Blissfields 2015

After a few years absence my heart ached to be back at Blissfields. Looking at the line-up this year it simply baffled me how a festival of this size could punch so highly. I’m used to going to gigs bigger than this Hampshire event which has just a 4000 ticket limit. I couldn’t resist. So I made the trek down from Scotland with a friend who’d only ever been to T In The Park, and to use his words Blissfields was just about the most perfect festival experience. There’s nothing like it. I want to add “for its size” but that feels unfair as for any size, Blissfields is a contender for some sort of grassy crown.

Friday at Blissfields began with a burrito (the food here is excellent), and some sounds from Flo Morrissey and Rhodes, both of which were a perfect opening to the event. We had the sun on our side, and immediately felt at home. It felt in fact like I’d never left. So many smiles, greetings, nods from strangers wishing us a good day. Who knew a festival could be so absurdly friendly.

When Dub Pistols start on the main stage though, you know the game is on. Don’t know what it is about this band. I’d never listen to them at home, but stick them in front of me, bang a cider in my hand and I’m theirs. It’s fun festival music, which coupled with the higher profile breaking acts like Songhoy Blues (fresh form the main stage at Glastonbury just a few days before), Ghostpoet and one of the main events, Public Service Broadcasting, it’s a programme that’s startlingly complete.

On the second stage we caught Gengahr, another incredible rising new band, Alex Adair, and a little later Eton Messy and Novelist who performed from inside a double decker bus. Everything on site is so, so close you can’t really go wrong. You can check out a few songs on one stage, see if it fits your headspace at that moment, then move onto the next if it’s not there. It’s only 20 paces away. That does sometime mean some sound bleed, but if you get stuck in and committed it’s no huge problem.

Considering our varied experience of festivals and music tastes, we always found a compromise, and even splitting up to attend different shows it was hardly a chore to regroup. “I’ll see you [looking around and pointing] there in 15 minutes” was often all it took. I’m far more an indie and pop fan than a dance one so later into the night the line up did start to favor my friend more than I but after a few drinks it wasn’t too harsh. Maybe a bit more pop in future years would be an interesting way to expand. Again its minor points. When something’s so close to perfection its almost easier to point out the little things you’d like to see different, rather than a festival you don’t care much about.

There were a few hours spent in the Hidden Hedge which was a lot bigger than when I was last here. I’d heard that the area was once actually hidden in some hedges on the old Blissfields site, but what you’re met with now is a cathedral to fun. A huge dome with acrobatics and projections is surrounded by sinister art sculptures, tucked away areas, couches, campfires, mini bars and tress lit up. I’m not sure if it’s beautiful or horrendous but that is absolutely the point. It’s a terrifying palace that you MUST make time to find when you go. And go you should to Blissfields.

Saturday was greeted by a set from Beans On Toast. He’s a perfect opener for the main stage. His fun, irreverent songs are purpose written for Blissfields and in fact we’d assume a few genuinely are. His funny and inviting, and that’s what you need to dust off the tent cobwebs. The sun was shining, as it somehow always does at Blissfields, and we made a small base camp in front of the Singularity stage next to the bar. Prices are about what we pay on a night out in Edinburgh, so we didn’t mind making more than a few visits before lunch - even forgoing the freebees that were on offer elsewhere on site. As an opening act, this shows Blissfields “gets it”.

We then found a little cocktail bar hidden behind the bus. The previous night this had been an area where the younger attendees united under a love for Grime music and reaching for the stars. By day it was a tranquil area of grass that hid a little respite from the sun. A lovely man greeted us after going through a secret door, asked us what spirits and flavors we liked, then knocked us each up a bespoke drink based on our answers. Lovely stuff. Thumbs up Blissfields.

The sun being a huge ball of fire that it is we took some shelter in the Electric Dreams cinema and caught some short films which formed part of an independent film festival. It’s another good call. Somebody told me they watched Wall E which I was slightly jealous of but the 12 or so minute run time of those we saw were just about right.

Ibibio Sound Machine were somebody I’d not heard of before but just wowed. Following Songhoy Blues on Friday it gave the festival a highly international, and cross genre feel. Two main stage acts of this caliber and intelligence on a festival so tiny is worthy of a clap from us all. Throw in Akala, the immaculate John Grant (wow, just wow), Missill, Ekkah, and Glass Animals and you have one of the most concise and thought provoking festival programmes in the country.

I’d also like to point out how many of the acts on the bill were female. Earlier this year a lot of festivals got stick for not having enough girl power yet I didn’t hear any screams at Blissfields landing so many into so few slots. Brava!!

Then there’s nice touches, like having Grandmaster Flash play to maybe the biggest crowd of the weekend, get off stage and run over to the kids and family area to host a DJ workshop. My friend got to meet him, take a photo and hasn’t shut up about it since. That’s Blissfields though; so approachable and inviting.

Simian Mobile Disco closed the main stage, but much like The Horrros on Friday didn’t quite keep everybody’s attention enough to stop them wondering back into the Hidden Hedge, or towards the bus stage, or into the pointy canvas Larch where Sound Tracks played a mix of 80’s Pop and Rock & Roll.

I’ve so much love for this festival and I feel stupid for taking a year or two off now. It’s not really grown any bigger and I love that. They’ve just put more in, and diversified more to cover more genres, sounds, visuals, stages, foods, feelings and god knows what else.

If you’re looking for your new favorite festival, you’ve found it.