For the third year running, Primavera Sound is the festival of choice. Especially for a city slicker like me, there’s something about the beach festival right in the beautiful city of Barcelona that just works. Standing at the top of the staircase if one wants to go down to the Pitchfork or Adidas stages you can see the city lights along the beaches stretch from left to right, and, when at one of the main stages, you can see the tall, Barcelona buildings betraying the fact that, yes, you are smack in the middle of one of Europe’s biggest cities out there. If you go to festivals for the camping, camaraderie, or wellies and mud, this might not be your thing. For those alienated city weirdos, the eclectic programming only enhances that there’s no singular group one belongs to.

Beak> starts off my festival, and do so amazingly well. The trio knows how to do their brand of rock, and the way they slide from one part of a song to the next is a real marvel. The guitar work is really splendid, throwing out some nifty lines, and the set is varied enough throughout to keep people exactly where they are for the entire duration. You can see this is a band of pros, who know what they are doing, and who then apparently can enter a new synth player into the starting line-up without any major hitches during the songs. They, themselves, seem to enjoy it all as well and thus the start of the fest is as positive as one could hope for.

It goes quickly downhill though, as I love Destroyer, but the sound is muddled. Any time there’s a guitar that enters the song, the pristine craftwork of the band comes tumbling down. Which is a crying shame, because last year seeing them in an indoor venue at Le Guess Who? was amazing, with Dan Bejar fronting his band’s intricate works with passion. Here, too, he goes for it, but what worked indoors doesn’t work at the Ray Bans stage today. I’d happily see them again, somewhere, someday, but this makes for an exit before their full time is up.

Which doesn’t get us in time to Air, at least not to see them in a proper position. Chatty people surround us everywhere, which isn’t necessarily the way you want to enjoy the super clean, even pristine, sounds of the French band. The vocals sounds angelic, and it seems they have their stuff together for this one, but it is a bit too rowdy where we are standing, which means we don’t get the beauty, and it only comes off as tame. We wait until ‘Sexy Boy’ comes (oooohhhh-hooo), and then we go from the main stage to one of the smallest stages there is.

Now, being brought up with MTV Unplugged, I’m curious to see what an unplugged version of electro-pop artist Jessy Lanza will sound like. It is the Ray Bans Unplugged stage after all. Apparently, not really, as the show starts wildly late because of all kinds of difficulties with the electronics, cables, and assorted instruments that are on it. When she does start, she starts hesitantly, with not everything completely doing what she wants yet. Drum sound is a tad off, and the microphone doesn’t seem to register her lower singing, although it evidently does manage to catch the high yelps. The two women on stage are down two sets to love and serve is to the other side.

If one band can be proud of today’s set, it is though these girls. Not only do they right the ship, they rebuild it to a cruise liner with the best party in town. The crowd is getting increasingly more into it (it’s packed, and then some), and they are regaining their swagger, which breathes new life into the tunes. This year releasing her album Oh No, she rolls through catchy and punchy songs like the title track and a prolonged, dancey version of ‘Never Enough’ in which she gives it her all. Being last on the stage, she can make up for some of the time she lost at the start, and all there are all the happier for it.

From a young woman ready to reach a wider audience to an old all-American music composer showcasing the oeuvre he has built up during years and years in ol’ Hollywood. That, and doing some Ennio Morricone to boot. John Carpenter has a full band backing him as he does all these well-known synth riffs from the movies we grew up on or belatedly watched somewhere during our lifetimes. That deep synth sound is the key, and the rest of the band fleshes out the sound perfectly. In the background we see the images of the movies these tracks graced, and he does some work off his Lost Themes albums too. Carpenter shows you don’t need to be a fresh, young face to suddenly appear at festivals and engage and hype up crowds, you just need some quality work and a keenness to play them. So, from slasher flick soundtracks to album material, we get it all, with the haunting synth sounds giving the Barcelona night some extra flavour.

Back on the main stage we celebrate the return of LCD Soundsystem, and in a headliner set we get everything we want and more. The roster is one of all-stars, with Nancy Whang and John MacLean from The Juan MacLean with Pat Mahoney and Gavin Russom, staples of the DFA roster, and Al Doyle from Hot Chip we just have it all there on stage. And then, the main brain behind it all, James Murphy, rocking, dancing, and yelling out all the frustration and anxieties that one builds up in life. From dance-punk tracks to all-out disco, from rawness to the super slick; we get everything and more in a headline-worthy set by the New York band.

