In supporting grassroots venues and DIY artists, the team behind Ipswich festival Brighten The Corners outshines many others. Now in its fifth year, this two-day event features performances across seven different locations, with half owned by the organizers. “We all share the same determination to make Ipswich a viable touring destination and breathe new life into the music scene in our town,” says the small team.
From folk to rap, punk to rave, there’s truly something for everyone. Highlights on Friday include The Pill, a punk duo from the Isle of Wight, whose sharp lyrics and energetic riffs excite those lucky enough to fit into the small Smokehouse; and indie-rapper JD Cliffe, whose infectious energy transforms The Baths, a swimming pool venue, into a lively party. On Saturday, Y stands out early in the day. The term genre-defying is often overused, but the London quintet genuinely earns it. More intense than O., they launch into the quirky anthem ‘Ladies Who’ and the psych-influenced ‘Marianne’, while the sax-driven ‘Hate’ shifts the mood, with founding members - guitarist Adam Brennan and vocalist Sophie Coppin - sharing singing duties. The set concludes with ‘Why’, which blends elements of Madness and Black Country, New Road, making heads nod along to the intense mix. Over at the larger Corn Exchange, Mandrake Handshake delivers a vibrant performance of krautrock, art-pop, and psychedelia, adorned in colorful floral shirts. Each member of this Oxford/London collective is fully engaged with their instruments - one even plays maracas and tambourine simultaneously - creating a retro vibe reminiscent of the 1970s, akin to Texan trio Khurangbin; perhaps a revival of the summer of love (with the older audience appreciating the nostalgic throwback to happier hippy times).
Later on, indie star Master Peace generates cathartic energy, drawing from his impressive debut album. The set culminates with ‘Home’ - chanted like a football anthem - as the Londoner leaps into the audience and dances with fans before he climbs onto the barrier to lead one last singalong (and plug ‘Red Wine’, his new collaboration with rapper AJ Tracey). The festival's most distinctive venue, the recently revamped St Stephen’s Church, is perfectly suited for The Orchestra (For Now)’s grand and cinematic performance. Positioned beyond the arch, this seven-piece band augments a post-punk foundation with cello and violin; during ‘Skins’, lead vocalist/pianist Joseph Scarisbrick unleashes guttural screams as flashing white lights and pulsating strobes turn crimson. It’s undoubtedly one of the day’s standout performances.
Two equally intense shows unfold at the city’s most intimate live music space, the 70-capacity Smokehouse, known for its innovative bookings. Despite having no music released, SILVERWINGKILLER has gained a reputation for unforgettable performances—having previously rocked London’s Windmill Brixton—and their debut in Ipswich is no different. Blending aggressive bass, pounding breakbeats, and multilingual vocals (in English, Mandarin, and Shanghainese) into industrial electro-punk, their sonic barrage leaves the audience with ringing ears and ignites a fervent dance party. Fast-paced and exhilarating, their chaotic sound is tailored for the attention-deficit generation.
Just two hours later, BLACK FONDU captivates the audience with his full-throttle electronic rage-rap. Physically dynamic on stage and shouting over glitches and samples, his apocalyptic production would resonate with fans of Playboi Carti, offering a compelling spectacle that demands attention.
Less abstract yet equally impactful is the festival’s official headliner, Bob Vylan, who sparks mosh pits at the Corn Exchange. With a Palestine flag draped over boxes showcasing the Mobo-award-winners’ name, frontman Bobby kicks off the show with “some light stretching and meditation,” as crimson lights flood the venue and white strobes flash. “We’ll see you on the other side!” he shouts, with the crowd following his lead before performing ‘I Heard You Want Your Country Back’. The grime-punk duo’s lyrics are unrelenting, particularly Bobby’s powerful flow in ‘Get Yourself A Gun,’ which critiques rising rents. Having already triumphed at Coachella and toured with Australian punks Amyl & The Sniffers, their upcoming show at Glastonbury is sure to be a breeze.
Also heading to Worthy Farm are Mermaid Chunky, a performance art duo signed to DFA Records, who bring captivating eclecticism to St Stephen’s Church. Moina Moin, in a regal dress, plays multiple recorders, while bandmate Freya Tate dons a Druid-like cloak and a whimsical Marge Simpson-inspired headpiece. Their costumes draw as much attention as their slowly building maypole-dance-inspired songs. Alongside an array
Master Peace, Mandrake Handshake, SILVERWINGKILLER, BLACK FONDU, The Orchestra (For Now), and Y also stand out at the city's diverse two-day event.
