Threshold Festival

Last weekend (27th-29th March) the Mytacism Music team was lucky enough to be invited to a weekend of breathtaking music and arts at Threshold Festival, Liverpool. Unfortunately, we could only make it to the Saturday but we still had a stellar time. This year was the festival’s fifth year running but, despite its youth, the performance and delivery of the event was still sensational, bar a few early technical mishaps.

The festival itself has already earnt a very special place in my heart. Why? Because it exposes those new, talented bands that are just getting their footing in the music world, the artists that deserve so much more attention than what they have purely because it is so hard these days to get a free audience and because of the overall diversity of acts showcased. I mean, District exhibited primarily rock artists but with a quick trip down the road and you could be immediately immersed into the cosy atmosphere at the Baltic Social as the refined acoustics plucked away in the background.

Chanel Samson

The day started for us with a glittery, happy go lucky bubble inflated by Chanel Samson. As she skipped onto the stage at 2pm accompanied by her band, she emulated colour into the grey surroundings of District. Following her was a band shrouded in nonchalance. As Good Foxy sauntered into view, they ignited their ruthless rock sound, a noise not deterred by the odd technical problem and the lack of the raucous crowd they so readily deserved. Continuing with their already established hardern image, they left their seated crowd with an inspiring monologue of  “That’s us then”, obviously Threshold’s lack of enthusiasm had, luckily, not disheartened the group.

Good Foxy


The fresh-faced Jekyll then entered our sights with their shy, nibble sound, finishing their set with the help of a toy gun oddly enough. We also had the delight of experiencing Green Room live, their swirling sound did not fail to entrance as we watched them immerse themselves in their own creations.


Nora Konstanse delivered a flawless performance over at the Baltic Social, her sound was simply alluring to the soul, even over the dull, natural clamour in the audience. We also caught the start of Eleanor Nelly‘s performance where she took the audience’s breath away with her powerful vocals after misleading them into thinking she would give a shy performance with her gentle albeit big haired appearance. Then, over at the Observatory, Delilah performed with zest. Their poppy, hearty songs enticed the crowd into a happy state, even when the guitarist hopped off stage because he ‘forgot something’.

Blood Lips


Meanwhile, District kept up it’s high standards. Scarlet performed their Garbage-esque sound (the band of course) and Blood Lips boasted their thunderous noise (a noise so thunderous they appear to be supporting Slaves soon). Indigo Sky delivered a spectacular performance, wave after wave of hammering drums picked up the audiences heart rates whilst their vocals, which sounded similar to that of Brian Molko’s, countered it with an oddly calming effect.

Go Fiasco

Go Fiasco then took to the stage, their guitarist lost himself in the music whilst his fellow suited band members performed their natural, oozing and slick rock noise in a collected stance. The arrival of Filter Distortion also attracted a large audience who danced and pranced in time to each electronic note and drum beat and came away with smiles plastered on their faces, the band appearing to be an already firm favourite amongst the festival goers.

Filter Distortion


At 7:45 it was time for Astral Coast to take over Unit 51, opening with Bones for Buzzards. The band launched readily into their feisty tracklist after being piled onto the small stage. Due to a timetable change, Colour then followed. As they swiped the limelight in their white shirts, they swiftly changed the mood of the room with their synth, pop infused rock sound, not dissimilar to a heavier Metronomy.

Bones For Buzzards


We got to enjoy the oddities of Queen Maud‘s performance which sounded more like an electronic experiment as they tinkered away with their mass of equipment. Their distorted vocals helped to create a haunting ambiance in the cosy confines of the venue.

Throughout the day there was also a mixture of dance performances which provided an appeasing respite to the mass of spectacular musical performances. This, mixed with the easy nature of the whole festival, created a familiar air to the event, one that is going to be hard not to return to.

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Abigail Cook

Emily Branson



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