Indra Aziz
FOCUS Wales, the renowned multi-venue music festival and industry conference, once again transformed the heart of Wrexham into a vibrant nexus of artistic expression and professional exchange from May 15th to 18th, 2024. This annual pilgrimage, now a cornerstone of the Welsh and broader UK music scene, drew an estimated 15,000 attendees, fostering an atmosphere of discovery and collaboration that extends far beyond its three-day duration. The festival’s core ethos, as consistently demonstrated, lies in its ability to forge meaningful connections between artists, industry professionals, devoted fans, and the local community, creating ripples that resonate throughout the grassroots music ecosystem.
The Wrexham Melting Pot: A Fusion of Ideas and Sounds
Wrexham, a town increasingly recognized for its burgeoning cultural dynamism, served as the perfect backdrop for FOCUS Wales. The event’s success hinges on its meticulously curated blend of diverse programming. This year, the festival offered a rich admixture of industry-focused events, including speed meetings, insightful panel discussions, and networking mixers. These were hosted by a variety of influential organizations, such as the Music Venue Trust, Marshall, and the Irish Consulate, underscoring the festival’s commitment to supporting the entire music industry infrastructure. Intertwined with these professional engagements were a plethora of live performances, ranging from intimate solo acoustic sets to high-energy gigs within canvas-covered arenas, each contributing to the unique "melting pot" atmosphere. The strategic placement of these varied experiences across Wrexham’s urban landscape encouraged exploration and serendipitous discovery.
A Carefully Curated Showcase: Navigating Wrexham’s Musical Venues
As attendees navigated the bustling streets of Wrexham, the sheer density of performance spaces became apparent. Venues seemed to materialize organically, each offering a distinct sonic and atmospheric experience. Upon spending time within these spaces, distinct genre focuses began to emerge, revealing the thoughtful and deliberate curation that defines FOCUS Wales. The festival’s programming consistently champions a broad spectrum of musical styles, ensuring that emerging artists and established acts alike find a platform to connect with new audiences.
Echoes of Tradition and the Modern Zeitgeist: The Royal Oak’s Acoustic Delights
The historic Royal Oak pub, with its characteristic charm and surprisingly intimate confines, became a favored haunt for performers leaning into folk and roots sounds. On Thursday, the venue hosted a compelling set from Daniel James McFadden, followed by the engaging presence of Skinny Dyck, one of many Canadian artists gracing Wrexham this year. Dyck’s performance was characterized by a relaxed, easygoing delivery of songs infused with authenticity, humor, and a palpable sense of origin.
Later, Ceitidh Mac captivated the afternoon audience with her innovative approach to folk music. Her performance showcased a rare ability to weave delicately precise vocals, the resonant tones of a cello, and subtle foot percussion into a cohesive and captivating soundscape. Mac represents a new generation of folk artists who adeptly bridge traditional songwriting sensibilities with contemporary themes, addressing the complexities of our current "unsettled zeitgeist." Her performances possess a gravitas derived from ancient cadences and a profound respect for lyrical poetry. Tracks like "Bulldog" evolved into mesmerizing chants, while "Goldfinches" painted vivid sonic imagery. Mac articulated her artistic vision, stating, "I like to think of cello singing as its own genre – I love the bass frequencies," and later offered a poignant observation: "When people cook with the windows open it fills the world."
Friday’s lineup at the Royal Oak featured Lily Rae Grant, an 18-year-old artist whose soulful folk performances belied her years. Her set was characterized by a laid-back, focused energy, utilizing blues-rooted sounds to explore both timeless and contemporary themes. Her song "Poison Ivy" resonated with a melancholy, broad, and expressive quality. Later that evening, fellow English singer-songwriter Toria Wooff presented a moodier, gothic-influenced performance, tinged with dark humor and a nod to local folklore. "I’m from Bolton," she quipped, "and that’s why I sound like Fred Dibnah." Wooff’s vocal delivery proved perfectly suited to her darker folk sensibilities and heartfelt narratives, exemplified by the ancient-sounding "The Waltz of Winter Hey."
