin’, which comes in towards the end to leave the Main Stage in a cloud of smoke and dust for the last time.
Special kudos have to go to the techies for putting together a jaw dropping personalised Siriusmodeselektor visual show. I would also like at this point to congratulate all visual artists and lighting technicians as the level and quality of atmosphere was truly amazing to witness and added a serious bonus to the whole experience. Each stage both at Amsterdamse Bos and the Melkweg had its own personal atmosphere and the variety between stages was fascinating. Special mention has to go to Heleen Blanken, visual artist of my visually favourite UFO stage and to the lighting team of The Max in the Melkweg, who managed to add a colourful touch without compromising the underground and eerie set up of this main stage.
On the third and final night I am visiting the Melkweg, the after-party which runs till the early hours of the morning. I am pleased to find that it’s refreshingly different to the day site; a predominantly underground vibe with four stages and an indoor smoking area, each stage with its own unique character – its perfect for an after-party. There is one person I am lucky to be watching playing a live set tonight; Andy Stott. Well before the clock strikes 2am I abandon my roaming of the spanning three floored club and enter the Oude Zaal stage. I arrive just as the last set ends in a funky disco tune which I find odd as a prelude to Andy Stott. However, the short silence and the slow emergence of an intro as he takes his place beneath the smoke and swirling lights has me catching my breath. A hypnotic, angelic voice sounds from the speakers reminiscent of a combination of his two tracks ‘Leave’ and ‘Time Away’ I can’t shake the feeling that there is incredible pain in his intro and the same feeling remains throughout the entirety of his set. It is influenced by various genres such as Industrial, Noise and Dark Techno but he surprises us with some Gabber, which through his dark dexterity feels like repetitively and mercilessly being shot by a shotgun. All in all, what I’m feeling is a disturbingly beautiful pain and strangely I do not want to let go of it. His final beat comes as a sigh of relief and a cry for more.
Dekmantel is certainly an event no one should miss. The selection, variety and dexterity of the artists is like no other; the team is devoted like no other; the site is breathtakingly beautiful like no other and the experience, well, it is like no other