Around 1998, when my music tastes were turning towards the wider world, electronic music was captivating my consciousness. When you’re a 16 year old, your music collection is about as subtle as a Thunderdome compilation but interesting stuff was creeping in: Squarepusher, Boards Of Canada, Aphex Twin, LFO, anything on Warp basically and Rephlex Records. What was cringingly called IDM largely by North Americans (even though they practically invented all the important genres of dance music like house, techno and electro) did it for me and still does.

Barcelona’s Sonar Festival had started to intrigue me shortly after that. Billed as a “festival of Advanced Music and Multimedia Art,” it appealed to me as someone who started a course in multimedia programming and its artist selection was impeccable in terms of electronic music. From 2000 to 2005, the years I kept an eye on it from afar, it hosted the likes of Death In Vegas, Bjork, Plaid, Aphex Twin, Underworld, Massive Attack, LCD Soundsystem, DJ/Rupture and Roisin Murphy. Even the website was ahead of the curve in terms of its layout and live streams. Their annual compilations around that time were also great sources of musical discovery (they even got Maradona to do an ad in 2002).

Despite my interest, it took me until 2012 to make it to the festival courtesy of Red Bull who hosted a stage at the festival and who are also responsible for the best music initiative by a brand, the Red Bull Music Academy. I’d heard all about beach parties, off-site anti-Sonar parties, big warehouses, the respective Day & Night programmes in different locations etc, so it was great to actually get to experience Sonar finally.

Sonar By Day

Sonar By Day takes place in the city’s old town in Raval near the central street La Rambas. There’s a large square which houses the main stage and some of the other performances take place in the CCCB, the centre for contemporary culture of Barcelona, which also houses a exhibition space, a Music Hack day and a cinema.

Most people at the main stage were content to chill out and take in the sun, which maybe explains why the stage was never really the main focus of most people there (though I wasn’t present on the first day of the festival and missed the Brainfeeder showcase as a result). Highlights of Friday and Saturday main stage during Daytime included Jacques Greene playing a live all-synth hardware set facing his on-stage musical partner Ango which culminated in a version of ‘Strings Of Life’, Austra who were as animated as ever but suffered from poor sound (a problem which plagued the main stage) and led me to a mind wander about continental habits prompted by a guy who had a wedge of Gouda cheese to nibble in the crowd. Darkside, Nicolas Jaar and Dave Harrington’s minimal disco-funk project really suited the laid back 30 degree sunny atmosphere on the Saturday.

The biggest draw during the day this year in terms of consistency was the Red Bull Music Academy SónarDôme which is a marquee tent around the back of the festival site. The lineup was largely taken from Red Bull Music Academy ex-participants in previous years like Doc Daneeka, Om Unit, Nightwave, Nina Kraviz, XXXY, Salva, Jesse Boykins III which is a pretty impressive alumni.


Slovenian born Maya Medvesek has been to Sonar four times but this is the first time she’s played the festival. As a producer, DJ and vocalist she goes under the name Nightwave. She’s been based in London for ten years but her dad got her interested in production at an early age (he was in a Slovenian pop group called Gu Gu) . Her DJ set at Red Bull Music Academy SónarDôme was a head-turner, taking in banging juke tracks to rap, house (‘Percolator’) , Seiji’s ‘Face Up’, R&B, a couple of Rustie tracks and more.

“Future garage is a pet hate of mine. Ummm, It’s not been made yet… It’s in the future. You idiot.” – Nightwave.

Most recently, Nightwave provided vocals on Rustie’s radio edit of ‘Surph’ and she says there’s more to come from the pair on that front.

Hear the set:

From Nightwave’s banging set to the bottom floor of the contemporary art building where John Paul Jones, yes, him out of Led Zeppelin could be found collaborated with a Norwegian experimentalist group Supersilent. Waves of synth noise and low low bass notes in a sparse and experimental fashion were heaved out onto to crowd, prompting only one reaction… “who has time for this shit?”.

Further into the recesses of the building and a cavernous exhibition space is found where multimedia audio based projects reign and nerdy dudes make idiosyncratic synths for a €38 euro privilege. The highlight of this dark, deep trip was watching five automated robots getting their groove on mechanically by playing Kraftwerk’s ‘The Robots’. It was hard not to be impressed by the artistry of it all.