Where else but Bristol could host Simple Things? The city is a broiling hotbed of art at its most cutting edge; a city of relentless shift and momentum that’s been at the vanguard of innovations in dance and rock music for at least 50 years now. The annual multi-venue festival Simple Things deeply understands this lineage, hosting an array of acts from across the musical spectrum, which often fuse the myriad strands of dance and rock together. Its philosophy almost seems to be one of ‘total music’; ignoring genre boundaries in favour of bold sounds that bypass your brain and go straight to your feet and soul.

This year, they’ve shaken things up and, for the first time, invited esteemed guest curators to help build the lineup. These are Australian sampledelic legends , UK jazz genius , art-indie pioneers and avant-garde art innovator . Each act has selected several acts to perform at the festival and will also be performing themselves. Then there’s the killer array of venues, from the many stages at the Bristol Beacon to smaller sites like the eccentric Strange Brew, the giddily fun The Lanes and the massive former department store-turned-venue-and-skate-park Shredenhams.

First on CLASH’s day at Simple Things is a trip to check out Shredenhams. The building is enormous, featuring two stages, bars, a burger restaurant and the skate park closed off and converted into a seating area complete with pool and foosball tables. Oh and there’s several floors above that aren’t even being utilised currently. The first band we catch is US collective . The eight-piece (and the loud black box back room stage) sound incredible, however, dipping into the last quarter of a set by a band that writes 20 minute drone rock songs is perhaps not the ideal means of getting to grips with their hypnotic approach.

are up next. Unfortunately, the ‘front room’ stage in Shredenhams places its acts (many high-profile and thus large-draw ones) on the floor, meaning that the cult US indie legends are visible unless you’re right at the front. As some constructive feedback for next year: risers would massively improve this stage. Instead, we head a couple of minutes down the road to the beautiful, colour-flecked venue Strange Brew. Post-rockers whip up a beautifully intense and gripping storm, with their drummer’s complex rhythms making for a particularly mesmerizing watch.

The temptation to do the classic festival thing of watching 15-20 minutes of acts before getting excited and moving on to the next one is great, however, patience is required and generously rewarded with ’s set on the grand Beacon Hall stage. Above him and his drummer, the large screen displays a nonfigurative painting that’s as rich, free-form and searingly-beautiful as the music being performed. Drums are abstracted into intricate textures, woodwind instruments flitter like spirits in the ether. plays every instrument like he was born with it in his hand, but it’s when he pulls out the saxophone you really feel yourself lifting from your seat. A truly spell-binding set and highlight of the day.

Following a quick trip to rehydrate and eat (CLASH ventures elsewhere, however, shout out the amazing cafe downstairs in the Bristol Beacon that’s open all evening) we return to the Beacon’s Lantern Hall to catch part of ’s set. For the final time today, the urge to dip in and out of sets wins out and it was probably a mistake. draws a large crowd and her trip-hop-leaning sound (and incredible pink headpiece) works wonders on the Bristol faithful. Less immediate is ’s set over in Shredenham’s back room. She starts the set by telling the room that she “won’t be playing any songs tonight”. What follows is a set of noise-poetry as murky as the smoke-filled room. Her potent approach (those distinct thematic ideas about the recurrence of history and being unmoored in time) are never less than impactful, but the ambient approach is not really the Saturday evening vibe.

It’s dark now and CLASH heads back to Bristol Beacon, where we’ll remain for the rest of the night, bouncing between the different stages. Back in Lantern Hall, we lock in for a full set from club-punk four-piece . The much-hyped band are a sensational live act and their set benefits from a monochrome lighting set up that’s almost over-stylised, to the point that the vocalist actually has to ask for a touch more lighting. Their relentlessly energetic and dark techno-punk comes to a sensational conclusion on a closing track’s lengthy, noisy conclusion, replete with increased levels of nudity from the vocalist.

By the time we exit Lantern Hall, ’s set has already started and is predictably, given their curator status, already at capacity. After a sheepish attempt to use our press wristband to get in, CLASH is tipped off that the Beacon Hall’s upper seated tier is about to open. We’re among the first people in and take up great seats on the upper balcony. Below is one of the most energetic crowds witnessed at this year’s festival. During ’s brilliant track “Narrator”, a wall-of-death actually opens up, followed by a circle pit later in the set. Simple Things is nothing is not consistently surprising.

We’re at the point of the day now where every act (thanks to smart programming) provides the requisite thrills, spills and bellyaches. are one of the day’s highlights, despite their visuals screen behind them dying mid-set. The four-piece play numerous tracks from their recently-released debut album; an odd brand of electro-indie/alt-dance that sounds simultaneously like , and but also none of those. It’s relentless fun; energetic and aura-filled, you find yourself zombie-like dance-nodding to their swaggering rhythms. 

One of the best features of Simple Things is the Beacon’s Bridgehouse stage. Situated in the foyer of the large building, you can watch the acts on it from the floor, but you can also find a spot on several tiers of the stairwell’s balcony, offering the novel experience of being up to look down at a performance and also up at other spectators. Here, makes the stage his own. He’s a brilliant performer and his set is funny, sassy and relentlessly fun. CLASH also catches some of ; the rising Manchester-by-way-of-China duo. Their brand of hyper/techno-pop is given a harder-edged sheen by the use of live drums; a smart choice that sets their already-spirited music further alight. 

We wrap things up back in the Lantern Hall with the spellbinding . The New York dream-pop/cloud-rockers are another act to utilise the stage’s impressive lighting rig, performing in monochrome shadows for their entire set. The five members (a unique set up featuring a violinist, no bassist and a percussionist whose primary job is playing the chimes) are brilliant performers and as the ethereal, free-from opening gives way to a succession of gorgeous tracks, you want to dance and cry at the same time. 

The highest compliment that can be afforded to not just but every act that CLASH catches today is that they simultaneously feel new and innovative without ever sacrificing emotion. Simple Things is not just a celebration of music at its most cutting-edge, but a potent reminder of how art of the finest caliber can recalibrate your brainwaves, yank on the heartstrings and move your feet like an invisible puppetmaster.