The 14th year of The Great Escape promised to bring 400 up-and-coming artists from around the world to our doorstep. We’ve been covering the festival from the start, so it would be rude not to try and make the most of it. Seemingly unfazed by the immense choice on offer, the SOURCE team managed to catch over twenty bands on the first day alone. In case you want more, we also reviewed Friday and Saturday in separate posts.

Be Forest, Upstairs at Patterns
A quiet start, but the crowd trickle in out of the rain and fill the small room upstairs at Patterns. The Italian shoegaze trio take the stage, which is dominated by the large set of drums in the middle. Piercing drums lay the foundation for the shimmering guitar washing over the atmospheric basslines. The vocals are hypnotic and dreamlike and many are listening and swaying with their eyes closed. Be Forest’s music puts us in a wonderful mood and it’s a fantastic start to the afternoon, making them a band we’ll definitely keep listening to after the festival. (MT)

Crack Cloud, Green Door Store
There’s something in the water in Calgary. The city has been spewing out idiosyncratic, off kilter post punk groups for over a decade now. Women (the band) gave birth to the scene, but the pick of the current vintage are Crack Cloud (alongside their sibling band NoV3L). Looking retro-futuristic in an 80s VHS-tape style, the fresh-faced crew seem surprisingly edgy before hitting a note (maybe it’s all that crack), but their twitchy, angular, caffeinated riffs are tight and danceable. They are a superb start to the festival. Half of the tracks are recognisable from last year’s debut LP, but there’s one huge omission — their best one, ‘Drab Measure’. We’d been looking forward to that for ages! (GR)

Malphino, Jubilee Square
“Is everyone ready for some cumbia?!”
“YEAH!”
“Does everyone know what cumbia is?!”
“NO!”
“It’s only the coolest groove ever invented by mankind…”
The MC wasn’t wrong. A seven-piece with accordion, clarinet, gypsy guitar, double bass and lots of percussion, Malphino are an “outer-national band from an imaginary tropical island that has dreamt up a cinematic score and audio backdrop to their idyll”. Dressed in matching white linen suits and taking it in turns to yip and yell they soon have the early afternoon crowd moving. (If reluctantly: Malphinoans, festivalgoers and The Music Industry presumably have different inhibitions when it comes to dance.) Next time you need a vacation or a sunset margarita soundtrack… Visit Malphino. (RR)

Quiet Man, Tempest Inn
We were sort of expecting a solo show; one person standing centre stage with a subdued set for a rainy afternoon. What we got was quite the opposite. Donning a bright patterned jacket and shades, a much more charismatic frontman comes on backed by a full live band and accompanied by a pitch-perfect duo of female singers. Feelgood funk is delivered with a jazzy freeform feel, and it truly brightens the grey day outside. Quiet Man takes the lead with the dancing and soon a crew has pushed to the front to join him. It’s a welcome injection of positivity and we hope to see them again soon in the sunshine. (MT)

Nice Biscuit, Komedia
The Australian showcase at the dangerously dark Komedia is introduced by a hybrid of Steve Lamacq and Chopper: equal parts cheesy enthusiasm and handlebar moustache. The devil might have the best tunes, but Aussie bands have the best names, and a pronunciation debate is settled when Nice (not Neece, as in the French town) Biscuit are announced. “They look like Bucks Fizz,” we overhear one concerned punter say. And it’s true, the two singers have come dressed in cowgirl shirts and hot pants. They don’t sound like Bucks Fizz though: more like Thee Oh Sees soundtracking a 70s crime thriller. They don’t pause for the first 20 mins and we’re unsure whether it’s one long track or four stitched together. “Nice Biscuit!” we shout at the end. It’s our new gig catchphrase. (GR)

Lady Bird, The Haunt
When you see Lady Bird live it soon becomes clear why they were the first band signed to Slaves’ label Girl Fight Records. With vivid storytelling and half-spoken lyrics racked over layers of furious punk riffs and organ, Lady Bird well and truly got us in the festival spirit. Frontman Don Lennols sways between organ and guitar, gesticulating as he weaves tales of city life that are written concisely enough to transport you there. Specifically, to the ‘Spoons in Tunbridge Wells. This is balanced (OK, occasionally swallowed up and spat back out) by Alex Deadman’s commanding stage presence and frantic antics on guitar, and Joe Walker’s driving drums throughout. (AL)

