Sold-Out Crowds Arrive
The fourth day of the Lido Festival marks the very first completely sold-out date, and the dramatic difference in the sheer number of people attending is immediately obvious everywhere you look. For large portions of the day, sturdy barriers firmly close off access to the second stage simply because it has already reached absolute maximum capacity. Meanwhile, over at the third stage, the queue to gain entry seems truly endless, with a static mass of attendees packed together, clearly determined to live their absolute best festival lives right there. Adding to the bustling atmosphere, even getting a drink involves a noticeable wait today, as the bars are constantly busy – an almost unreal change from previous days.
Significantly, the huge, brightly flashing ‘CLOSED’ sign prominently displayed above the second stage entrance is actually the first piece of official signage I’ve noticed during the entire festival so far. Given that the Wi-Fi signal across the whole site is pretty much dead, making online schedules impossible to check, it would be a genuinely good idea for next year’s organizers to use these valuable display boards for much more useful information. For instance, they could clearly show the full list of performing artists, along with their precise stage times and locations… just a practical thought based on today’s experience.
High Spirits and Merch Galore
Nevertheless, the massive, sold-out crowd unquestionably signifies that the general morale, which is present all over the festival grounds, is very high and energetic during the whole day with sunshine. One especially evident trend is the totally amazing quantity of Brat clothing that the festival-goers are wearing. Besides that, the great number of distinct designs and the styles strongly hint that a large part of these things was not taken from the official sources but from a few very creative independent sellers on platforms like Etsy who take advantage of the trend.
Cook’s Nostalgic Set
Later, during the dusty, scorching afternoon hours, A.G. Cook, one of Charli XCX’s regular and highly influential producers, draws a fairly large and enthusiastic crowd to his performance, and he certainly doesn’t disappoint. He starts by playing his uniquely whacked-out, modern take on “Britpop,” immediately setting a specific, nostalgic tone. Then, he transitions into a literally whacked-out, heavily distorted version of the classic “Bitter Sweet Symphony.”
This cleverly places the entire audience into the distinct vibe of those halcyon, carefree summer days from decades past – long before most people in this young crowd were even born – yet skillfully delivered with a fresh, contemporary electronic twist. Finally, to huge cheers, he even throws in several of his own famous remixes of Charli XCX songs. Merely hearing her iconic voice suddenly blare over the massive speakers instantly creates a powerful Pavlovian response from the devoted crowd, triggering widespread fawning admiration and loud, sustained cheering throughout the field.
Magdalena Bay Ignites Crowd
By 4 PM, as Magdalena Bay prepared to perform on the second stage, the festival grounds had become visibly denser, making movement across the site noticeably tougher. Nevertheless, the LA-based duo (originally from Miami) made the effort entirely worthwhile. They boldly launched their set with two major hits, “Image” and “Death & Romance,” which instantly ignited the massive crowd into unified singing and synchronized arm-waving. Furthermore, you genuinely had to admire their impressive commitment to theatrical flair, particularly Mica Tenenbaum’s dedication to costume changes – she effortlessly showcased four distinct, characterful outfits within their tight 40-minute performance slot. Additionally, a definite highlight was the thrilling sight of a keytar in action; frankly, we just don’t see enough of that iconic instrument on stages these days.
Meanwhile, while most artists featured at Lido leaned towards dance-pop, Kelly Lee Owens stood firmly within pure dance territory, specializing in trance-infused interpretations of tech-house. She established this atmosphere decisively right from the start, commanding the audience over driving beats to “FEEL THE DREAM STATE” in a mesmerizing, trance-like incantation. Consequently, the crowd wholeheartedly surrendered to her vision. Throughout her masterful hour-long performance, she delivered relentless banger after banger – tracks perfectly suited for a 1 AM peak yet utterly irresistible under the afternoon sun. Crucially, the massive audience completely disregarded the early hour; they were fully present and eager to “‘ave it,” and Owens thrived magnificently under this intense, communal energy.
The Dare’s Packed Triumph
Just a moment prior to The Dare’s performance, a huge singalong to Katy Perry’s “Firework” was audible all over the venue, an unmistakable sign that the day was very well received by the crowd. Meanwhile, the madness had also spread to the second stage tent where the crowd was so dense that the staff had to put up barriers in order stop people coming in, thus closing it off physically. The Dare capitalized masterfully on this electric, confined atmosphere. His flashy, high-energy anthems – described as gloriously ignorant LCD Soundsystem-style bangers – absolutely demolished the tightly packed crowd, who hung devotedly on his every word. Amazingly, as if this spectacle wasn’t sufficient, he treated the fortunate attendees inside by bringing out a major surprise guest: the acclaimed artist PinkPantheress.
Gesaffelstein’s Commanding Presence
Naturally, minds were increasingly turning towards Charli XCX’s highly anticipated headline set as the evening progressed. However, standing imposingly between the crowd and that moment was the formidable force of Gesaffelstein. The French producer incited the crowd with a weird, tremor-inducing, destructive, and endless assault of electronic mayhem that, pretty much, took over the whole festival area. As if he was a king on his shining, sky-high throne and executed the whole spectacle with style and precision in his clean grey suit, whilst wearing a scary-looking mask, he radiated an impression of total mastery. “Maybe he is our new overlord,” said, with an excited and amazed tone, one of my group members, just after seeing the dominant, almost monarch-like, command of his show.”
