Renowned for its display of local, national, and international talent, Forwards Festival returned to the Bristol Downs this weekend for its third year. Although still young, Forwards has firmly established its place both locally and beyond as a cutting-edge event that seeks to reinvent inner-city music festivals. Having previously hosted the likes of Aphex Twin and The Chemical Brothers, no effort was spared in curating this year’s lineup, which promised a star-studded bill.
Following Loyle Carner’s heartfelt set on Saturday night, the festival was adjourned until the morning. With headliners ranging from LCD Soundsystem to Jessie Ware, Sunday promised something for everyone as festival-goers returned to the mud-trodden Downs to celebrate a different breed of music.
The heavens opened as a sea of poncho-wearing figurines swarmed towards the West Stage to see the self-described “sad country song of a woman,” CMAT. Sporting leopard-print two-pieces, the Irish singer-songwriter and her band filed out onto the smoke-filled stage, pledging a setlist filled with sequined Americana. Opening with the cult classic “Nashville,” wide-eyed fans brandished signs inscribed with loving messages. Heedless of the crowds below, the storm continued to rage. As lightning flashed across Bristol’s skies, the band was escorted from the stage. A sea of disappointed moans ensued as warnings were scrawled on the stage’s screen. But CMAT did not leave the rodeo without a fight. Ten minutes later, the band was back in full swing, flashing bejeweled smiles as the crowd began to two-step to “I Wanna Be A Cowboy, Baby!” Ending with “Stay For Something,” CMAT showcased her unchallenged ability to create anthems for the broken-hearted. Theatrically prancing across the stage, the artist performed with every ounce of her being, impassioning each crowd member to raise their fists in united struggle. The language of introspection remains CMAT’s mother tongue.
Commencing the day’s back-and-forth journey, drenched revelers stampeded towards the festival’s East Stage. Awaiting them was Baxter Dury, the son of punkhead Ian Dury. Renowned for his deadpan vocals and tongue-in-cheek lyricism, Dury swaggered onto the stage to “So Much Money,” the opening track from his most recent album, I Thought I Was Better Than You (2023). Dury shed layers of his suit with each track, eventually using his neck scarf as a headband while performing tai chi movements. Crowd favorites “Cocaine Man” and “Miami” received saluting cheers as Dury delivered his sprechgesang diatribes tinged with cockney dribble.
To the west, Yard Act beckoned fans of all ages to come and see the show. Enveloped in a trench coat and formal chino trousers, frontman James Smith played havoc with first impressions, hinting at the upper classes he would later bite into with his slam poetry-cum-songwriting. Immediately, the band expressed their gratitude: first, to the city of Bristol itself, and second, to the crowd for sharing the band’s final summer show with them. During “Payday,” Smith became engrossed in his art, writhing on the floor while his glasses continued to fog with humidity and stale heat. Soon after, Katy J Pearson joined the band on stage for “When the Laughter Stops,” making her second appearance at the festival following her solo set last year. The singer-songwriter would later join CMAT for a group pile-on during “The Trench Coat Museum.” Welcoming childish cheek with open arms, Smith sang out of rhythm with the crowd as they battled to keep up with Shjipstone’s crunchy riffs. The post-punk poster boys continued to flaunt their trademark wit by offering reflections on the transience of life with “100% Endurance,” treating the track as spoken poetry rather than a song. With each stanza, line, and syllable, we were drawn further into a hypnotic trance as Smith urged us to give our all, reminding us that everything we need to exist has always been within us. It’s hippie bullshit, but my God, is it true.
Next up, local band Knives made their grand entrance at the Information Stage, having traveled from Paris that same day. Despite their fatigue from a string of consecutive shows, the band packed a punch with their signature high-energy performance. The orderly rows of benches that were once neatly arranged in front of the stage quickly gave way, making space for the ever-growing crowd of enthusiastic moshers and adventurous crowd surfers, who eagerly embraced the noise band’s addictive sound.
Back at the East Stage, Underworld reveled in nostalgia, transporting crowd members back to the sticky raves of the nineties. Hammering kick drums, distorted vocals, and synth chords awaited those still swarming towards the stage, gasping for a taste of their otherworldly music. Positioned behind Rick Smith and the electronic rig, Karl Hyde affirmed his rave culture bona fides with vigorous dance moves. Segueing between “King of Snake” and “Pearl’s Girl (In There),” impressive sequences of strobe lighting electrified the stage’s surroundings as the air filled with the smell of sweat, cigarette smoke, and lager, lager, lager. As the opening bars of the anticipated finale “Born Slippy .NUXX” reverberated from immense speakers, hands reached towards the darkened skies as if in ritual. The cult classic concluded the duo’s performance on a euphoric note, this time brought on by the pulsating beats, flickering lights, and communal ambiance instead of the psychedelics commonly associated with the decade in which the B-side was produced.
Time for the headliners. Under the flickering myriad of light provided by a glitterball, James Murphy took his place behind a small rectangular microphone, setting the crowd into motion with “You Wanted A Hit.” Pairing off-kilter electronic effects with poignant lyrics, LCD Soundsystem quickly demonstrated why they have gained such a following over the past twenty years. Soon after, a wave of profound sadness filled the air as Murphy announced the recent passing of band member Justin Chearno, for whom we sang “Someone Great.” As the evening neared its end, “Home” provided the uplift and rush of blood we all direly needed for the finale “All My Friends”—a song made for late-night cruises on the freeway, lit by fumbling headlights and the promise of nights out with friends. Crowd members mounted each other’s shoulders as the familiar A-major piano melody rang out for all to hear. Mesmerized by the band in all their glory, we raised our hands in synchronization, contorting our weary bodies into whatever shape felt right. I guess you could say we danced ourselves clean.
@nevedawsonphotos @_nevedawson
My current role for TBGG is as a Reviewer, Interviewer and Photographer, which I do in my spare time when I'm not studying English Literature and History at the University of Bristol.
I'm available for reviews, previews, interviews and shoots through the company. Alongside TBGG I also write for The So Young, Groupie and Rodeo Magazines, with an aspiration to enter magazine and newspaper journalism focusing on culture and the arts.
What was your first Gig?
The first gig I remember seeing (when I wasn’t dragged around by my metal-head father) was The Killers live in my hometown of Birmingham in 2016. Brandon Flowers’s iridescent cowboy suit still blinds me to this day and echoes glamorous indie rock n’ roll for years to come.
What's your dream Gig?
I would have to say my dream gig would be seeing Hendrix’s star-spangled banner live at Woodstock ’69. Call me cliché but I was born in the wrong generation.