We get the old work, with tracks like ‘Yeah’, ‘Daft Punk Is Playing At My House’, and ‘Losing My Edge’. The last one has a beautiful, slow moving bass base, making you dance and swing your body as Murphy narrates what basically seems like a nervous breakdown turned around, for, in the end, yeah, they might be more interesting, prettier, and have an amazing web plan, but I was there when all that fantastic shit went down.

‘Home’ is one of my favorites off the last album, such a slick creature it is, Talking Heads-inspired, and ending with that fab line "If you’re afraid of what you need, look around you, you’re surrounded, it won’t get any better". Closing out it’s the piano anthem ‘All My Friends’, saying what, in the end, after all, turns out to be really important. That you’re there, with friends, and surrounded by people with similar anxieties, dancing and losing it to a band that — for perhaps a niche group but still — defined a generation for some. And they, here, tonight, showed why in a strong, get-yr-feet-moving set.

We’ll be livetweeting both days from the @musosguide account on Twitter and tickets are still available from the festival website here.

With heavy heads yet warm hearts we embark on our third and final day at this wonderful event. Our structure remains the same as we start the day with some soothing sounds so we head for the sweet sounds of Laura Cahen. Her French songs are more upbeat that we imagined and rejuvenate our tired limbs.

As we are still not fully recovered we continue to seek out soothing sounds and plump for a bit of good ole country with the delicate haunting beauty of Holly Macve. A Yorkshire lass relocated to Brighton provided a chance to recuperate as her angelic voice washed away the previous nights over indulgences.

Now we want some noise and we have heard huge things about this next band. The Hunna probably deserved an evening slot as their energy and stripped down sound really proved that this could be their year.  Comparisons with huge names like Arctic Monkeys and Kings of Leon are not misjudged and they tore the roof of the venue.

The only way to follow that is by popping to see a South Korean female Doo-Wop group The Barberettes. We ain’t lying this is actually a thing and they are magical. Although mainly a covers band they are visually and vocally brilliant. 

This is followed by the now not so secret gig. Each year the Great Escape has a few surprise acts. However by the Saturday everyone knows when and where they are and with our delegate pass we are able to skip pass the queue to catch the Temper Trap. Theyperform an amazing set consisting of new material. The new single 'Fall Together' goes down a storm along with the huge favourite 'Sweet Disposition'. 

We amble back through the streets of Brighton catching a stall selling frozen margaritas and this seems the perfect complement to the outdoor sounds of Ezra Collective. They are a modern brass band that have a huge amount of energy as the blast out jazzy hip hop covers to an excited and jubilant crowd. 

Away from this mayhem its time to get serious and the beautiful settings of a church provide us with Colm mac Con Iomaire. This guy is a seriously beautiful deep violinist and allows us to breathe and relax once again. Once you have seen one violinist you want more right?  However nothing could have prepared us for the onslaught of Oliver Coates. He is a cellist by trade but it was like he was possessed with the spirit of Jimi Hendrix. He played an electric cello but added in feedback and sounds that were not thought possible, simply amazing stuff. We had actually arrived here to see Guy Andrews and his electronic compositions. He is a master of the ambient moog sound. We were not expecting him to soothe us after the onslaught of a cellist but that’s the beauty of The Great Escape.  

Time to change the music again and we go for the reassuring sounds indie rock. Up first is a Sheffield band The Sherlocks who are already gaining a growing reputation.  They don’t disappoint and like the Hunna before them are a band to watch this year.  There straight up indie rock is just what we need and fully prepares us for Johnny Lloyd. He is an accomplished and polished guy who has bags of confidence and has defined his own indie rock sound.

Now it’s time for a bit of a boogie as we have refuelled and we are conscious that we don’t have long left until the festival ends. NZCA Lines are our choice, and although they remind us of Hot Chip they provide us with safe and non-threatening dance tunes.

One of the last additions to the festival were Jaguar Ma at the beautiful setting of the Brighton Corn Exchange. Their clever swirling psychedelic sounds goes down a storm and we realise we can actually dance to this as well.  It’s almost over and we quickly check our guides to see what’s still open and what is not full to capacity. We scramble to the Latest Music Bar and as we enter upon our last act we know we have chosen well. 