Dream Pop Euphoria and Celtic Intensity: Llywyn Isaf’s Main Stage Spectacle
Llywyn Isaf, a substantial tent situated in a grassy expanse, served as FOCUS Wales’ de facto main stage, evoking a festival-within-a-festival atmosphere complete with food stalls and amenities. Before the headlining act FAT DOG took to the stage on Thursday evening, the dream pop outfit Lime Garden drew a significant crowd, eager to witness the buzz surrounding the band firsthand. They delivered a performance characterized by dream pop euphoria, imbued with a crisp, invigorating edge. The band exuded impressive energy and a gutsy stage presence, engaging directly with the audience between songs. Their set was tight and straightforward, showcasing solid songwriting delivered with aplomb and cool confidence, confirming their growing appreciation among festival-goers.
Another notable highlight on the main stage was Slate, a Welsh four-piece whose sound draws heavily from their Celtic heritage. While unmistakable strains of Fontaines D.C. could be detected in the lead vocals, distinct elements of Welsh musical tradition lent their sound a unique and potent intensity. Their opening song was a carefully crafted expansion of their collective spirit, filling the vast space with a close, deliberate vocal delivery. The band adeptly incorporated attention-grabbing dissonances, adding layers of sonic interest to their performance.
Folk Rhythms and Welsh Melodies: The Intimate HWB Tent
Nearby, the HWB, a smaller, teepee-style tent, provided a more intimate setting for traditional folk acts. Here, surrounded by communal wooden tables, audiences experienced performances steeped in heritage. On Friday afternoon, Eleanor Dunsdon & Gregor, hailing from Glasgow, opened their set with a collection of traditional Gaelic waulking songs before transitioning into original material. Their performance was enhanced by the delicate interplay of harp and softly brushed drums, giving their music a subtle jazz inflection. Their songs remained deeply rooted in themes of sea, land, weather, and the essential elements of the human experience. The following day, the Welsh duo Elin a Carys demonstrated a distinct flavor of traditional Welsh folk music. While echoes of Scottish and Irish folk were present, their sound possessed a warmer, richer, and distinctly "rain-washed" quality. The inherent beauty of the Welsh language was a prominent feature of their delicate and disarming performance.
Experimental Energy and Gothic Undertones: TÅ· Pawb’s Versatile Stages
TÅ· Pawb, Wrexham’s esteemed arts and community center, served as a central hub for many of FOCUS Wales’ daytime conference sessions and also hosted compelling musical performances by night. The venue’s flexible performance spaces accommodated a wide array of artists. On Thursday, CLT DRP delivered a memorable set characterized by a raw, exhilarating energy. Their performance was described as a "focused kind of noise energy," precise and potent, furious yet rich. The mellifluous tone of lead singer Annie Dorrett’s voice, combined with the full, viscous guitar sound generated by an impressive valve amp, prevented the performance from becoming raucous. At times, the guitar work was warped beyond recognition, reminiscent of Nova Twins, while at others, it was employed to generate powerful surges of energy, punctuated by unexpected jitters of delay that created rhythm from moments of silence. Towards the end of their set, the band invited the audience to join in a collective release of pent-up emotion, a move that was met with enthusiastic participation.
Friday night saw Melanie Baker and her highly cohesive band deliver a performance that was both punky and punchy, imbued with an endearing quirkiness. Melanie, a striking frontwoman, commanded the stage with a casual, confident, and focused style, often compared to Courtney Barnett but with distinctively down-to-earth English mannerisms. Her songs, consistently well-crafted, navigated interesting thematic and sonic directions. Tracks like "HAHA!" showcased buzzy slacker punk energy, "Bored" conveyed laconic rage, and "Slugs," a narrative seemingly inspired by pantry pests, was presented with a blazing force of thrumming, melancholic guitars.
