HOYFEST | LIVE REVIEW
The Gate Arts Centre, Cardiff, Fri 18 + Sat 19 Nov
A simply decorated space complete with colourful bunting created a good escape from the cold rainy November night. Twenty-five acts, two days, one venue: Hoyfest is the vision of Luckyman Records’ Sam Hoy, who after putting on gigs in and around Cardiff for the past two years felt he had made the connections to take this next step into festivals. A gruelling 11-month process which turned out to be, in his words, as successful and professional as it could be, Sam says he couldn’t have pulled it off without the “amazing team” behind him.
Consisting of two stages – the Acoustic/Fireball Stage downstairs in the open space/bar area and the Main Stage upstairs in the theatre – Friday began on the acoustic stage with sets from Jack Perrett, Sean O’Brien and To Bear Sir. Upstairs on the main stage, the night kicked off with Parish and Bandicoot; following that, the Merthyr-based Moon Birds took to the stage and on their usual top form didn’t disappoint in their bid to warm up the crowd. Well known around these parts, lead singer Mitchell Minney brings his cheeky chappy persona to the stage, which combined with their retro dirty blues vibe got most of the audience out of their seats and down onto the main stage dancefloor.
Following this, Cardiff lads Monico Blonde [below] brought their thumping basslines to the main stage. A class beyond their years with strong echoing vocals and an anthemic sound reminiscent of Arctic Monkeys, a highlight was the bass player who looked like he was having the time of his life up on the stage.
In a change of atmosphere the lights came down when another local band, Palomino Party [above], came to the stage. Glam rock meets indie and beautifully executed, lead man Linford Hydes has all the eccentricity of Boy George the passionate art rock-style vocals of Bowie and the energy of Years & Years’ Olly Alexander.
Looking like Skins cast members, No Hot Ashes took to the stage with their post-punk disco funk sound before headliners The Milk. Says it all in the name really because these guys are as smooth as a cold glass of the white stuff. Bluesy and soulful without being depressing, almost sounds like an oxymoron but they somehow manage it. Their sound perfectly resonated in the acoustics of this church like venue. A difference in age and experience from the rest of the acts made them stand out in a league of their own.
Moving onto the highlights of the Saturday lineup. The Fireball Stage hosted an ambudance of talent: Nuclear Lullaby, Amber, The Broadcasts, Mirror Gorillas, Rainbow Maniac, Rinse, and ending with Himalayas.
Upstairs on the main stage the night kicked off with The Fused before an appearance from man of the hour Sam Hoy with his own band Wetpainttt. Cardiffian indie five-piece The Cradles are already being noticed around the country, with radio play on Radio X and BBC Introducing and to see them live is to understand why – a professionalism and charisma beyond their years.
Cupids and Tibet followed before the London-based Judas rocked out as if they were headlining a major festival. They mix an accomplished sound with friendly banter; close your eyes and it’s like listening to an early, edgier Kings of Leon. I don’t think you could leave the Gate not being a fan of these guys.
Finishing off a polished, organised weekend of brilliant music were Vant. Frontman Mattie Vant has a magnetic passion that exudes through his vocals: vibrant melodies combined with lyrics that are raw and fresh. They have a special talent to read their audience and they brought the festival to a roaring energetic close.
Everything from the use of lighting, fantastic sound management to the little touches like free lollipops and sherbet made Hoyfest quirky and memorable. Sam speaks of his ambitions to make this festival an annual event, hoping for it to get bigger and better every year and if its debut was anything to go by it’s sure to be a great success for many years to come.
words DENIECE CUSACK photos CHARLESTON GIBBS / EMPIRE COLLECTIVE PHOTOGRAPHY