Walking into the bar we are physically pounded by the wall of noise that Dressmaker are producing. These guys were already well into their set and in the three days that we have been here this is by far the loudest thing we have heard. They are angry, did we mention they are loud and they don’t seem to care who knows it?

We leave with our ears ringing and stand outside the venue with huge grins on our faces. Now that’s what a music festival should be all about. We want to thank all the acts we saw, those we didn’t and we want to share this with you. We can’t recommend this festival enough. Here’s a Spotify Playlist of some of the stuff we saw and we hope it gives you a glimpse into our wonderful weekend.

Here also is footage of one of those acts Rob was unable to manage to see, Egyptian Blue:-

It’s been too long. This is my first trip out this year to the no-less-than legendary and always welcoming Franklin Rock ‘N’ Roll Club.

As my friend and I approach the groovy green shack, we see Logan’s Close walking in the opposite direction across Leith Links. Finished already? It’s only 9pm, surely not... it turns out they are just off to buy chips. That’s rock 'n' roll people.

It’s 10.20pm before Logan’s Close take to the floor - but that’s okay by me, more time to listen to some top tunes spun by Franklin regular DJ Tony Twoeyes. Finally the beat-ific four piece from Dunbar, a new bass player in tow (the last time I saw them play at the amazing Franklin Fest 2015, they didn’t have a bassist) open their set with a classy cover of ‘What’d I Say’. They continue at a pace with more self-penned numbers ‘Everybody Wants The Girl’ paying homage to a girl they all fancied in school, and ‘Listen To Your Mother’ played with absolutely no hint of irony. They all (bar the new bassist) have a crack at vocals. Drawing comparisons to The Beatles, The Yardbirds and a slurry of other big Beat and R’n’B ‘60s popsters would be too easy, but what the heck.    

They are clearly very talented, and I hear that they have recently appeared on STV, and have a gig lined up in the big smoke. Vocalist Scott Rough has a stunning voice reminiscent at times of Mike Nesmith, and at way over 6ft, he’s definitely omnipresent. However, I am kinda willing them to rough it up a bit - well okay, a lot. They are very clean cut, however I do see devilment in those eyes Mr Rough. The high point (for me) is the mini wig-out during (and I hope I’ve got this right) ‘Where The Blues Don’t Go’ a Lightning Hopkins tune inspired by Them’s ‘Baby Please Don’t Go’. They wrap up quite a long set and encore with beat band standard The Revels ‘Comanche’ and a decent stab at Dick Dale’s ‘Miserlou’.

It’s been at least 8 years since I last saw Les BOF! My recollection of that night is somewhat fuzzy, on more than one level. And tonight they don't disappoint. They give us exactly what we've been waiting for - fuzz, fuzz and more FUZZ. Yes, yes and OUI!! It’s practically impossible not to have a good old shimmy and shake. They are a good time band and make no mistake, they are not afraid to let loose. They are taking us on an exhilarating ride tonight. Vocalist Laurent Mombet (of flippin’ fantastic The No-Things) always knows just what to do to une) get the party started and deux) keep it going on, and on. They are tight, and with wild songs like ‘Ne Me Jette Pas’ the driving ‘P-Club’ and the séduisant ‘Ils Vont Tuer Le R'n'R’ they are really hitting the g-spot (that’s the garage spot ladies and gents!). Did I mention that Mombel sings everything in his native Francais? Oui mon petite pois. It kind of adds to the whole aloof too cool for school-ness, think Jacques Dutronc and Ronnie Bird.

They wrap up a très énergique, excellente and passionnant set with a cover of Plastic Bertrand’s ‘Ca Plan Pour Moi’. The crowd is a sweaty mess, we leave collectively and light a metaphorical Gauloises…          

The Franklin Fest 2016 takes place on 23rd, 24th and 25th June, including a Saturday afternoon special (woooo!). The line up includes the hottest bands of now peddling yesterday’s finest wares. Featuring such delights as the exceptionnel Les Grys Grys!! Hula-hooping ho-dads Oh! Gunquit!! Bovver boot-iful Thee Jezebels!! The fantastiske Courettes!! Spooky space bods The Sine Waves!!! and many more. It’s an international cast, and you would be a FOOL to miss out. Muso's Guide are proudly covering the event, so watch this space during the coming weeks for interviews with some of the upcoming bands. Tickets are selling fast so don’t delay! The full line-up and details of where to purchase tickets can be found here.