Community Spirit and Sonic Exploration: Saith Seren’s Welcoming Stage
Just across the road from TÅ· Pawb, Saith Seren, a community-run pub and Welsh culture center, provided a platform for diverse musical acts. Pony Girl, performing their third set of the festival on Saturday afternoon, hit a perfect stride. Their performance was neither overly eccentric nor conventionally mainstream, striking a balance of eclectic creativity. This was significantly enhanced by their superb jazz-trained drummer and the tight chemistry between the two front-people. The group seamlessly blended off-kilter rhythmic hits and vocal tics with genuine musicianship, drawing inspiration from lo-fi New York rock and 80s electro-pop. A clarinet genuinely augmented the music, adding value and zest rather than feeling like a token addition. Each song possessed a distinct character, ranging from the auto-tuned, male/female vocal-led post-club ballad "Age of Anxious" to an extended jam of an unreleased song, "Fire." A particularly memorable moment occurred when the standing band members crouched down to afford the drummer ample space for a well-deserved solo, a gesture that underscored their generosity and collaborative spirit. Pony Girl proved to be an exceptional live act, exuding sheer musical panache and a commendable balance of innovation and solid musicality.
Sacred Spaces and Ethereal Soundscapes: St Giles Parish Church’s Resonant Performances
Wrexham’s most historically significant venue, St Giles Parish Church, with its soaring angel-bedecked ceiling, ornate organ pipes, and dusky side chapels, offered a dramatically different acoustic environment. On Thursday, Tristwych Y Fenywod effectively harnessed the church’s lengthy reverb to explore the depths of consciousness with their mystic synth vibes. Cerys Hafana concluded the venue’s programming on Saturday nightfall, showcasing her surprisingly delicate vocals as she performed lilting tunes accompanied by the harp. Softly beaten drums lent her music a full and engaging sound, while the resonant, muted stridency of a clarinet completed a richly woven tapestry of sound. Her rendition of a Welsh May carol, featuring a haunting solo vocal line, was a standout moment, leaving behind a profound impression of sonic emotion and memory.
Contemporary Spaces and Global Rhythms: Hope Street Church’s Diverse Offerings
Hope Street Church, representing a more contemporary denominational space with exposed ceilings and a bustling foyer, provided a different atmosphere. Friday’s highlight at this venue was Su San, who brought dark pop sounds from Malaysia. "I’m early to my own wake," she sang, delivering a commentary on cultural challenges set to edgy soundscapes infused with effects and layered with floaty yet forceful vocals. Other tracks adopted a more aggressive stance, incorporating jagged industrial elements and a cavernous feel, channeling rage into rhythm and dramatic high-register vocals.
Spoken Word and Indie Reflections: The Church’s Late Afternoon and Evening Sets
Late on Saturday afternoon, the church hosted spoken word artist Internet Fatigue, who accompanied their poetry with smooth liquid beats and dramatic ambient soundscapes. Despite their supremely laid-back stage presence, they conveyed genuine enthusiasm for delivering their thoughtful lines and expertly crafted beats.
Singer-songwriter Naomi Campbell followed, performing warm, beautifully structured songs that harmoniously blended Irish roots with American roots-derived guitar twang, resulting in music painted with rich, inviting colors. Charlotte Carpenter, performing solo, then delivered a precisely weighted set, her voice and dry wit both sharp and on point. Female robot-themed songs featured prominently in her repertoire, and the post-apocalyptic love ballad "You’re The Reason Why" stood out as a singularly beautiful and emotively composed piece, crafted with evident care and affection.
Gritty Stages and Raw Energy: Pub Venues Showcase Emerging Talent
The Parish, a pub venue, offered an enjoyably cramped space for guitar-forward music, featuring acts such as Nottingham’s Vona Vella and Canada’s Bitterfly. Here, the English duo Super Market embraced an intentionally irritating, anti-establishment aesthetic, eschewing conventions of coolness in both their rapping and singing. Their "slacker-in-a-business-suit" persona may have tested some audience members, but their tongue-in-cheek rebellion held undeniable value.
