Squid, Shabaka and Cobrah open their record collections and Bristol plays along

Bristol’s Simple Things festival demonstrated the city’s capacity to support an adventurous music scene by delivering a one-day event that combined challenging sounds with a loyal audience. The festival’s lineup was curated partly by post-rock band Squid, saxophonist Shabaka, Swedish electropop artist Cobrah, and artist Jeremy Deller, underscoring the event’s dedication to genre fluidity and experimentalism.

The festival took place across multiple unique venues, including the Beacon arts center, Strange Brew indie venue, a former police station called The Island, and an abandoned department store turned skate park known as Shredenhams. This spread of locations contributed to the festival’s distinctive atmosphere and connection to Bristol’s rich cultural tapestry.

Squid’s curation stood out for its reflection of the band members’ varied musical interests and expressions, steering away from traditional genre boundaries. The band’s curated stage at The Island featured a range of European underground artists, highlighting the collective’s commitment to showcasing diverse avant-rock and experimental acts.

The festival’s opening acts set a strong tone for the day. DIALS, a Bristol underground supergroup, blended psychedelic R&B with trip hop influences, while Copenhagen’s Fine offered jazz-inflected alt-pop that resonated in a packed venue. London’s Caroline brought a deconstructed approach to post-rock, cementing the event’s focus on innovative musical forms.

Following Squid’s guitarist Anton Pearson’s ambient solo set, the curated stage included Bristol’s Minor Conflict and Berlin’s 13 Year Cicada, acts noted for their experimental and discordant styles. Electro-punks Comfort and the collective Squid then performed, culminating in Squid’s own set at the Beacon main hall, which featured new material alongside established fan favorites and an expressive live performance.

Analytically, Squid’s involvement as both headliners and curators marks a significant moment for their profile in the experimental music circuit. Engaging directly with the programming allowed them to shape audience expectations and align the festival’s offerings with their eclectic musical identity. This approach may strengthen fan loyalty and broaden the appeal of their touring and recorded output, positioning them as central figures within this niche scene.

On another stage, Moor Mother’s mix of futuristic poetry and heavy drone metal from BIG|BRAVE provided contrasting textures, while Mykki Blanco’s punk-influenced performance and SILVERWINGKILLER’s blend of post-punk and electroclash extended the festival’s genre diversity.

Other highlights included psychedelic debut album performances from RIP Magic and the violin-driven indie rock of New York’s Chanel Beads, both artists reinforced the festival’s embrace of hazy, fuzz-laden sounds.

Cobrah’s main stage set delivered a stark contrast with lean techno-pop and high-energy visuals, including collaborations with French producer Coucou Chloe, adding a theatrical edge to the festival’s sonic palette.

Berlin-based Texan Alex Wilcox contributed an eclectic Europop-infused set, merging elements reminiscent of Devo and John Maus, which maintained the festival’s dynamic energy in the Beacon’s foyer.

The Avalanches closed the festival with a headline performance that balanced nostalgic fan favorites and tracks from their latest album, No Bad Memories. The duo’s use of hyper-real visuals and seamless DJ sets emphasized their continued innovation even as they approach their 30th anniversary.

Simple Things’ success underscores Bristol’s reputation as a hub for experimental and exploratory music, supported by a community that embraces complex and unusual sounds. The festival’s infrastructure and venue choices reveal an investment in creating immersive experiences aligned with avant-garde music’s evolving demands.

While Bristol’s own scene remains robust, the festival’s broad curatorial vision brought international attention to the city’s musical eclecticism. This multi-venue format, combined with a careful balance of local and foreign acts, positions Simple Things distinctively within the UK’s festival landscape, setting a precedent for future editions.