Electric Opening Moment
Just moments away from Charli XCX taking the main stage, there is an electric and very visible wave of expectation that is sweeping the vast throng of people. Trying to secure a better view, people aggressively push their way through the ranks and crazily lift their camera phones to capture a glimpse of their screens. Out of nowhere, a disorienting experience of flashing white strobe lights and very short fragments of the songs that are easy to recognize erupts in the space. Then, in a very theatrical manner, a large green fabric with the word “BRAT” printed in huge white letters quickly covers the area right behind the stage.
Almost right away, and as if from nowhere, Charli XCX pops onto the stage with such a vigor that she didn’t waste a second and went straight to singing the first track of the album, “365”. This abrupt, fiery start to the show, shock and awe being the main instruments, creates a powerful and overwhelming feeling for the whole night to be presented effectively and thus the very high energy bar is made to be set for the entire night m
High-Energy Set Progression
Following the explosive opener, Charli XCX seamlessly powers straight into the next two fan favorites, “360” and “Von Dutch”. Frankly, there are few sights in contemporary pop culture that feel quite as wonderfully futile as Charli XCX enthusiastically shouting “Sing it!” to a crowd that is already absolutely screaming every single word and nuance back at her with total abandon. Subsequently, the mood shifts slightly as she transitions into the comparatively slower tempo of “I Might Say Something foolish”. While the song itself is undeniably wonderful, its placement here feels slightly premature; the energized audience visibly doesn’t want the relentless pace to drop even a fraction yet. However, Charli clearly knows best about her own set structure. Fortunately, the infectious beat of “Club Classics” arrives next, masterfully pulling everyone back up to full, exhilarating intensity and restoring the ecstatic atmosphere completely.
Guest Speculation and Surprises
Naturally, plenty of excited chatter circulates throughout the crowd speculating about potential special guests – would Lorde appear? Maybe Billie Eilish? Or perhaps frequent collaborator Troye Sivan? Ultimately, contrary to widespread rumors, none of these major stars materialized during the set. Aside from Chicken Shop Date internet personality Amelia Dimoldenberg briefly appearing on the large screens to lead the distinctive “Apple” dance routine, the sole actual guest was rapper Bladee joining Charli for “Rewind”. Interestingly, even this collaboration hit a minor snag, going noticeably “askew” technically before they had to restart the song entirely.
These times, therefore, uncovered endearing, human defects that were at the core of the very tightly planned show – a token that under the very famous pop personality, a down-to-earth lady from Essex is there. Those who are keen can also see A.G. Cook unpretentiously moving around the backstage area and then walking to the front; if you decide to consider his discreet presence as another guest cameo, you are the only one who can be correct.
Electrifying Opening Ignites the Crowd
The concert comes to life from the beginning to the end with the powerful double-header of “Sympathy is a Knife” and “Guess” that throws the entire audience into a pure frenzy instantly. A wave of disappointment is, however, visibly felt by the people when they discover that Billie Eilish is not there for her part and is performing her show in Barcelona. Nevertheless, the mood of the audience is not affected much by the letdown. On the contrary, they are full of energy, singing along with Billie’s vocals, thus filling the room sound with their combined voices despite her absence. Anyone with a bit of common sense wouldn’t have had to be like Jessica Fletcher to figure out where she was.
Following this explosive start, the artist masterfully shifts into a closing series packed with beloved older tunes. Consequently, the incredibly high tempo and intense energy established at the beginning never falter. These familiar hits act like fuel, consistently keeping the entire crowd fully engaged, loudly singing, and energetically moving right up to the final moments.
Triumphant Finale Declares Enduring Message
Ultimately, the show reaches its peak conclusion with the triumphant bubblegum pop anthem “I Love It.” Simultaneously, powerful words flash dramatically across the massive on-stage screens. These visuals directly address the audience, first hinting that the much-discussed “Brat summer” phenomenon might be officially over. However, the message then emphatically contradicts this, declaring it’s definitively “not a summer thing, it’s a forever thing.” Immediately after this bold statement fills the arena, the artist vanishes from the stage.
Significantly, there are absolutely no spoken words of thanks or farewell directed towards the crowd at the show’s conclusion. This deliberate silence serves a crucial artistic purpose: offering gratitude would inevitably shatter the carefully constructed stage persona. Essentially, expressing genuine appreciation would allow the meticulously cultivated, intensely swaggering facade – a defining characteristic developed and perfected over recent years – to drop completely, revealing the individual artist beneath the performance. Therefore, this abrupt, wordless departure perfectly maintains the captivating illusion. Fundamentally, the entire performance represented pop music operating at its absolute peak: wonderfully escapist, highly performative, yet surprisingly and entirely vulnerable at its emotional core. The final on-screen message resonates profoundly: this impactful connection and artistic statement truly feels like a “forever thing.”