Shortparis, Horatio’s
Concluding an afternoon of music showcasing new Russian bands, Shortparis are a revelation. They create a pounding, swirling Eastern-tinged noise with two sets of drums, dark electronica and lead singer Nikolay Komiagin’s mesmeric falsetto voice swooping and diving over it all. Their set is theatrical, almost threatening – even their dancing resembles a martial arts workout – yet not only is the music irresistible, but their aim, it seems, is to challenge our political preconceptions. Though based in St Petersburg, they have lived in Siberia, as immortalised in the chilling ‘Novokuznetsk’. Drawing the set to a close, they perform ‘Strashno’ (translation: ‘Scary’) a track which, despite its menace, is about integrating immigrants into Russia. With such energy and self-belief, this band will succeed – but only on their own terms. (PS)

Dboy, Green Door Store
A gimp-masked stagehand holds his arm up in a three fingered salute. A man in a military hat looking like a Poundland dictator and a similarly gimp-masked rhythm section walk on and take their instruments, salutes held high. The ‘Dboy presidential campaign’ has come to The Great Escape. At this point the audience seem a bit amused and a bit scared… then Dboy start to play: short snappy punk tunes with names like ‘Faecal Alcohol Syndrome’ and ‘Born With A Hard-On’. It’s not the deepest subject matter and whilst it’s fun – the shocking aesthetic, the merch balaclavas (!), the incongruous southern drawl (they’re from Russia) – we found the songs a bit lacking. If there’s a moral perhaps it’s this: don’t underestimate the power of PVC and an offbeat sense of humour. (RR)

Saint Agnes, Jubilee Square
We last caught the garage rock four-piece Saint Agnes at Mutations Festival so we knew we had to be at the front for this one. Saint Agnes are long hair and leather jackets, they are foot on the amp and hair over the face, they are sweat and smeared lipstick and they are climbing over the stage and getting in the audience. Psychedelia runs through metal-inspired songs of Lucifer and rebellion. Still playing, guitarist Jon James Tufnell screams “Come on!” at the afternoon crowd, while singer Kitty Arabella Austen climbs over the amps, support pillar and into the crowd. Amongst the headbanging, their chemistry throughout the show is undeniable and makes for a wild spectacle, perhaps an odd one to witness in the daytime. (MT)

Surfbort, Jubilee Square
The much-hyped Brooklyn four-piece start their set and immediately frontwoman Dani Miller’s charisma is obvious. She has pink devil horns painted on her face and bops about with a big goofy gaptoothed grin and dances through the crowd hugging people. In between songs she says things like “this song’s about… fuck Donald Trump” and “…when you wanna make out but you have bedbugs so you make out anyway” to loud applause. Inspired by classic east coast hardcore, Surfbort are fun, thrashy and trashy and have recently toured with the likes of Thee Oh Sees, Fat White Family and Blacklips. We expect to see a cult following in the near future. Their videos are also incredible. (RR)

Johnny Mafia, Jubilee Square
This young band from Sens, Burgundy put on an energetic performance playing psychy garage rock. It’s reverby, fuzzy, surfy… but you already knew that because it’s psychy garage rock. There are dissonant breakdowns which go off-piste a while before satisfyingly, if predictably, crashing back into a singalong chorus. On the TGE app it says of Johnny Mafia: “Ty Segall, Wavves and Jim Jones should better watch out! The next generation of garage rock is on its way!” We’d agree with the comparisons and if you like Ty Segall you won’t find anything here to dislike. Unfortunately, you won’t find anything earth shattering or genre defying, either. (RR)

