The Spring Bank Holiday is always a busy time for Bristol’s music scene. In the picturesque grounds of Ashton Court, 30,000 dance fans gathered for the city’s biggest festival, Love Saves The Day. To the south, beer festivals were in full swing. And for those who preferred their music eclectic— and ideally heard in a dimly lit club—there was Dot To Dot Festival.
Launched two decades ago, D2D has grown into a multi-venue, two-day affair that showcases the best new talent in indie, alternative, and everything in between. Saturday belonged to Bristol, before the same circus of artists headed to Nottingham to do it all again on Sunday. Think South by Southwest with a distinctly British twist—and a few hosting pubs older than America.
Bristol’s wealth of mid-sized venues made it an ideal home for D2D. Always a popular event, this year seemed fuller than ever. From the start, the crowds were out in force, with lines wrapping around the block as a mixed-age audience picked up their wristbands. We arrived early, heading straight to the hold of Thekla to catch The New Cut.
Formed in 2021, the local band hit a nerve right away with wiry guitars and tension-filled, loud-quiet dynamics. Despite their youth, they were a well-oiled machine, firing off Bloc Party-inspired riffs with confidence. Within minutes, the venue reached capacity, leaving the band visibly stunned by the size of the crowd for one of the day’s opening sets.
Stepping just outside, we found the dockside stage in full swing, entertaining those enjoying the bar and food trucks. London’s jazz-adjacent collective oreglo were making an unpredictable racket with noise-rock guitar and tuba blasts. It was a snapshot of the exciting new British jazz scene—though maybe a bit much for 1:30 p.m.
Over at Zed Alley’s divey surroundings, duo 1313 were also going for shock and awe. Since they were playing stoner metal, though, that’s expected. Chatty and clearly having a blast, they stormed through stonking groove after groove. It was an uncomplicated, fun half-hour of noise.
The step count was already rising nicely as we set off to The Lanes’ stage. Searching for something atmospheric, we caught Broadsheets, a local act carrying on the nocturnal vibes of Bristol’s trip-hop heritage. A full band rather than an electronic project, their glitchy rhythms and textured sounds were unsettlingly spooky. Swapping instruments—and even genres—from song to song, they’re an intriguing act and one to watch.
No rest for the wicked, it was then down the street to the recently renamed Electric Bristol, formerly known as SWX. The second-largest venue felt cavernous when only a few hundred people were milling around, but The Golden Dregs soon filled the space. Led by songwriter Benjamin Woods, the six-piece proved to be a highlight of the day. The band shares some DNA with The Magnetic Fields and The National, offering a twinkling, often synth-led sound paired with Woods’ world-weary baritone. Despite forming in the coastal town of Falmouth, the group flirts with a sound bordering Americana. Amid a day full of chaotic scenes and sounds, The Golden Dregs were a welcome reprieve at the midway point.
Following them, Aussie act Gordi raised the tempo with her anthemic tunes, but not before struggling with some technical issues. These challenges were all the more stressful given each act’s 30-minute slot. Fortunately, she took it in stride, soon belting out bangers like “Peripheral Lover.”
Back at the water’s edge, Scotland’s Indoor Foxes brought the grungy vibes. The project of singer-songwriter Martha Barr, the band is described as “Courtney Love meets Paris Hilton,” and it was easy to see why. Rocking a Hello Kitty guitar and leopard-print vest, Barr was all banter, keeping the crowd entertained with jokes about the eight-hour car ride just to play the show. Twenty minutes later, she was dangling from the stage rigging. Bristol live-scene legend Big Jeff nodded in approval while stuffing his face with mac and cheese. It was a strange scene.
Before we knew it, we headed to The O2 to catch the two headliners. First up were goth-rock veterans The Horrors. Twenty years into their career, they’ve outlived most of their contemporaries and shrugged off early accusations of being hipster nonsense. With Siouxsie and the Banshees blasting from the PA and a fog machine in overdrive, the band took the stage and tore into new material from this year’s Night Life. The set was dark and dangerous, but felt a little aloof. The group seemed to play at the audience rather than to it. As much as I love some mopey goth, it’s the kind of set best appreciated as a standalone show, not after seven hours of day drinking.
Reinforcing that point was the madcap genius of Fat Dog. D2D truly saved the best for last. Their rise has been wild. Their bizarre mash-up of rave, rock, and Klezmer has won hearts everywhere. Frontman Joe Love, clad in his trademark white suit and cowboy hat, led the band, backed by fierce touring violinists.
The O2 instantly erupted into a pogoing mass. They’ve distilled some inherent British traits—laddy vocals, crazed dance beats, a flair for the grandiose—and fused them together just for the hell of it. It’s a wild experiment that’s struck a powerful chord with indie kids all over. Their stellar live reputation is only fueling Fat Dog’s unstoppable rise.
After ten hours on our feet, it was time to head home. Dot to Dot Festival delivered another stellar year. All the venues kept performances admirably on schedule. The lineup was as awesomely eclectic as ever. And with tickets priced under 50 bucks US, the day offered unbeatable value. After 20 years, the fest’s spirit of discovery still burns bright. And it seems like more and more people are finally recognizing what a true gem this event has become.
Photo Credit: Rhys Dolman
Byline: Sam Walker-Smart