LIVE (Photos): Deer Shed Festival, 2024 (Day 1, 26.07.2024)

Having fallen in love with Deer Shed when I attended for the first time back in 2022, and then going on to have another dreamy weekend at the North Yorkshire festival last year, I was very glad I got to go again this year. Highlighting a real family focus, whilst hosting a range of exciting new artists, it oozes the warmest of vibes and – being smaller in size than most other festivals – creates a space that feels comfortingly intimate; an inclusive safe haven for artists and fans of all genres and ages. Whilst providing a child-friendly environment, this does not take away from the quality and array of performances on offer for everyone to enjoy. Although I’d say I’m in the minority of attendees who does not have children (or isn’t a child themselves!), I in no way feel this to be hindrance – there’s still plenty of adult fun to be had, just in perhaps a slightly less intense, and more safe, environment than most other festivals. Which is no bad thing, in my opinion! 

Amongst those performing, a fantastic number of female, non binary and queer performers are represented, and I was lucky enough to catch lots of these over the weekend – a good balance of artists I already knew and loved, and those who I had not had the chance to see before.

After our seven and a half hour journey, and settling into our pre-pitched tent (a revelation saving so much time and energy that I will be doing it at every festival going forwards!), we make it to the main stage just in time to catch Liz Lawrence. A GIHE favourite and one of the first ever guests on our radio show, she combines a twinkling emotion with deep funk-fuelled hooks as her distinctive syrupy vocals narrate each reflective offering. From songs such as 2019’s ‘USP’ and ‘None Of My Friends’ to recent single ‘Strut’ (at the request of “the lad that said ‘can you play Strut for my mum?’”), and everything in between, a gritty splendour flows throughout, as the sun shines upon our first taste of live music of the weekend.

Next up, we head to the In The Dock state to witness the fierce power of OneDa. Declaring that “pussy power is a way of life”, she launches into a set of immense hip-hop infused drum ‘n’ bass anthems, all delivered with a ferocious swirling energy and seething passion. 

Following some tasty vegan gyoza, we wander over to The Lodge stage to catch some of the colourful “digital voodoo” of Nana Benz Du Togo. Emanating a majestic grace, as their voices and unique instruments combine to create uplifting anthems like ‘Liberty’ and ‘To Be Free’, their message remains clear throughout: as lyrics like “I wanna make my own decisions” resonate with a stirring poignancy, a deep empowering spirit oozes from the stage. Declaring that “women should be free to be what they want to be”, and describing their aim as being to “recover the place that our mothers lost to the patriarchal society”, Nana Benz deliver a wonderfully invigorating set; uniting the buoyant crowd in a resolute drive for change with a glistening joyous energy. 

To end the night, I swap from my usual position of spectator to ‘artist’… If you can call DJing that. Either way, I was on the In The Dock stage, playing tunes to a tent that ended up being full of people for the Silent Disco. Lurking in the shadows without being noticed is generally more my vibe, so needless to say I was quite nervous about it. But, despite the cursor key on my laptop deciding to stop working at just the wrong time, causing a few clunky ‘mixes’(and with most of my set clashing with Liverpool legends The Coral on the main stage), it was really lovely to see so many people dancing and singing along to the music I was playing. Noticing the number of young people who seemed to be enjoying it – making up dances with their friends and getting excited by certain songs – was particularly heartwarming, and I’m really grateful to have had the opportunity to do it. So, massive thanks and love to Deer Shed for letting me unleash my danceable queer tunes onto the crowd (and hopefully my laptop cursor won’t break next time!).

Stay tuned for photos of, and words about, of Days 2 & 3 at Deer Shed – including some special thoughts about the kids’ activities from next generation GIHE gal Orla….

Words: Mari Lane / @marimindles
Photos: Paul Dawes / @GRNDglass

ALBUM: Liz Lawrence – ‘The Avalanche’

Liz Lawrence released her third studio album in September this year. She wrote, performed and produced the entire album herself in a studio she built from scratch with her dad on the site where her grandfather’s garden shed had stood unopened for twenty years. Lawrence christened the studio ‘The Coffin’ and, whilst the album certainly has an underlying preoccupation with death, the sounds Lawrence has created within The Coffin’s walls are the furthest thing from a funeral dirge. The Avalanche is full of nonchalant, alt-pop bangers, pleasingly building on all of the promise Lawrence demonstrated on her earlier releases, Pity Party and Bedroom Hero.

Lawrence’s delivery is laconic and understated bringing a wry sensibility to each track. Vocally, she treads a path somewhere between Sharon Van Etten and Lana Del Ray, but weaves her lyrics over danceable distorted bass and guitar lines reminiscent of The Dandy Warhols. Album opener ‘Down for Fun’ sets the tone for the album perfectly with Lawrence detailing the death of a rabbit owned by a guy who wears a jester’s hat then inviting everybody back to mine” and declaring she’s “down for fun, down for anything”. The album is a party, but with ever foreboding memento mori themes running softly in the background.

‘Violent Speed’ and ‘Where the Bodies Are Buried’ further exemplify this. ‘Violent Speed’ gives a blunt and grittily visceral description of a decapitation and ‘Where the Bodies Are Buried’ includes these brilliantly dark lyrics describing a relationship in its final throes:

“I left the heating on
And now I’m gonna knit you a sweater
A gorgeous afternoon
And I’ve been digging holes in the garden
All for one and one for you
But I know where the bodies are buried…”

As dark as Lawrence’s lyrics may be, The Avalanche is a helluva lot of fun. The album was in part inspired by Tacita Dean’s huge, seven-metre drawing, The Montafon Letter, which refers to a disaster in the Montafon Valley in Austria where an avalanche buried three hundred people. Lawrence explains, “…a priest went to the site to officiate the burial, and another avalanche buried him, and then finally another avalanche came and unburied the priest”. On The Avalanche, Lawrence skilfully plays with the idea that what destroys you might just save you too. 


The Avalanche is out now on Kartel.

Kate O’Sullivan

Photo Credit: Asia Werbel