A short distance up the hill, the Old No.7 Bar presented a diminutive stage where Freyja Elsy delivered a harmonic, sweeping, and lushly cinematic set, showcasing a brighter, more starlit facet of her alt-pop genre. The following day, Hannah Green blended elongated vocal tones with guitar harmonics. She is a soulful, hazy, and dreamy singer capable of producing a pure sound deserving of a more reverent atmosphere, though unfortunately, several loud and inconsiderate conversations within the bar occasionally obscured her performance.
A similar challenge faced Martha O’Brien at The Fat Boar. The stage’s placement in the pub’s lower garden area, where patrons were engaged in hearty meals and numerous pints, created an ambient soundtrack of staff calling out order numbers. Despite these interruptions, O’Brien delivered a solid performance, leading from behind an acoustic guitar, her words precisely placed, and her volume carefully controlled. Her Western-edged indie music proved surprisingly well-suited to the convivial, if noisy, environment.
Electronic Pulse and Welsh Language Power: Key Venues Buzzing
Two of Wrexham’s key music and club venues were integral to the FOCUS Wales experience. Penny Black featured WRKHOUSE on Friday night, whose intensely throbby basslines met euphoric guitar sweeps and passionate vocals. Saturday’s highlight at this venue was the six-piece Welsh-language act Breichiau Hir. They delivered a loud yet sweeping sound, capable of shifting from deep anguish to celebration, with bursts of half-time drumming and angular chords adding intricacy to their formidable three-guitar onslaught.
Meanwhile, Deer Hoof closed the proceedings at The Rockin’ Chair on Thursday night. Their music possessed a volatile quality, seemingly on the brink of collapse yet held together by sheer skill and a touch of mania. The band’s skillful balance of clever dissonances and arhythmic approaches may have been slightly lost in the warehouse-like space, requiring significant audience patience and commitment. However, a singalong of the line "I can’t have it, the monster rabbit" proved a successful moment of communal engagement.
On Friday, Holy Coves delivered medium-heavy, guitar-driven music, with a palpable sense of the Druidic and bardic glowing through their darker, rich chords, evoking landscapes of dark slate hills, coarse turf, and heather. In contrast, Half Happy performed alt-rock with a dreamy overlay. Their song "Bloom" emerged as a standout, featuring keyboard arpeggios, open chords, and a compelling build-up to each chorus. The fact that the band had to enlist a guest bassist due to their regular player’s work commitments highlighted the ongoing challenges of making a career in music in 2024.
Memorable Closures and Diverse Lineups: The Rockin’ Chair’s Grand Finale
Slow Life, Gwenno, and YARD also drew significant crowds on Friday night. Saturday’s diverse lineup was further exemplified by performances from The Bug Club and Moonchild Sanelly. However, it was Hana Lili who created particularly memorable moments at The Rockin’ Chair that night, in what felt like a homecoming performance. Her set was sweaty and energetic, with Hana leading the charge, moshing, jumping, and high-kicking across the stage. Her pop-punk track "Iconic" was upbeat and forceful, while the 90s-inspired rock ballad "Complicated" offered an emotive counterpoint. Hana concluded her set with the high-energy banger "Sick of Myself," inviting the crowd to clear a space for a female-only moshpit – a thoughtful and respectful touch that brought a powerful and spirited close to a show that embodied the FOCUS Wales ethos.
A Catalyst for Future Growth
The success of FOCUS Wales 2024 underscores its vital role in nurturing the music industry, particularly at the grassroots level. By providing a comprehensive platform for emerging talent, facilitating crucial industry connections, and fostering a vibrant community spirit, the festival continues to be an indispensable event for artists, professionals, and music lovers alike. The continued expansion and thoughtful curation of the event signal its enduring commitment to shaping the future of music, both within Wales and on the international stage. The festival’s impact is not merely confined to the performances and panels but extends to the lasting relationships forged and the career trajectories influenced, solidifying its position as a pivotal catalyst for artistic and professional growth.
FOCUS Wales is scheduled to return on May 6th, 7th, and 8th, 2027, with tickets already available for purchase.
Words: Phil Taylor
Main Photo: Brent Jones
