Positivus 2015

Taking the short walk from beach to bleachers via a smattering of forest, there’s a sense that Positivus isn’t just a name born of cartoon simplicity. From the bouncing mob of united dance down the front, to those sat on the benches and woodland floor that litter the site, the largest festival in the Baltics (in Salacgriva, Latvia, to be precise) plays host to a wonderland of positivity.

Before the safety of Placebo’s career-spanning set brings the Friday night to a close, there’s discovery to be had on the Nordea Stage with East India Youth. Flipping between buttons, keys and an exhausted grin, William Doyle’s textured electronic canvas gives the festival’s fairytale setting a magical soundtrack. As the ever-growing crowd sinks deeper into the digital vibrancy, Doyle, charismatic despite the wall of tech before him, teases unknown joy from the field. That glee is carried over to Jungle’s main stage performance. Their evolution from mysterious buzz band to huge festival draw may have concluded months back, but the two-piece come seven still seem in awe of the crowd before them. Wielding the feel-good party factor that flows through their debut album, today every song feels triumphant.

On Saturday Peace put in a faultless performance, but there’s a nagging sense that their spark is lost in translation. Warpaint, on the other hand, throw their crushing atmosphere wide open. Tonight, Charli XCX is headlining the second stage - and she means business. From the hammering introduction of ‘Sucker’, through ‘I Love It’, ‘Break The Rules’ and ‘Famous’ until the smash hits ‘Boom Clap’ and ‘Fancy’, she’s unstoppable. With a packed-out crowd entertaining her every whim and the one-two punk snarl of ‘Mow That Lawn’ and her cover of Snuffed by the Yakuza’s ‘Allergic To Love’, Saturday night at Positivus sees Charli XCX at her most powerful and commanding. If there was ever a moment that saw Charli XCX eyeing up that very top slot, it’s tonight.

Not that Kasabian are handing over their crown anytime soon. After countless years on the road, they retain an impressive pull that’s matched by their enthusiasm. As the closing shots of ‘L.S.F.’ ring out, the band leave the stage except for Serge Pizzorno, who sits on the edge basking in the atmosphere.

A glorious Sunday afternoon set by Basement Jaxx is on paper an odd precursor to St. Vincent’s sunset slot on the main stage but from the slanted opener of ‘Birth In Reverse’, Annie Clark is mesmerising. Stylised and automated choreography sit next to the rich, decadent range of her music and this contrast amplifies the utter beauty of the whole affair. Appearing effortless, yet overwhelmingly fantastic and technically superb, St. Vincent holds a mirror up to Positivus and highlights the sheer magic of the event.