Porridge Radio, Hope & Ruin
Porridge Radio came back to Brighton to do their usual TGE thing of playing as many different shows as possible. At Love Thy Neighbour’s Hope & Ruin gig the sound quality was unusually ropey and the band, now a four-piece, seemed a little bit tired. At the Sidewinder, two days later, they were on fire, supplying a powerful set mixing old and new songs. Recent tracks ‘Don’t Ask Me Twice’ and the astounding ‘Give/Take’ (“How do I say no?”) which has been garnering a lot of airplay are excellent, but new song (‘Lilac’), a plea for tolerance and for people to treat each other better, is a standout. This is a band with something to say and the new album can’t come too soon. (JS)

Alev Lenz, St Mary’s Church
As a small crowd shelters from the rain in the entrance hall of St Mary’s Church, Alev Lenz comes in to explain how every performance she’s doing on this tour will be unique, as each show will feature a different backing chorus. Today it’s London Contemporary Voices. (She also apologises for the late start and is generally lovely.) The lack of rehearsal is an exercise in trust and there’s no doubt about it, London Contemporary Voices are worthy. Each song is a cappella – as is her forthcoming album – and the voices are biblical and hypnotic beneath the stained glass windows. This is sophisticated and virtuosic classically-tinged pop. Alev also featured on an episode of Black Mirror, which is always good fun. (RR)

Hot Milk, The Volks
Singer Jim encapsulates Hot Milk’s attitude best, perhaps, when he shouts something along the lines of “This is for people who want to forget all the bullshit to just dance and have fun!” Fun is the key theme for the Manchester pop punk band, and it’s contagious. Their genuine enthusiasm makes it feel like a party everyone is invited to, even during the day at The Volks. The crowd are encouraged to put their hands in the air as they sing along, and they don’t take much persuading to join in and jump around with smiles on their faces. Amongst the weird and avant-garde acts playing at The Great Escape, there’s a lot to be said for pure fun and the adrenaline rush of a band who know what they’re doing and do it well. (MT)

The Mauskovic Dance Band, Komedia
By the time The Mauskovic Dance Band play the crowd is getting looser and more ready for a party. Which is convenient because, despite a slower start to the set than we were expecting, this well dressed five-piece from Amsterdam can groove… They are the brainchild of producer and session drummer, Nicola Mauskovic. He’s toured with legendary Zamrock band W.I.T.C.H and Jaco Gardner, which gives you an idea of some of the influences here. Think cosmic and disco and afrobeat and psych. Think heavy percussion. We’d definitely recommend catching them live, ideally late night at a festival. Also, keep your eyes out for the eponymous self-produced debut; it’s coming out soon on Soundway Records. (RR)

The Wants, Hope & Ruin
We saw New York band The Wants at one of five shows they were playing this weekend – all for Alternative Great Escape events and not the main festival – which was in itself impressive. The Wants lead singer and guitarist is Madison Velding-VanDam and he’s tall and lanky with awkward moves like the lead singer from another NY art band that he’s clearly influenced by. Talking Heads references aside, VanDam is also in another hot NY band, Bodega, and by now knows how to put on a great show. In his various incarnations VanDam is creating some urgent, immediate music which deserves to be heard. (JS)

Lauran Hibberd, The Richmond
In the beer-soaked hotbox of the rejuvenated Richmond, irresistibly chatty songwriter Lauran (“My dad spelt it wrong on the birth certificate. He hates me.”) Hibberd chalks up the first of her multiple appearances in town this weekend with a snappy, punk pop set. Backed by a tight three-piece band, Hibberd chops through her recent pack of sly, tongue-in-cheek singles, including ‘Sugardaddy’, ‘Hoochie’ and ‘What Do Girls Want?’ (“Unfortunately it doesn’t hold any of the answers,” she deadpans.) She ends with the singalong tautness of ‘Call Shotgun’, which really is a massive hit even if the world hasn’t noticed yet. What a star. (SH)

Sick Joy, The Volks
People were promised the sounds of Nirvana and Pixies, and such high comparisons from the offset can be a blessing and a curse in raising expectations. Thankfully Sick Joy aren’t lacking in confidence, and they’re certainly not lacking in volume either. Heavy bass tones shake the venue foundations and throaty screams assault the front row. Headbanging, driving rhythms pummel the crowd and we feel we’re on the brink of guitars being thrown and drum kits being kicked in. A steady release of quality singles and live show videos has meant people have packed in to see this show. It’s relentless, but just about kept under control. We love it. Satisfied, the band abruptly leave the stage with guitar feedback left humming and ringing in our ears. (MT)

