Over 8,000 people enjoyed cutting-edge audiovisual installations and performances by artists such as Mura Masa, Evian Christ, James Holden, and many more
The people of Barcelona have definitely already included MIRA in their list of top festivals. Conquering the Fira de Montjuïc in its twelfth edition, the Catalan macro-event opened its doors to thousands of digital arts devotees and followers of electronic artists who explore the limits of the genre with their respective and genuine audiovisual proposals. So much is the hype generated around the two afternoons and nights of the year in which it is celebrated, that we decided to see it with our own eyes this time. So, after having been able to sleep a few more hours than this intense weekend allowed us, this is what we experienced in our first MIRA Festival:
After entering a venue more than familiar to lovers of electronic music festivals in Barcelona, in a matter of minutes we could understand the priorities of the event. Passing by the outdoor area, full of food trucks and led by the MIRA Dome –a giant hemisphere that invited us to lie down inside to take us on an immersive and psychedelic journey–, we could see how the atmosphere changed completely when we entered the immense interior space of the fairgrounds.
The large hall held under the darkness different installations that challenged, on many occasions, rational thinking about the behavior of light and technology. Futuristic stagings ranged from synchronized laser performances to large-scale projections of abstract visuals interacting with the viewer. A full-fledged museum that allowed us to see up close where the advances of those artists and technocrats who strive to expand the horizons of digital creation are.
And with our eyes well fed, it was time to nourish our ears, as the festival’s lineup whetted our appetite from the start. Over twenty artists took over the speakers during the two days of MIRA. Among them, there was the local talent of Shelly, who took the stage with a live set captained by percussive sounds that shook the Catalan floor, or the great balance of Aïsha Devi between microphone and synthesizers, hypnotizing the audience with a passionate audiovisual statement that captivated the audience.
And speaking of hypnotizing, it is time to highlight what was undoubtedly our -unexpected- favorite performance of the festival: Evian Christ. The British producer surprised us not only at the sound level, delighting our ears with a marriage of ambient sounds that penetrated our mind, interspersed by aggressive and rhythmic interludes that woke us up from trance, but also presented a lights show that, despite its apparent simplicity, left us speechless from beginning to end. Pure magic.
All this without losing sight of some of the most anticipated performances of the line-up, starting with a back-to-back that is making waves around the world. Hudson Mohawke and Nikki Nair, who we already know what they are capable of in the studio, took over the CDJs to demonstrate their synergy in the booth too. Together they put together a set full of experimental rhythms molded in different shapes and speeds but with the aim of making us dance and waste the last energies left on their closing performance on Friday.
And of course, if we talk about MIRA 2023, we have to mention Overmono. The English duo is becoming one of the most coveted live acts not only in the UKG and bass circuit but also in the international electronic scene. Their combination of breakbeats, energetic productions and vibrant visuals turned the Barcelonian stop of their World Tour into a breath of fresh air within the festival. It was an ode to their discography that both those more familiar with the duo and newcomers enjoyed and danced to their heart’s content.
Finishing the musical review, the last big name we must highlight was Mura Masa‘s. Although his performance turned at times into a massive karaoke thanks to some of his hits like ‘Love$ick‘ or ‘What If I Go‘ -which he got rid of at the very beginning of his concert-, added to his productions for PinkPantheress, we didn’t feel him completely comfortable on stage. Don’t get us wrong, much of the audience was happy to sing along with the two singers that the Guernsey artist brought with him to bring his tracks to life. But something didn’t quite click.
The crowd failed to fully connect with a performance that was asking for more interaction and energy from the audience, and this could be attributed to the contrast of embedding a performance as “commercial” and colorful as his in a lineup focused on a much more erudite audience. It was a sweet moment for true Mura Masa fans, but a radical change of atmosphere for those who bought their ticket seduced by the concept of the festival rather than by seeing that specific artist.
With the emotional hangover digested, we write these words with a smile on our faces. We could define the MIRA experience as a marriage between a futuristic art exhibition and a music festival with the clear impetus to put under the spotlight those artists who dedicate their careers to expand, and even break, the creative boundaries. A unique balance that invites attendees to open their minds in an experience that stimulates the senses and fosters a perfect atmosphere to appreciate the works of all its guests from the utmost sensitivity. A series of well-executed ingredients that, as we said at the beginning, are worth enough to make this event one of our marked dates from now on in our calendar of Barcelona festivals. So, if there are no surprises… We’ll see you again in 2024, MIRA!
