Festival season is a euphoric escape – a chance to break away into sweaty crowds and enjoy bouts of music, from full-fledged rock sets to non-stop jungle beats. Mad Cool has never shied away from being eclectic, eccentric and the perfect getaway. So, in its return, the fan-favourite festival took on some lessons from last year and proved, once again, it’s the perfect destination for an unforgettable music marathon.
Plenty of legends, contemporary superstars and classic icons, have graced the site of Mad Cool. Madrid’s magnetism is unparalleled, as is its community spirit onsite. Major names – The Cure, The Pixies, Phoebe Bridgers and MIA – have all left their mark in the sun-soaked grounds of the Villaverde district. In fact, for the non-general access punters, you can find posters proudly hung up in the press tent. It’s a small thoughtful detail showcasing how much pride Mad Cool has in its event.
The atmosphere in Madrid’s mega fest is renewed. This time, things have changed: stages are further spaced out, crowd control is better managed, and shady areas are propped up (although it could do with a few more) for festival goers to take shelter from the heat. Its signature line-up formula, however, is undiluted despite the broader edits to its layout. The tweaking to how Mad Cool 2024 is promising; it’s an active sign the festival listens to feedback and, importantly, fans. That said, despite a stellar line-up, it was hard to enjoy some sets with the golden arches of Mcdonald’s catching the sunlight. Mad Cool (like most festivals) relies on sponsorship to fund its event, but we do really need a McFlurry hut to return in hindsight of current affairs? As Janelle Monáe powerfully mentions mid-set: there’s no space for fascism, islamophobia or homophobia. Honouring the people of Sudan, Gaza, Haiti and Congo, the musician proved she’s a class act more than ever. The first date, 10 July, also included other notable acts including Soccer Mommy, The Smashing Pumpkins and an incredible main stage performance from popstar Dua Lipa.
Later dates (11-13 July) were flooded with similar talent, including nostalgia heavy sets from Avril Lavigne and Sum 41 which landed hoards of fans. There was space for newer talent too with Kneecap packing out the smaller Mahou Cinco Estrellas stage and local acts pulling in the Spanish crowd. Whether you were there to catch late-night big hitters The Kooks or The Killers, there were plenty of other acts to draw in onlookers. However, while the line-up promised a variety of sets, stage clashes often left female and non-binary acts facing a tougher time to bring in a steady audience. Jessie Ware’s care-free disco pop suffered against the full-throttle throwback tunes of Sum 41 Nia Archives’ non-stop DJ set clashed with the rowdy boys of Kneecap, while Ashnikko’s 1am set arrived at the same time as The Kooks.
Elsewhere, unusual stage times felt as if they were underestimating the appeal of their acts. Janelle Monáe scheduled in the 7pm heat was a letdown to the artist and fans. However, the festival got it right with Arlo Parks whose ethereal vocals offered some respite from Madrid’s glaring heat. Måneskin, too, lucked out with a midnight set and no major names to contend against.
All in all, the EU offers plenty of festivals with unique line-ups, but there’s always something special about Mad Cool. It doesn’t quite have the rowdiness of Primavera or the never-ending number of sets like Glasto. Instead, Mad Cool brings in a bit of everything: some rock, outstanding newcomers and a reliably good time. As for next year, all we ask is for some more shade and better scheduling for the women and NBs!
GAY TIMES rating: ★★★★
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