More about: NOS Alive

NOS Alive returns after three years with a bang, bringing together enthusiastic but spacious crowds with sub-bass so potent that every hair on your body vibrates. 

Even though NOS Alive is approaching its 15th year, it still feels like it centers the fan, rather than trying to cram in as many flashy sponsors as possible. Food stalls were healthy and inclusive, sold out days weren’t overcrowded, and water distribution was increased after heatwave complaints (but at least they were listening). You never felt that despondent festival feeling of “I’m going to be so broke and crusty by the end of this.”

Starting at around 5pm each day avoids most of the relentless afternoon sun, providing time to explore the eclectic cultural history nearby, or to simply just visit the beach. Additionally, each act played for an hour minimum, allowing you to fully settle into a performance without worrying about clashing acts and missing sets. You could leave just before St. Vincent’s last song, get a hot dog and wine cooler, and make it in time for Metallica without getting indigestion. Revolutionary!

However, to be clear, there was no way to be sure about set lengths- whilst Day 2 headliners Florence + The Machine played for an hour and a half, Day 3 headliners Metallica played for over two hours. Planning anxiety was removed only because there was simply no way to plan.

Whilst the main stage lineup held the biggest names, it was the Heineken Stage where the real action occurred. Functioning as a sort of “secondary main stage” it could only hold several hundred people, making performances from Modest Mouse and Balthazar even more magical as they drew crowds of passionate fans that knew every single word. You could see beads of sweat forming on band members' faces, every twitch of an eye- the intimacy forced the atmosphere to become condensed and electric.

From the second Fontaines D.C. walked on the Heineken stage you were tightly caught in their grip. Strobing red lights intensified the biting stares of singer Grian Chatten as he surveyed a crowd that was riling itself up into an animalistic frenzy, building an atmosphere that was so threatening that you couldn’t help but feel hair-raising shivers. As guitarist Carlos O’Connell pursed a lit cigarette between his lips and recklessly beat his guitar a feeling arose: Fontaines D.C. feel dangerous… and it’s enthralling. They are absolutely a once in a generation band.

Compared to the intense emotional release of Fontaines D.C., St. Vincent shared intensity through what she withheld. Every move seemed perfectly planned and controlled, creating an enchanting visual satire that, if it weren’t for St. Vincent's funky tunes, would have left me catatonic in awe. The stage was transformed into American suburbia and every detail was considered, down to small details like a diner waitress coyly serving drinks throughout the set. Something about St. Vincent is alluringly captivating and simply oozes star quality. She knows how to coax an audience into the palm of her hand- you can’t help but leave her gigs feeling a little bit religious about the whole experience.

However, the overall winner of the Heineken stage had to be Phoebe Bridgers. Crowds patiently waited for up to an hour before the performance rather than simply sauntering over with a few minutes to go. Before she even appeared they were chanting “Phoebe… Phoebe…”, and once her set started every little move she made would receive rapturous applause. No where else could you see Phoebe Bridgers in such an intimate space with such fervent fans- there wasn’t a single song where you couldn’t hear the crowd passionately singing. Heavy with emotional solace shared amongst friends, it was truly magical.

A completely different atmosphere was seen on the WTF Clubbing stage- passing by there was always a party spilling across the astroturf, introducing a new generation of extremely cool young artists. Standouts include EFÉ, who graced the stage on Day 1 to share her glimmery bedroom pop tracks to a small crowd of fans pooling near the barrier. You couldn’t help but feel a special intimacy as she declared “I can’t believe you know the words”. Similarly, Owenn spent his set proving his star quality, offsetting the heat of his leather trousers with his icy cool attitude, and confidently performing impressive vocal runs during Prince-reminiscent dance breaks.

The stages were extremely varied, with a Fado stage providing a curated taste of Portuguese cafe culture, hidden like an underground club at a hole in the wall. Meanwhile, the contribution of a comedy stage was an interesting choice- people would use the shade as shelter, but, perhaps due to the language barrier, it rarely looked like anyone was actually laughing. Each stage was so loud that sound bleeding was inevitable, but, perhaps concerningly, there wasn’t a single place where you couldn’t feel the music in your chest.

On the main stage of NOS Alive it felt like set times were randomised. Regardless, The Strokes appeared late, with singer Julian Casablancas drunkenly bringing up the alt-right a concerning number of times throughout the set. After playing a somewhat confused set, with Julian often struggling to keep up with the rest of the band, they left without playing ‘Last Nite’. It felt like seeing the beginning of the end of The Strokes...

There were highlights on the main stage, though, such as Metallica’s excessive pyrotechnics, Stromae’s euphoric danceability, Mother Mother’s kooky sing-alongs, and the regional favourite Da Weasel. A main stage surprise, though, came in the form of Don Broco- a band who know how to rile up an audience like nobody else. By their end of their set the crowd had tripled in size, and most of them had taken their t-shirts off to swing around their heads like a rowdy crowd of hooligans. Strangers were yelling the band's lyrics at each other like they had forever been friends, and genuine connections were formed in the mosh pits.

Whilst the men of the main stage had some stand out acts, it was the women who truly left a lasting impression. Florence + The Machine introduced a fervently cultish atmosphere that bewitched the audience- raising her hands to play with the music like it were tangible before rushing wildly across the stage as if possessed. Before playing ‘Never Let Me Go’ from 2011’s ‘Ceremonials’ Florence noted that she “didn’t play this song for a long time because it reminded [her] of a time when [she] was very young and very sad and very drunk”. She paused to compose herself before adding “If you came here sad and drunk tonight, I hope you’re now just drunk”. Her performance was jubilant, comforting, natural, and had that witchy vibe Florence has so well cultivated. Stepping into the audience she enchanted the crowd, proving why she was given the headlining slot.

Jorja Smith was an ethereal apparition during golden hour, effortlessly poised whilst spilling complex soulful melodies. A cover of ‘Stronger Than Me’ paid tribute to Amy Winehouse, and the audience couldn’t help but dance along. Similarly, Celeste demonstrated her power in a graceful yet authoritative manner, floating through the parted crowd as if to address every audience member individually. Fans echoed back her every word despite NOS Alive being her Portuguese debut, with new fans being made from each passing syllable.

Haim, meanwhile, brought a cheeky joyousness to the stage- a stage which they had framed with massive strings of sausages, representative of the ‘sausage fest’ of the music industry in light of their ‘Women In Music III’ album. After a gag involving a phone call from “last night's hookup”, Este wanders into the crowd to search for any “willing men” but accidentally lands on an engaged man who takes the opportunity to declare his love to his “beautiful fiance that [he] love[s] very much”. This lighthearted chaos is what makes Haim shows so enjoyable, like you’re just hanging out with the sisters. They didn’t need to rest on that, though, as their musicianship spoke for itself.

As the festival drew to a close I found myself opening up my calendar and preemptively blocking out a week in July. If NOS Alive proves one thing, it’s that a relaxed attitude and little bit of waiting makes the payoff all that more special. 

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More about: NOS Alive