There’s no end to the parade of people who have wondered about what makes a good music festival, and most of us feel confident saying: “I’ll know when I see it.” So when you’re told that the one you’re heading to in The Netherlands has been partially curated by the Seattle drone metal band SUNN O))) — famed for playing at deafening soundscapes not otherwise heard outside horror movies and at volumes designed to perhaps empty your bowels (just a theory) – it adds a fascinating question to festival lineup nonconformity around the world. You soon realise that if you want to hear amazing innovation in music, you have to be willing to look beyond America and Europe. You have to acknowledge how American artists are more likely to experiment in front of a crowd who has just watched 74-year-old psychedelic rock veteran Arthur Brown sashay around in a blue velvet skirt screaming, “I am the God of Hellfire!”
Le Guess Who?, a four-day festival in the city of Utrecht, is an unprejudiced vehicle for musical discovery, and it’s just a 30-minute train ride from Amsterdam. Here, Brazilian psych-rockers Os Mutantes can synchronize harmoniously with German krautrock band Faust or Bradford Cox can thrum out a back-to-back set of visceral improvisations under both Atlas Sound and Deerhunter monikers without confusing anyone. Hundreds of artists spread across 15 different venues, including galleries and churches situated among century-old gothic architecture and icy canals that will melt your heart. LGW? gives you reasons to return: the hospitable Dutch culture, the overwhelming bicycle-to-human ratio, the city’s natural beauty, and the depth and force of the music. According to festival founder, Bob van Heur, “Utrecht is like Amsterdam without the bullshit of Amsterdam,” and he couldn’t be more right. But here’s another reason: the endless opportunity for surprise.
The chance of stepping inside a venue and unexpectedly enjoying other genres, introducing yourself to new local Dutch bands (tip: Silver Ferns, Black Oak and Jo Goes Hunting) or hearing titans of rock (Titus Andronicus), jazz and classical megastars (Kamasi Washington, Charlemagne Palestine), and indie icons (The Notwist, Majical Cloudz) within hours of each other, shows us, in rich and bracing fashion, that the ways we cede our musical influence to notions of comfort should be questioned. As Le Guess Who? shows us, it improves upon the original face of festivals, highlighting its crucial themes (that we should all just get along harmoniously) while shaping music listening into something accessible and gripping.
Nine years in, and the Netherlands festival keeps cracking through the glass ceiling of eccentric music, honoring hundreds of underground bands and worshipping legendary ones. Like the question mark in its name, perhaps the only request Le Guess Who? Festival has the right to ask is, “Why the goddamn hell weren’t you there?