Ones To Watch Weekender REVIEW (2024)

After interviewing Sez a few pages back, she invited us to cover her independent weekend festival, Ones to Watch. After attending last year, I'd already planned to go and now, thanks to you lovely readers, I get in for free as a member of the press 😌.

Once again, I have to hammer home how much I appreciate Sez’s dedication to the grassroots music scene and how important it is we turn up to independently hosted events if we want to see emerging talent.

If my intuition serves me correctly, as a reader of this magazine you either know a musician or you are one - the grassroots scene is imperative to the success of people like us. People like you! Turn up, buy the ticket, share the posts - serve the community that serves you. Big ups to Jagermeister who sponsored the event for using their platform to support the grassroots music and events scene. 

ANYWAY, back to the festival. Wow - what a lineup. It was really impressive to see such a diverse mix of performers, and attendees, that had travelled from all over the UK for the event. With a special shout-out to Bastet for making a 40-hour trip from Bulgaria to ensure he made his set. 

The intimate venue provided ample opportunity for the performers to interact with the audience and showcase their personalities just as much as their music - which I love. I love a yapper. Get us on board, chirpse me! To witness talent is always gorge, but to humanise that talent is where fandom thrives. Personality sells and events like Sez allow that aspect to thrive, with the acts mixing with the crowd before and after their sets, promoting their work and receiving feedback. 

Speaking of feedback, let’s get into it.

SATURDAY

Jess Edie

(@jess_edie_)

As a last-minute stand-in, I didn’t know what to expect from Jess Edie but I wasn’t disappointed. Her soft, sultry voice had a stunning tone and brought the warmth we were desperately lacking with our lovely English summer weather (it was pissing it down). Her cool demeanour and effortless vocals were a great way to ease into the night ahead, with endless runs and lofi RnB instrumentals. 

Music for: when you’re late to work because you detoured for a self-care coffee

Kaesu

(@kaesu.u)

Kaesu came through with a neo-soul sound with lots of old-school hip-hop influences. His laidback demeanour and delivery are reminiscent of that of the hip-hop duo, 2nd Exit. Speaking of duos, his chemistry with his DJ (@a1ex.fb) was great to watch. Shouts to DJ Alex for really selling the old-school sound, the kid was scratching like he had chickenpox. If you like spoken word and mindful lyricism, you'll love Kaesu.

Music for: mood lighting and a home-cooked dinner date night 

DBL A

(@dbllllll.a)

DBL A changed the pace with his alternative hip-hop sound, drawing from some more angsty places and supported by Benwa (@__benwa) on guitar. Keeping the set dynamic, he switched from thoughtful tracks to harder sounds with both offerings receiving equal love from the audience. Gun fingers were out for the rapper, especially when spitting with special guest Khi-P (@khi_p1) who was a great addition to the set, the guy is cool as fuck and went heavy on the ad-libs which always swings my favour. Go run up HOMESOUP, great track.

Music for: walking home at 4 am after the afters 

Bastet

(@bastet_the_bastard)

What I love about a Bastet set is that it’s always a family affair. With appearances from Jock Begg (@begg_jock), Megan Wroe (@meganwr0e) and Khi-P, the momentum is always up and there’s something for everyone. Leaning into a more garage sound at the minute, he performed Rum No Chaser which had everyone bopping with its skippy flow and a sweet vocal performance by Megan Wroe on the hook.

Music for: drinking in the park at the height of summer

Baby Panna 

(@baby.panna)

Baby Panna leans into a jazz sound with tons of horns and flute lines on his instrumentals. Opening his set with Sellout, he spoke on his dismay with the industry that he’s in the throes of climbing the ranks of. For his first show up north, he came through with boat-loads of confidence which warmed the crowd up to him instantly. He got everyone onside quickly and kept them there with call-and-response crowd work, integrating attendees into the performance.

Music for: romanticising Sunday errands to

BEST OF SATURDAY: Lois⭐️⭐️⭐️⭐️⭐️

(@itsloismusic)

Previously featured in the second issue of our music zine, VERB, I was already buzzing seeing Lois perform. Our music zine is produced by Beck (@beckkubrick) and Benwa, two of the most talented people I know. If they vouch for Lois, I do by proxy. 

However, getting to see her perform live was genuinely stunning and so much more than I anticipated. The best way I can describe Lois is a safe pair of hands. She immediately felt comfortable on stage and opened her set chatting to the crowd - shouting out her dad, who had come to watch her perform after recently retiring as a firefighter (thanks for your service) and deciding to become her manager (thanks for your service x 2). 

The chemistry between Lois and her band was palpable and they seemed to have a solid grasp on their sound as a unit. There were plenty of opportunities for the band to get time to shine whilst Lois kept the energy up, grooving around the stage. 

Between tracks, as she spoke to the crowd, it helped to build this sense of who she is as an artist and how her sound has developed. Speaking on family, love and even grief, there was a degree of vulnerability that disarmed us as an audience, making us so much more open to receiving what Lois was offering as a performer. Which, for the record, was an earnest and quietly lively performance backed by sentimental songwriting and Lois’ charming, understated vocals. 

The tracks themselves have great momentum thanks to Lois’ ability to tell a story and build an atmosphere. It’s the kind of music that feels nostalgic on the first listen, which is a huge testament to Lois’ songwriting because it’s so universal in its specificity. It’s so human, it’s inevitably personal. 

