By Stas Forte, Music Subeditor
'Twas a misty Halloween afternoon, when ghouls and ghosts all over Bristol arose from the underworld, descending upon The Prospect Building to exorcise their evil spirits on the dancefloor. The drums resounded and the bass boomed as bodies writhed and whirled in a wonderfully wicked danse macabre.
Halloweekend was hardly short of brilliant events, but one was, in my opinion, the place to be. When posters began appearing around the city a few weeks ago announcing the monstrous line-up for the Carnival of the Dead, it was no surprise that tickets would fly. The event featured a seriously stacked bill, bringing together some of Bristol's finest crews and selectors alongside a few heavyweight guests who have arguably earned the title of honorary Bristolians by now.
The Prospect Building had been transformed into an otherworldly realm of the undead, greeting partygoers with an array of frightfully fun decorations: mummified bodies suspended from the ceiling, ginormous skeletons and grinning jack-o'-lanterns framing the cobweb-covered stage. The crowd completed the scene, with no shortage of spooky and spectacular characters providing an endless supply of entertainment simply by looking around.
Shirley Temper's main stage set the tone for an energetic night, serving up pounding 4x4 jungle and hardcore, with deep garage and dubstep flavours thrown into the mix. Fuzzy synth leads and crunchy basslines struck a sweet spot between silly and serious, a balance that seems to characterise many of her sets, with her own productions particularly standing out.
The atmosphere was aptly dark and ferocious, with haunting sounds echoing through the venue. Slower, grittier dubstep punctuated the night's rolling breakbeats, offering a welcome change of pace without sacrificing intensity.
The Crane stage became a haven for the night's junglists, with DJ Storm and Blackeye MC delivering a standout set that brought a more atmospheric dimension to the sound. Of course, no Bristol jungle night would be complete without Cheetah, Janaway and the Singularity Crew, who delivered the crashing drums and relentless energy you'd expect.
Oppidan brought a little light into the venue, lifting the spirits with a dose of groovy house and garage. Having made waves in the electronic scene over the past couple of years, anticipation was high, and the room certainly lived up to it. Her selection was joyful and unapologetically fun, with just a sprinkle of cheese (in the best possible way), getting everyone jumping.
By the time 4am Kru took to the stage for their headline set, the room was packed to the brim. Almost everyone who's seen them live will tell you the same thing: no matter how many times you catch them, it never gets old — quite a feat when you stick to one genre.
On my third time seeing them, I can safely say they only get better. They're a prime example of artists who know their audience inside out, even having produced a track for the ‘Bristol Girls’, which certainly went down a treat. Their accompanying dance crew elevated the performance with some sick choreography, dressed in the group's signature black and white merch.
As live jungle artists, they stand apart from the DJs on the bill, not least for the novelty of hearing the genre brought to life through live instrumentation. Their newer material also introduces electric guitar leads, notably on ‘Chicken Soup for the Rave’, adding a fresh dimension to their sound. With the colder months setting in, the track feels like a fitting remedy, bringing a little warmth to an otherwise chilly evening.
Lucy Bevan
This Halloween felt particularly special, with a collective excitement rippling across Bristol as everyone masked up and stepped into the roles of their respective spectres. Perhaps it was simply the fact that Halloween fell on a Saturday, allowing for a full day of celebration, with consolidation week coming to a suitably chaotic close before the reluctant return to uni work.
I'm choosing to believe there was something in the air that night.
Feature image: KoLAB Studios / Alastair Brookes
Was there something about this Halloween, or does Bristol simply know how to do it right?
