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Saturday awakens slowly as the sun’s bright glare hastens campers out of their tents and the smell of bacon permeates the air. The second day of Endless Daze has arrived and the general consensus amidst attendees signifies sheer contentment alone.
The Velvet Morning stage nurses a seated crowd’s collective hangover as sweet serenades emanate from beneath the beer garden’s timely shade. The reception is surprisingly composed and polite, quiet conversation barely murmured as most ears attentively listen to each performance given. Mr Cat & the Jackal deliver a warmly resonant acoustic set, comically accompanied by the duo’s friendly banter in between tracks that concludes daybreak’s melodic soundtrack before The Valley reopens the Endless Daze stage.
Gleeful faces disperse across the festival’s grounds as strangers become friends and a second smell of sunscreen now combats the bacon-selling food vendor from before. The prevailing atmosphere appears to be one of leisure and ease, evident as I spot an individual sleeping comfortably against the small slope of a tree. A daring few, on the other hand, brave the coast’s icy waters while others queue at the House of Vans Workshop to claim a handful of complimentary items.
Psychedelic desert tones soon navigate its way to the fore, drawing enthused attendees to the platform as yet another impressive selection of artists uniformly perform after one another. The likes of Mac Demarco, Radiohead, and Black Rebel Motorcycle Club is played during short intervals before every act, maintaining a certain consistency of sound that enhances Endless Daze’s already distinctive standing. Familiar faces of the musicians encountered are seen amongst audience members as supporters themselves, demonstrating a mutual quality of admiration and esteem for the community of musicianship Psych Night recruited for this event.
De Wallen’s Jeandré Swanepoel, as one of the weekend’s friendly faces behind the bar, is seen walking around with a large sign encouraging “the hippies” to hydrate, stating in the beer garden a little later how “nothing kills a party like an overdose.” The hippies noticeably listen and so reckless chaos fortunately remains eschewed. Psych Night’s first festival soirée additionally also sustains its serene environment through its crew members, donning t-shirts that sport the word “Family,” whom continually frequent the grounds as a safeguard for any queries or difficulties that may require immediate assistance.
Felix Laband catapults early nightfall into an equivalently darker sonic ambience that builds and retracts as separate motifs transition from one into the other. The decorative beams of light return, mirroring the interchanging rhythms as it constructs an electronic haze of psychedelic colour across the stage. Laband’s attained momentum revives its reign as the mighty force that is Black Math shortly takes hold thereafter. Proficiently scaled licks of overdriven bass and guitar are unapologetically blasted forth alongside piercing screams, the severe chill of evening air forgotten amidst the wake of Black Math’s near thunderous commotion of sound. Their unblemished performance audibly stuns the expanding mass below, inspiring motion and cheer as the three-piece’s set leads up to a vigorous close.
The sky seems faintly overcast as Medicine Boy’s sonic magnetism blossoms against the pale moonlight after Dangerfields’ dreamier showcase. It’s an exquisitely darker setting that compliments the duo’s solemn and gentle character, unravelling a poignant dissonance as their voices and instrumentation harmoniously collide. Second international act The KVB swiftly embarks upon the outfit’s current synth-pop trajectory as the assigned duration of Medicine Boy’s slot expires. They fleetingly travel through each of their tracks, detached from the audience, whilst resolutely at the helm of its instrumentation. Their electronic tones present a fitting crossover to the festival’s melodic farewell as DJ-trio After Hours graces the stage in matching white jumpsuits and the mask of a wolf.
The remaining attendance is small, yet a visible animated energy despite its size has endured. An assortment of pop, rock, and anthemic songs are chosen as bodies groove along equally to Bloc Party, Queen, and The Strokes. Uninhibited dancing commences for well over an hour as the audience happily accepts each featured refrain. Seal’s ‘Kiss From A Rose’ serves as the final encore, greeting an early hour as the last few half-awake souls sluggishly walk back to their tents. I lie awake and listen to the sound of the ocean briefly before falling asleep, thoughts returning to day-old memories as I drift from one blissful recollection to the next.
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