Brunch Electronik: Three-Day Musical Feast in Barcelona

A feast of electro, rock, techno and everything else in between

Returning for its second edition, the Barcelona iteration of the global festival is fast establishing itself as one of the city’s must-attend electronic offerings.

Over two glorious sun-soaked days, the city’s sprawling Parc del Fòrum site played host to five stages, each dedicated to a range of genres, encompassing house, techno, tech house and progressive techno, as well as live bands and an all-important roster of emerging artists to boot.

With doors opening at 3pm and music blaring out well into the small hours, Friday’s offering saw the Iconik stage hosting Helena Hauff and Modeselektor, who delivered stirring showcases in the round. Meanwhile, the likes of the ever dependable Nightmares on Wax, Gabrielle Kwarteng and Palms Trax took to the Rhythmik stage to deliver sets backdropped by the Balearic Sea.

Elsewhere, the Harmonik stage, a mainstay for regular Brunch events across the city, transposed to the corner of the site, playing host to a wide-ranging lineup, including the likes of Adam Ten, Miss Monique and a B2B set from Dixon and Hernan Cattaneo, whose emotive set ensures the stage remains packed out well into the early hours.

Over at the Euphorik stage, Röyksopp served up a dazzling, tightly configured live set, which eschewed the chilled out sounds of their earlier work in favour of heavier, beat-laden material from their recent Profound Mysteries project. Bolstered by energetic support from a troupe of dancers, it neatly set the tone for wilder things to come: the chaotic stylings of self-appointed ‘Loop Daddy’, Marc Rebillet.

Part improv comedian, part musical polymath, Rebillet’s set ebbs and flows from the chaotically silly to rapturously euphoric in mere moments. Improvised songs cover topics ranging from punters coming “to the right place” (i.e. his show), an exploration of what he wants (as it turns out, it’s us - the audience) and extolling the virtues of electronic music itself. Emerging topless in nothing but a pair of boxer shorts - as is his want - Rebillet is as much a spectacle as the anthems he creates on the fly.

With the party in full swing, Saturday’s line-up saw a considerable shift into dancier territory, with the Groovik stage playing host to rousing, crowd-pleasing DJ sets from Dom Dolla, Vintage Culture and Fatboy Slim. Meanwhile, mere metres away, the likes of Elli Acula, Dax J and Trym each delivered two hour-long slabs of techno delights.

It was the Euphorik stage, however, that delivered one of the weekend’s stand-out moments - a stirring live set from Soulwax, which saw the Dewaele brothers shirking their 2manydjs moniker to perform live in the city for the first time in seven years.

"To be here in Barcelona, it's not brunch,” Stephen Dewaele declares to an enthusiastic crowd. “It's dinner. It’s dessert."

He isn’t kidding. While some live acts would opt for drum machines in a festival setting, Soulwax opt instead for ambitious staging that positions three drummers on a scaffolding rig above them, while the Dewaeles take centre stage, flanked by keys and guitars. Staged against a wall of pulsing LEDs, it’s a visual spectacle that makes for one of the weekend's standout performances, while fan favourite ‘E Talking’ and the percussive crescendo of ‘NY ‘Excuse’ make for an unforgettable moment.

Two years in, Brunch Electronik is quickly establishing itself as a formidable staple in the city’s musical landscape. It isn’t a perfect set up - a tighter configuration of the Parc del Fòrum site compared to that of Primavera Sound’s sprawling use of the same location occasionally leads to sound bleed - something that becomes especially prevalent when pulsing techno enters the fray, but these issues are few and far between.

With an impressive line up to boot and a clear mission statement for creating a festival environment focused on sustainability, inclusivity and, perhaps most importantly, a diverse array of talent, there’s a real sense that the best is very much yet to come.

Words by Paul Weedon