Øya Festival 2010

Øya is the highlight of the Norwegian event calendar. The festival, which is situated in the heart of the city, attracts numerous acts from Norway and around the globe and has boasted superb and diverse line-ups in the past. This year’s festival isn’t an exception to that rule; the festival site includes four different stages catering to every possible genre. South African mental rap rave crew Die Antwoord schmooze up next to indie royalty Pavement, and experiential popsters Ariel Pink’s Haunted Graffiti chill backstage with M.I.A.

The first festival day starts off with Raekwon’s set, which confirms his reputation as one of the best MCs from the Wu-Tang Clan. Raekwon performs a multitude of his typical melodically raw tunes ranging from old Wu Tang material to his new solo stuff. His trademark swagger and sharp lyrics aren’t lost on the crowd who chant along to every song.

Punk veteran Iggy Pop takes over from Raekwon and the difference between fresh new talent and an old and established master couldn’t be more obvious. Despite Iggy’s best efforts to set the stage on fire with his never-ending thrashing about and writhing whilst belting out old hits such as ‘I Wanna Be Your Dog’, unfortunately the spark doesn’t really catch on.

Experimental-trance-poppers Ariel Pink’s Haunted Graffiti proceed to play the smaller stage next, which could be called the highlight of the first day. Their weirdo pop leaves the crowd stunned due to their eclectic mix of utterly bonkers tunes and perfectly refined guitar magic, which shouldn’t go together, yet perfectly does. Kurt Cobain look-a-like and mastermind-singer Ariel Pink calls their genre ‘World Goth’, which can easily be understood when looking at their bizarre musical blend that incorporates chill-wave, stoner rock, electro pop and last but not least geek-rock. Ariel Pink’s set was undoubtedly one of the must-see highlights of Øya, where the melodic married the dissonant and the harrowing embraced the healing.

M.I.A. is the main act the big stage next and she pulls off her headliner status effortlessly. Despite heavy rain, M.I.A.’s set is incredibly energetic and gratifyingly danceable. Stunning in sounds and beauty, M.I.A. pulls off a show that leaves the mass of fans ecstatic and sweaty. She’s got the beats and brains to entertain and crowd-pleasers such as ‘Galang’ and encore ‘Paper Planes’ go down a storm. A worthy ending to a fantastic first festival day.

The second day starts with a uninspiring set from US emo-rockers Against Me!, who play their usual insipid stadium rock, but things look up soon when Surfer Blood take to the stage. Like a more cheerful Weezer, Surfer Blood bring the proverbial LA sun to Øya with their pure and harmonious indie pop.

Brooklyn’s Yeasayer start the party early that Thursday with their warmly received afternoon set. They play a set that could best be described as ‘tropical disco’ Yeasayer stepping up their musical game by integrating multicultural and multi-harmony weirdo pop. Merging references from Middle Eastern pop and nonchalant indie to something approximating Balearic house, Yeasayer’s bleepy bliss set is astoundingly strange and beautifully danceable.

Pavement headline the second day and even though their legacy pulls the biggest crowd so far, their dreary set at Øya doesn’t justify their mass appeal. ‘Gold Soundz’ is the greatest moment of their set, but simply because, for once, their tuneful genius shines through the dissonant and monotonous rest of the set.

Friday starts off with a astonishingly brilliant set from South African Zef-Rap-Rave-Crew Die Antwoord. Die Antwwoord are minuscule singer / rapper Yolandi Visser and mentalist MC Ninja, who set the stage on fire with their crude yet unmistakably witty and eloquent zef slang rhymes. With flow and energy so infectious and beats to catchy, Die Antwoord perfectly encapsulates everything that is ‘now’. It’s a collision in raw urban rap, refined electronica and simply mental world music, which makes you forget you’re losing the plot to crazy tunes at four in the afternoon. Never too early to embrace the delirious, notorious and genuinely great Die Antwoord.

Flaming Lips pull off an equally fascinating if completely different and more cultured performance. Singer Wayne Coyne comes on stage walking all over the crowd inside a giant rubber ball and later handles all sorts of stage gadgets including of confetti blasters and huge balloons. Even though Flaming Lips is by no means style over substance, sometimes they should just let the songs do the talking instead of the megaphones. The ephemeral beauty of ‘She Don’t Use Jelly’ and ‘Do You Realize’ stand out and Coyne’s stage presence is surely one of a kind.

The highlight of the last day was half-Norwegian / half-British singer Lucy Swann, who performs in the smallest tent, but who has the biggest stage presence. With her remarkably strong voice, which Lucy loops over and over to create a sense of a background choir, the singer gives you shvers of joy. Her fantastically inventive and unique mixture of electro pop walks the thin line between emotive fragility and emotional strength. Think Bat For Lashes’ exquisite voice paired with Patrick Wolf’s organs and mysterious story-telling and 80s keyboards and you’re only half way there. Lucy Swann is definitely one to keep in mind for big things.

Love Oya and Oya will love you back. See you there next year!