Lana Del Rey and Fred Again Face Stage Sound Clashes

Is pop metal dead? Judging by the lineup on the second day of Reading 2024, you might think so. Glasgow’s Dead Pony found an engaged audience in the Festival Republic tent, thanks to a sudden downpour. Their set featured melodic metal anthems and Garbage-inspired rave rock, complemented by their inflatable black mascot, Derek the Dead Pony. Meanwhile, on the main stage, Boston’s Dead Poet Society were delivering similar high-energy performances—just without a blow-up mascot.

Both bands proved that melodic metal still has some life in it. However, it’s alternative rock that seemed to be in the midst of a resurrection. The Last Dinner Party took to the main stage with a theatrical presence reminiscent of haunted Victorian dolls and a sound that channeled Kate Bush. Their dramatic pop numbers, such as “Portrait of a Dead Girl,” unfolded like a theatrical rock fantasy. With tracks like their no-strings sexual anthem “Nothing Matters” and a cover of Sparks’ “This Town Ain’t Big Enough for the Both of Us,” the band truly blossomed on stage.

Elsewhere, Fontaines DC showed growth in their style. The Dublin-based band walked onstage with what you could call an acid punk aesthetic—purple tracksuits, tiger print jackets, and blood orchid hair. Frontman Grian Chatten sported a bright green jacket reminiscent of bratty summer vibes. Their set was a series of eclectic shifts: the upbeat “Favourite” morphed into the murky “I Love You,” while the gritty “Nabokov” gave way to the frenetic “Boys in the Better Land.” They closed with “Starburster,” a single that sounds like James Bond experiencing an anxiety attack during an Arabian chase scene, leaving the audience keen for more.

In the Radio One tent, London’s Wunderhorse tapped into an old post-punk vibe reminiscent of The Stranglers, infused with the passion of Modern Lovers. Even Taylor Swift’s co-writer Jack Antonoff opted for an alt-rock approach with his band, Bleachers. Performing on the main stage, Bleachers embraced an American boogie rock style in the vein of Billy Joel and Springsteen, featuring guitar and saxophone duels. Antonoff used the performance as a platform to experiment with various indie rock sounds, offering glossed-up versions of The National on “Chinatown” and a smoothed-down Arcade Fire on “I Am Right on Time.”

As the afternoon progressed, the festival took a brief hiatus. On the Chevron Stage, Barry Can’t Swim entertained with Balearic beats, while Raye graced the main stage. Backed by a choir and string section, Raye offered a mix of soul pop confessionals. Her interaction with the crowd was a highlight, as was her intense performance of “Ice Cream Man,” a song about surviving sexual assault and embodying strength.

Lana Del Rey’s set was another highlight, although it was marred by delays and sound issues. Del Rey’s elaborate stage setup, designed as an Arthurian castle, took time to assemble, making her 15 minutes late. Compounding the issue, Australian DJ Sonny Fondera started his set on the nearby Chevron stage, causing a clash of soundscapes. Despite the interference, Del Rey managed to deliver a show imbued with delicacy and grace, featuring balletic dancers and strikingly opulent visuals. While the intimacy of ballads like “Without You” and “Cherry” was often lost amid the thumping rave sounds, her renditions of “Ride,” “Video Games,” and “Chemtrails Over the Country Club” cut through, showcasing her resilience and artistry. Unfortunately, she had to face another abrupt end to her set due to scheduling constraints, her fireworks display a silent but poignant finale.

As the night progressed, the festival brought out its big guns. Rising from the crowd on a scissor lift, Fred Again.. aimed to revolutionize the live DJ experience. His performance combined pad-tapping frenzies, vocal cameos from artists like Obongjayar and Angie McMahon, and quick stage transitions, presenting him as a pioneering force in live dance music. Much like The Prodigy before him, Fred Again.. injected personality, connection, and showmanship into his headlining act, proving that the spirit of Reading remains as vibrant as ever.

Source: Luke Dyson