We Out Here Festival 2024- A testament to the human condition

In a world where corporate gain and an arguable disinterest towards the consumer plague the festival landscape, Giles Peterson’s We Out Here festival triumphs as a true example of raw, authentic humanity.

First, a word on the performers. We Out Here boasted a 4-day headline schedule. For the first night, Mount Kimbie brought their unmistakable sound to the main stage, backed up by a surprise guest appearance from King Krule. Krule’s appearance down in the Wimborne countryside is significant to the pull that Petersons event boasts- it is fast cementing itself as a staple on the live circuit and its attraction as a community-driven festival ensures its capability of pulling the biggest artists to its stages. Take, for example, the headline slot for the Sunday- Andre 3000, of Outkast fame. Although 3K has swapped the microphone for a flute, (the opening track to his fully instrumental record out this year was ‘I swear, I really wanted to make a “rap” album but this is literally the way the wind blew me this time’) the fact his 3 pm slot pulled one of the biggest crowds of the weekend illustrates that WOH is a space where creators can express their authentic artistic vision without compromising a supportive fanbase. Sure, maybe some in the crowd were dizzy with visions of the Outkast man performing ‘Spaghetti Junction’, but there were hardly any complaints as Andre serenaded the crowd into Sunday evening with his wind instruments.

Friday headliner Sampha brought his Satellite Business set to the stage, spinning his otherwise calming sounds into a groove that got the whole crowd dancing. A captivating performer, his set was a personal highlight of the weekend. Ebo Taylor and the Family band brought their fusion of Afrobeat and Jazz to the main stage before Sampha’s slot, to which the singer came out from behind the artists’ lounge to join the crowd to catch Ebo himself enter the stage for a few songs as a surprise. Now 88 years of age, his family carried the torch for him- his appearance brought a smile to the face of everyone in the crowd. Sampha, having just caught the last 15 of Ebo’s set from the crowd, walked backstage again having not been hassled once for a photo or autograph. Everyone simply let him enjoy Ebo as a human- only a few went up to him, and even then it was for a passing handshake as they made their way back to their friends in the crowd.

I truly believe that there is something at We Out Here for everyone. For those inclined towards the bass, Friday night was dominated by house music sets on every stage around the site. For those who wanted a break from the music, there was a specially curated wellness area, with therapy tents, a river for paddle boarding (one of the many reasons why the actual location plays a huge part in the festival attraction) and even a sauna and hot tub stations. There is an undeniable attention to the wellbeing of the punters- the dedication of a space in which visitors can retreat from the thud of the speakers down the other end is a trait that more festivals should look to employ. There is nothing worse than feeling claustrophobic at a festival due to the lack of diversity it offers- a campsite and arena simply aren’t enough for many. The Wellness Corner is a perfect example of how more festivals should look to diversify their attractions and broaden their appeal. Additionally, the diversity of the food available is another example of a duty of care to the paying customers- A side point, but a significant one alas. I struggled to find a simple burger bar and was always surrounded by the aromas of Middle Eastern cuisine. For the younger amongst us, a roller rink and a football stadium (made using hay bales) complimented a designated family zone. The attention to inclusivity marks this festival at the forefront of its scene.

For the wax heads, the Near Mint record store made a return for this year, bringing independent traders to the tents for a full afternoon’s worth of crate digging. After hours of digging, I came home with a US import 12′ of Portishead’s Sour Times, remixed by DJs on its release and released on a special US-only vinyl. However, perhaps the best part of this was the Brownswood stall- dedicated to the artists signed to Peterson’s label of the same name. My favourite moment of the weekend was being served by Valerie Ettiene, one of the singers in Acid Jazz group Galliano. Ettiene had decided to man the stall herself- promoting her band’s newest record Halfway Somewhere, which releases August 30th. For the occasion, Galiano had pressed an exclusive run of a new 7′ single- with different mixes of songs that will feature on the new album, only available at the stall. Galliano then played a slot in the Brawnswood tent on the Sunday, to huge excitement. Galliano is a great example of the We Out Here community- originally signed to Petersons labels in the 90s, he has championed their comeback after 30 years apart by integrating it within the festival blueprint- a signpost between the stages read ‘halfway’ and ‘somewhere’, a nod to the upcoming release. Once I left the tent, I walked back past the main stage to see Etienne performing with another group as a guest singer, only minutes after holding out a card reader for me.

We Out Here, and everything it stands for promotes and advocates, is a space worth investing in. As it gets bigger year after year, and we are only 5 years in from its inception, I can only envision it becoming one of the biggest spaces for music fans in the country, a place to let go and discover your next new band, to relax under the sun in Rhythm corner with a studio lager in hand, or to share a sauna with strangers. Long may Peterson & Co. hold the beautiful grounds of St. Giles house firmly under license.