Entering the venue, concertgoers were welcomed by various food and beverage stands and activations, serving up everything from Aperol Spritz to canned margaritas and international beers in a fun and colourful setting. The Amphitheatre bandshell is extended by a green grass lawn on which many festival goers spread their blankets for a full day hangout. The stage visibility was amplified by three large screens zooming in on the performance and regularly spotlighting the crowd. The audience was as diverse as the lineup, with many fans dancing through entire sets, wearing branded artist merch. 

Holly Humberstone by Respective Collective, Serena Yang. Image courtesy of All Things Go.

On Saturday afternoon, the audience was treated to a handful of performances ahead of Kesha’s headlining set. English singer and songwriter Holly Humberstone brought her flavour of guitar pop music to the stage. Dressed in what felt like a white tutu, Humberstone gleefully worked through her latest record, Cruel World, to a cheering crowd. Her performance was followed by another English singer-songwriter, Rachel Chinouriri, who got even more people up on their feet and surely plenty of new listeners on her music streams. 

Accompanied on stage by a drummer and a guitarist, Chinouriri ran out on stage with explosive energy. Her stage presence is engaging and captivating, enhanced with candid stories about her work, like the latest album being a “trauma dump” from past relationships. Chinouriri’s set was a mix of songs from her debut studio album, What A Devastating Turn Of Events, and in-between singles like “I’m Not Perfect (But I’m Trying)” and “What A Life”. 

Rachel Chinouriri by Respective Collective, Serena Yang. Image courtesy of All Things Go.

Sunday afternoon kicked off with bright sunshine, welcomed the girls with flower clips and electric tape tube tops, along with dads in Hawaiian shirts and sun hats, to the Amphitheatre grounds. Canada’s Jade LeMac, a self-taught piano and guitar player, was a vocal highlight for the day. Her subtly gentle set was followed by an energetic performance by Del Water Gap (aka Samuel Holden Jaffe). After a brief instrumental opening, Samuel Holden Jaffe stormed out on stage in jeans and a blazer with blacked-out eyes. A true indie-pop heartthrob, Del Water Gap had both men and women dancing and singing along to their entire set. Jaffe engaged the crowd on multiple occasions, expressing his gratitude to the attendees and prompting them to play along. 

Jade LeMac by Respective Collective, Serena Yang. Image courtesy of All Things Go.

The biggest highlight of the weekend was a highly anticipated performance by the Isle of Wight’s English indie rock band Wet Leg. Founded in 2019 by Rhian Teasdale (vocals, guitar) and Hester Chambers (guitar) the band also includes Josh Mobaraki (guitar, keyboards), Ellis Durand (bass), and Henry Holmes (drums). Rhian Teasdale, dressed in a petite signature outfit, took front stage, diving into the set from the deep end with “catch these fists”. The crowd stood up and stayed up for the rest of the night. The set, one-by-one, went through the songs on the moisturizer, most of which a healthy portion of the attendees knew the lyrics to by heart. The set was really only interrupted to point out the shirtless superfine – a “bunch of dudes” – with “WET LEG” painted across their torsos, who were more than happy to be in the spotlight on the big screen. 

Wet Leg by Respective Collective, Serena Yang. Image courtesy of All Things Go.

Lorde’s closing set was a performance of all kinds. The stage had multiple moving parts, shapeshifting into objects and glass boxes. This was Lorde’s second appearance at All Things Go, so she knew exactly what hype this fan base would bring and brought her whole self to the stage. Her set included all-time favourites like “Royals,” “Ribs,” “Buzzcut Season,” and a wealth of songs from her latest album, Virgin. “This is my second All Things Go! I’m trying to catch them all. It’s a Pokémon situation for me. This is, without a doubt, the coolest festival in North America,” Lorde shared.

Lorde by Respective Collective, Serena Yang. Image courtesy of All Things Go.

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British alternative indie-pop artist Rachel Chinouriri fearlessly pours her emotions into her debut album, What A Devastating Turn of Events, featuring 14 soul-stirring tracks. 

Set for release on May 3rd, this record is a meaningful journey through Rachel’s world. Rachel doesn’t shy away from layering each track with luxurious harmonies and lyrics that pierce pretense, striking an existential chord.

The album kicks off with a powerful start on “Garden of Eden,” a profound track delving into the struggle of trying to conform while losing sight of oneself. With the recurring lyric, “No point in trying to prove yourself to them. Why question who you are from deep within? No matter what, your youth is gonna end,” Rachel challenges the notion that life is fleeting, urging listeners to embrace their true selves.

The second track on the album, “The Hills,” is as profound as the first but serves as the album’s anthem. It carries a haunting quality reminiscent of the early 2000s, nostalgically nodding to emo-rock. Next up is “Never Need Me,” a standout powerhouse track amidst the rest of the album. The recurring lyric, “If you can’t change, I doubt that I can help you,” acts as the song’s central theme. With its deliciously heavy guitar riffs and steady drum beat, it’s a tune that instinctively makes you bop your head. 

Ideal for prepping for a night out, this track is relatable across diverse relationships and possesses a cinematic quality, worthy of placement on a movie soundtrack, thanks to its big sound.

“My Everything” has an undeniable swagger, featuring a slow-rocking rhythm complemented by vocal ad-libs that deepen the richness of Rachel’s lyrics. Backed by distorted guitar in the chorus, “My Everything” carries a weighty atmosphere that amplifies the emotional turmoil of someone deeply invested in a relationship, only to see it falter.

Moreover, “I Hate Myself” is a candid exploration of self-loathing, encompassing feelings towards one’s body and skin. The repetition of “I’m a victim of my mind” is accompanied by melodic guitar and a steady beat, conveying the relentless struggle of never feeling adequate, before transitioning midway to a narrative of self-acceptance. It beautifully illuminates the journey towards self-love.

The closing acoustic track, “So My Darling,” holds a special place for me on this album. Its intimacy is captivating, highlighting Rachel’s beautifully dynamic vocals. With acoustic guitar delicately complementing the main vocal line, this track is easily replayable, evoking the depths of unconditional love in a relationship.

What A Devastating Turn of Events shines with Rachel’s unapologetic honesty as each track explores lessons learned from life’s trials and tribulations. It offers philosophical insights to listeners, fostering a feeling of ease and understanding.

I firmly believe that this is just the beginning for genre-bending Rachel Chinouriri as she paves the way for other artists who dare to boldly create music that’s raw and unapologetically authentic to themselves.

Images by Lauren Harris, courtesy of the artist

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