Dot To Dot Festival
various venues, Nottingham, Sunday May 27
It’s not a good start. Torrential rain forces the outdoor stage, erm, indoors, shattering the dreams of several local bands who end up playing to nobody. By the time The Whip step up at Stealth, though, everyone’s mastered a map and the place is rammed to the gills with early-bird clubbers. Their electro escapism makes a 4pm slot feel like 4am, the synth modulation of ‘Divebomb’ driving sweat out of the crowd like mince through a grill.
Also packing meaty beats are These New Puritans, their broody breed of indie disco igniting a puzzlepop insurgence that sparkles, down in no small part to singer Jack Barnett’s gold shirt. Like Ian Curtis brought up listening to Aphex Twin, it looks like we’ve already got the day’s most promising find.
Kate Nash’s idea of style is somewhat different, her name is splayed across the stage in bright neon bulbing at Rock City, as she gleefully rolls out ‘Caroline Is A Victim’ and more. It’s a glowing precursor to New Young Pony Club, who rally the crowd with a huge Mexican rave before The Cribs take the reins of the party.
But it’s down in the Basement that the night reaches its true climax as Lethal Bizzle stage invades Gallows. Their surprise collaborative cover of The Ruts’ ‘Staring At The Rudeboys’ batters seven shades of shit from us all before the head-breaking climax of ‘Orchestra Of Wolves’, which sees The Scare’s Kiss Reid once again join them onstage and, more significantly, the entirety of the Basement’s roof literally torn down in a cloud of dust and muck.
All this fun, the house duly brought down, and not a trendy media fuckwit in sight. Move over Camden Crawl, Dot To Dot does what you do, only better.