The Murder Capital, Paganini Ballroom
After some jagged Bad Seeds-esque noise the singer comes on and sings in a rich, miserable baritone while pacing around looking anguished. It’s solid post-punk, but after a few songs we may have started wondering if the bleak subject matter and pained performance wasn’t a little too Ian Curtis. As if in response he says: “There comes a time when we are all faced with tragedy and loss” before crouching stagefront with the bass player for ‘On Twisted Ground’. It’s powerful and genuine: cynics are banished, believers are all choked up. When Steve Lamacq introduced them (the set was being recorded for Radio 6) he said a band’s songs need to make you feel different in the space of four
minutes, and by that metric The Murder Capital were victorious. (RR)

Lacuna Bloome, Door 77
We were mightily taken by fizzing guitar act Lacuna Bloome’s smart run of singles last year, peaking with the spiralling sheen of ‘Find Your Way’. Bolting to catch their headline set at Door 77, we stumble into the Lanes and overshoot the venue completely, like idiots. Backtracking hastily, we find the Brighton band’s set well underway and a bright young gaggle of fans already tumbling over each other in excitement at their feet. Singer Niall Logue and fellow guitarist Sam Leaver wear the smiles of people as flushed as the crowd are with the thrill of their shimmering, infectious songs. A stately shoegaze finale sees Lacuna Bloome slow things down, revealing further facets to their sound. (SH)

Snapped Ankles, The East Street Tap
This isn’t a review of Snapped Ankles’ headline show on the Beach Site, but of their secret gig upstairs at the 60-capacity East Street Tap (formerly the Fishbowl), arranged by ace local psych promoters Acid Box. Initially it feels like an improvised jam. The guys, who must be boiling in those yeti outfits, pass a tape measure around the tiny crowd while chanting “We’re measuring the room. We’re measuring the room.” Do they always do that? Midway through a sweaty, high-octane set we have an epiphany: all of Snapped Ankles’ tracks are variations on ‘Lucky Number’ by Lene Lovich, performed in the style of Daleks. They’re great fun, but at some point they’re going to have to find a new trick. (GR)

YAK, Paganini Ballroom
YAK are closing the Radio 6 Stage for the first day of the festival so we are treated to another Steve Lamacq insight: watching YAK “is like being hit by a moving vehicle”. The loudest band of our festival, it’s true. RIP unprotected ears. It’s mainly monster cathartic riffs but the odd lull is thrown in, songs like ‘Pursuit Of Momentary Happiness’, which has a Beatlesy timelessness to it. It doesn’t take long before we gather that the frontman is angry, he takes the mic stand and smashes a chandelier. Glass falls into the crowd. People cheer. People don’t cheer. It seems the jury’s out on arrogant prima-donna rockstars in 2019 – it’s undeniable, though, that YAK can write visceral rock’n’roll and then scream it loud. (RR)

LIPS, The Hub
Headlining a New Music Cornwall show in the narrow arch of The Hub, Falmouth dreampop quartet LIPS buck the weekend trend by taking to the stage so ahead of schedule that by the time the venue fills up with people planning to see them, they’re already nearly done. Fortunately we’re on hand for their whole set, a rich, black and purple suite of swooping, echoing vocals and bright guitar jangle. A rearranged cover of Orange Juice’s ‘Rip It Up’ doesn’t quite fit with the band’s flowing originals but Rachel Anstis’ octave hurdling voice holds the set together. Drawing heavily on their recent debut EP, the dark Lynchian undertones of LIPS’ music are day one’s long kiss goodnight. (SH)

Words by Ashley Laurence, Gary Rose, Jon Southcoasting, Mike Tudor, Paul Stewart, Rowan Reddington and Stuart Huggett
Photos by Ashley Laurence, Jon Southcoasting, Matt Knight and Mike Tudor

The SOURCE team covered all three days of The Great Escape 2019.
Check out our reviews from Friday and Saturday.