Her closing track, Running, floored me. The song is great independently but a live band adds a level of grandeur which intensifies the themes to a degree that could’ve made me cry if I weren’t so ‘ard. In all seriousness, this is coming-of-age music. It needs to be in the credits of a short film - go and stream it and tell me I’m wrong!

As her set closed I just kept thinking about her Dad/Manager, funnily enough. Before she’d sung a note he shouted from the crowd that she’s going to be a star, and I think he’s bang on.

Music for: two besties dyeing each other's hair in the kitchen post nervy B

SUNDAY

Olivia Diaferia

(@oliviadiaferia)

First up on Sunday was Olivia Diaferia, her first track, Sailor, had some of my favourite songwriting of the weekend (and it’s available to watch via her Instagram/YouTube so check it out). She has the sweetest, syrupy tone that merges perfectly with the jazz influences cropping up on her tracks. Once again, a massive shoutout to her band that created the perfect soundscape for her vocal styling and lyrics. 

Music for: barbecues and picky bits on the one day of sun we have a year 

Lost Legs

(@lostlegsband)

Confirmed by their track Cigarettes on the Dancefloor, Lost Legs are heavily inspired by a pre Indoor Smoking Ban world (R.I.P. 2007, what a year). A few technical hiccups gave the band time to exhibit their chemistry as a trio and also show love for other acts on the line up which is always welcomed. With their guitar-heavy sound and colloquial songwriting, if you’re endlessly nostalgic about noughties indie sleaze, these are for you.

Music for: people who prefer the smoking area over the actual club

MALCOM

(@malcom_band)

Carrying on the 00’s indie inspo was MALCOM, with a deservedly self-assured performance. Well rehearsed and tightly timed, the band often transitioned seamlessly from one track to another, carrying the audience through the set. The band seem to operate as one organism with great synchronicity, with each member seeming to have an equal but distinct part to play. The vocals were strong and the lead singer’s Belfast lilt added even more charm to their performance. 

Music for: the drive on the way to music fest you're gonna get way too pissed to remember 

daisy veacock

(@daisyveacock)

Daisy is a natural storyteller. Between tracks, she kept the crowd on her side, setting the scene for each new song and then hitting us with the kind of stories that are usually set up with a text that just says “girl…” followed by several minutes' worth of voice notes. Voicenote folklore, if you will. Daisy’s writing style reminded me of artists like Kate Nash and Eliza Doolittle, especially the latter with her more jazz-pop acoustic sound. Although reminiscent of these other artists, Daisy’s style and contemporary songwriting are distinctively hers and well executed with the accompaniment of Darcey Beth (@darceybethh) on bass.

Music to: wail in the shower when no one’s home

Carpark

(@carparkband)

A pop-punk group with heavy instrumentation and almost fairy-like vocals on top, Carpark tore the stage up. Potentially a niche comparison, but if the band Pink Slip from the 2003 epic Freaky Friday was a real band - I think this would be them (Carpark, if you ever read this please do a cover of Take Me Away). The softness in Scottie’s vocal delivery met with the aggressive instrumentals depicts the duality of angst - the rage and the despondence. If you were ever an avid user of Tumblr, go and stream Carpark.

Music to: stare out of a bus window and pretend you're in a music video to 

BEST OF SUNDAY: Ivey ⭐️⭐️⭐️⭐️⭐️

Ivey perform with an ease that makes you want to be their newest member. The 4-piece has an indie-pop sound that can get anyone head-bopping with them. Their summery style sounds directly lifted from their home city of the Gold Coast, Australia. This is the kind of music people make when they’ve had casual access to a clean beach. On that note, thoughts and prayers to the band as their relocation to London has made their current local beach an Uber boat port on the Thames.

If you're a fan of acts like Haim or Hatchie, you’ll love Ivey. They've mastered the art of the sad-bop, which is not easily done. Similarly to Carpark, they've found a way to strike the balance of restlessness and frustration that makes you want to scream along and bounce around. 

A few technical issues, namely a broken string and a dodgy cable, forced the group to adapt and priced a great opportunity for us to get to know them as an outfit. Initially leaving lead singer, Millie, to riff off the audience and tell us the origin story of the group, we found out they'd been playing together for 12 years, that her Dad was in the crowd and that it was her first time playing guitar for one of their sets. This is all gorgeous to know in itself, but her sharing was met with enthusiasm and encouragement from the rest of the band, despite them already being privy to all the info shared. There seemed to be great pride in them being able to share a stage with their best friends, it was so infectious. I found myself really rooting for them and feeling so invested in their success.

The snapped guitar string also led to an impromptu cover of Fleetwood Mac’s Dreams, before jumping back into the planned set. This would've thrown lesser bands off track, but their comfort and confidence in each other were on full display and it was painfully endearing. I feel like I keep referencing their chemistry but I think it's imperative to their charm as a band. They’ve truly lived the most of their lives together and you can see that. You can hear it. The sincerity of their lyricism and the accompanying flattering melodies are a joy to listen to. These are people who have fun together! Their music urges you to have fun too. Urges you to live, to make friends and to dance. 

This lot were kids together, and you can tell they still are.

Music for: a sunset montage of the last night of Glastonbury