Lovebox 2012

Early on the Friday, Devlin tears up the main stage with a heady set of grimy street jams and sing-along tunes, ending with a blistering freestyle after an acoustic guitar led trawl through ‘Runaway’. Elsewhere, Toddla T brings his crew with him including a delighted Shola Ama who lends her sweet vocals to ‘Take It Back’ and new single ‘Alive’ alongside a number of reworked back in the day tracks. The ever energetic Sheffield producer and his jumping bean enthusiasm whipping the sun kissed crowd into further frenzy. Over on the Stockade stage, 2 Bears bring their sunshine filled house living part spirit to East London. Playing a mix of their own tracks, productions and remixes; they are accompanied by a mini dance troupe that bounds around energetically whilst the furry ones spin the tunes. Their live rendition of ‘Bear Hug’ provokes an almighty stage invasion that temporarily halts their set while complete strangers throw their arms around each other in joyous unfettered abandon.

You never know what sort of show you’re going to get from Crystal Castles or even if they will last the distance. This time around we get a slashed back half hour set which includes a rave inspired new track alongside the likes of ‘Airwar’ and ‘Alice Practise’. Alice with her ghostly look and striking purple hair is genuinely enthralling although with the exception of a blistering ‘I’m Not In Love’, their set spoilt by barely audible vocals.

Headlining the Friday night are Hot Chip, fresh from the release of their new record and dressed to geek chic perfection with Alexis in his oversized t-shirt leading the charity shop charge. From the gorgeous cowbell propelled ‘How Do You Do It?’ with its ‘make me want to live again’ refrain, to a steel drum re-routed ‘I Feel Better’ there are dancing feet a plenty. They even manage to squeeze in a guilty pleasure cover of Fleetwood Mac’s ‘Everywhere’, which has even the older audience members flexing their vocal muscles.


Stooshe are the surprise hit of Saturday, their London attitude and friendly banter in stark contrast to a raft of shut up and play merchants. Mixing their own material (the cheeky ‘Kiss Chase’, with its nifty dance routine, and the classy harmonies of ‘Black Heart’) with some well placed covers (a stripped back ‘Waterfalls’ coming with a declaration of their love for TLC) is a winning formula. Like many of the bands on the bill, there’s a nifty little mash-up, combining the unlikely duo of Ben Howard and Rihanna with their ‘Only Love / Where Have You Been?’ interpretation that has the crowd switching from chameleon eyes to rave boots.

Continuing the urban theme is Maverick Sabre, whose Irish charm and natural showmanship has the crowd in the palm of his hand. This time last year he played the same stage to a handful of people. Here a significantly larger swell are swaying to the delicious ‘It Can Never Be’ complete with gutsy guitar solo. It’s not all doves in summer however as the original ‘No One’ is ripped apart mid-song dubstep style and his heavy as nails Chase & Status collaboration ‘Warrior’ has the crowd skanking. A sing-along ‘I Need’ is a well judged end after all that sweaty manoeuvring and a testament to the skill and craft of his entire band.

It’s been quite a year for Emeli Sande who despite a few sound hitches is a real hit with the mostly female crowd. It’s unusual not to see her sat at her trademark piano which is such an integral part of her own shows, but she successfully adapts her set with covers of ‘Every Teardrop Is A Waterfall’ and the Bob Marley classic ‘One Love’. Spending much of the set bounding energetically around the stage with a constant grin and sharing the stories behind the songs, the radio ubiquitous ‘Heaven’ and ‘Next To Me’ are delivered with note perfect accuracy. She bravely attempts a new track in the shape of ‘Wonder’, a foot stamping number that’s quickly picked up by the crowd and encapsulates the glowing positivity that radiates from her every word.

Groove Armada return with a one off greatest hits set to celebrate 10 years of the festival they created. Soul legend Candi Staton bringing her distinctive tones to ‘Love Sweet Sound’ and her own ‘You’ve Got The Love’ whilst Becky from Saint Saviour spins and dances her way around the stage in the tightest of catsuits as the band ran through a handful of tracks from ‘Black Light’. The most notable of these a beefed up ‘Paper Romance’, which is quite possibly the highlight of their entire show. Of the band themselves, Andy is the more visible as ever, lending trumpet (eventually) to the calming ‘At The River’ as well as guitar and keys. ‘I See You Baby’ has even the male members of the audience shaking their behinds before the rock breakdown kicks in and frantic moshing ensues. A welcome return.

The ever lithe Ed brings his full quota of dance moves, wiggling around the stage like an unleashed snake, adding the occasional cowbell as headliners Friendly Fires twin older material with tracks from ‘Pala’. In a set full of wonderful moments it’s hard to know where to start, but the colossal bridge of falling drums, brass and guitar on ‘Skeleton Boy’ and the tension fuelled break down during ‘Live These Days Tonight’ are truly beautiful. Despite the teaming rain, couples dance during ‘Hurting’, summing up the life affirming spirit of a band that makes you move like nobody else is watching. Many people have already started to leave as they make their way back for a triumphant encore of ‘Hawaiian Air’, flashing lights illuminating the stage, whilst the failsafe ‘Kiss Of Life’ transported your mind and spirit away from the crushing mundanity and away to a tropical paradise.

There will be few times that a band like The Rapture will ever be introduced by a drag queen but this epitomises the free spirited carnival that is Sunday at Lovebox. An energetic set flirting seamlessly with raw Strokes like garage rock and frenetic rave mayhem. ‘How Deep Is Your Love’ with its a cappella breakdown and impromptu chants of ‘Hallelujah’ giving it a new found spiritual twist the defining moment. Another group with infectious dynamism are Crystal Fighters, an eccentric fusion of Gogol Bordello gypsy punk and Crystal Castles bleep heavy minimalism. From the very first bars of ‘Champion Sound’ to the last embers of ‘Xtatic Truth’ there are flailing limbs and shifting feet aplenty. Finger wagging, a bare chested maniac singer and a duo banging blocks of wood all as standard.

It may have seemed like a strange decision to place Lana Del Rey on the smaller outdoor stage but this may have been a saving grace. Accompanied by a full band including a string section and grand piano, she nervously makes her way through a smattering of tracks from her new album accompanied by evocative visuals of America, black and white movies and childhood scenes. Having been berated for a number of weak high profile live performances this is the perfect riposte. Despite visible nerves she finds the confidence to vocally let loose on ‘Million Dollar Man’ and ‘Born To Die’ with a freestyle end. Closing with the crowd uniting ‘National Anthem’, she finishes her brief set by walking around the barriers greeting fans.

Closing the festival is the inimitable Grace Jones, who takes us on a musical journey through French chanson and reggae into disco and even rock on a furious ‘Demolition Man’, banging a pair of cymbals together as if her very life depends on it. Every song is accompanied by a costume change, showing off her unique collection of hats and the perfect excuse for her trademark blend of eccentric banter. Aside from the music, we witness the kind of shenanigans normally reserved for late night revue but mixed with a knowing humour and trademark cheek. Her own distinctive take on ‘Love Is The Drug’ and the Piaf classic ‘La Vie En Rose’ are executed with the kind of gusto befitting of a woman half her age, though her own material is equally beguiling. Of the generous smattering of recent tracks from her most recent LP, ‘Williams Blood’ is a special highlight, an uplifting gospel tinged slice of church in the great outdoors, punctuated with an unexpected rocky interlude. Having kept the crowd waiting nearly 30 minutes there’s just enough time to pull out ‘Pull Up To The Bumper’ and ‘Slave To The Rhythm’, the latter given more twists and turns than her hula hooping hips that gyrate through to the songs’ conclusion. Truly one of a kind.