There are thousands of festivals in Europe, particularly in the summer time, but none quite like the Haldern Pop festival, in the Lower Rhine of Germany. In it’s 27th year, you’d think the word would spread a little more – because this festival is something more than special. Spectacularly set on country grounds in the Rees-Haldern area, not too far from the Dutch border, thousands flock to witness the spectacular shows put on some of the worlds greatest artists – notably Beirut, Mumford and Sons and closers The National this year, alongside up and coming rising stars from around the globe. A festival that sells out almost instantly, it’s not just the punters who return year after year, but the bands, such is the magical atmosphere. Set alongside a lake, amongst the greenest grass, despite the big names – past bands have included Muse, Franz Ferdinand, Kelis – this festival is renowned for its cozy atmosphere, with only a maximum capacity of around 5,000 – which aims to stay that way – much to the delight and merriment to any who have experienced the Haldern magic.
QRO Mag had the wonderful opportunity to experience this distinguished festival-and because of it’s size and it’s relative unknown status globally, Haldern still attracts those who tend to be truly passionate about music- something which is unfortunately a little questionable for other ‘music’ festivals on a global scale. With an outstanding line-up, there was much to write home about, rather than shaggy-haired, Ray Ban-clad, checkered shirt, drunken fools, but the spectacular show of musicianship throughout the three-day festival set mainly set over two stages.
Triggerfinger
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As the weather began to heat up, so did the crowd and the bands, starting with Antwerp based band Triggerfinger. The three-piece band, donned in suits and slicked backed hair opened the main stage. Friday 13th – unlucky for some, but Haldern’s premium spot couldn’t of had a more banging opening, with this Belgian band rocking out to tunes from their three previous albums. With elements from Black Sabbath to Deep purple, with an almost infuriating catchy sprinkling of beats, Triggerfinger played to a crowd gathered early who knew the fun would start early on.
Detroit Social Club
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Continuing the trend, and turning it up a notch, was England’s Detroit Social Club. Hailing from Newcastle, the brash stage presence from frontman David Burn shone through, with their entertaining chat alongside songs that could’ve been written by Kasabian. Having been championed by English publication the NME, Detroit Social Club seem set for big things in the commercial field, with big beats, electronic elements. Their sound is massive, as it would seem the band’s egos too, but all was suitably met by the crowds’ enthusiastic response. Although it all seemed far too familiar, and really nothing particularly unique, it provided for certainly some real entertainment.
Fyfe Dangerfield
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However, notably, taken down to a more low key presentation was Fyfe 
Dangerfield in the Spiegeltent. Who you may ask? Dangerfield is better known for his role in the Guillemots, and cover of Billy Joel’s “She’s Always a Woman To Me”. If anything, Dangerfield proved that it’s not all about stage antics and banter, but played a powerful set, with a tremendous strong vocal performance with songs from his debut album, Fly Yellow Moon, released in January of this year. Although Dangerfield has not received particular recognition for his solo work in the media, there seems no real reason for this, as Dangerfield’s performance in the Spiegeltent proved to be a moving and powerful demonstration of a true shining talent. Accompanied by strings, and a programmed keyboard, Dangerfield presented himself with an endearing, heartfelt set much to the delight of many.
Phillip Poisell
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Meanwhile, the infamous ‘?’ was due to play – and who else could it of been but none other than fresh-faced Phillip Poisell, German singer-songwriter? Having picked up the drums and moving on to the guitar at an early age, Poisell has reached German fame in recent years with catchy tunes with a solid, well structured layered sound. Poisell played to a large crowd, who seemed to enjoy the refreshing pop sounds after an early start of heavy rock.
Rox
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Continuing the pop star trend of the Main Stage was London born & bred singer-songwriter Rox. Another baby face, the half Jamaican, half Iranian got her groove on playing a range of truly danceable hits to the crowd. Backed by an animated band, including two backing singers, Rox wowed the crowd by showcasing a range of material from her debut album, Memoirs, released early this year, as well as a beautiful, soulful cover of Fleetwood Mac’s “Dreams”.
In her homeland of England, Rox has not reached the pinnacle of fame perhaps she deserves – with a well produced, strong sound with a truly commercial appeal – Rox’s releases have charted surprisingly better in Europe than in the U.K., despite being hotly tipped at the end of 2009. Rox herself noted that it was refreshing to be performing finally after countless trips to Germany for the sole use of promotion – after all, with that bright young spark in her eyes and a real love for music which shone though, it would seem performing is what this fabulous young star was made to do. With a range of influences on Rox’s sound, there was something for everyone, and something to get everyone grooving by the crowds response.
Delphic
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As the evening started to kick in, so did the beats, with super hyped-up U.K. band Delphic playing. Reaching the big time in the past year, the crowd was sufficiently warmed from the morning’s festivities as the band launched into a range of material from their debut album Acolyte, released in the early part of this year. Raw guitars, plastic keyboards combined with electro beats almost sounds a little Eurotrash, but Delphic shone through and proved they really can live up to the hype with a sound large enough to fill the entirety of the Rees region, and with the bright lights and kicking harmonies, Delphic proved they’re set for big things.
Mumford & Sons
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However, some bands have nothing left to prove – shown by what was easily the highlight of the entirety of the weekend for many – Mumford & Sons. With a massive turnout (one dreads 
to think if anyone was there at all for the show in the Spiegeltent…), this yet again British band from London Town proved that ‘folk’ isn’t all acoustic guitars and fluffy songwriting, but in fact, Mumford & Sons launched into an absolutely triumphant set, much to the adoration of thousands, who seemingly knew all the songs from front to back. It was a beautiful sight too – all in attendance animated – and really showing that music can conquer all. Despite only forming a number of years ago in 2007 – late 2007 – the band have risen to the top, with both critical acclaim and insanely soaring commercial popularity, and with such success, adoring fans, the beautiful girlfriends, there seems no stopping this band.
Esben & The Witch
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You may have stayed and watched Mumford & Sons, as meanwhile in the Spiegeltent, there was not much to be seen. Shrouded in a thick cloud, Esben & The Witch played a dark, atmospheric set – you’d expect someone to yell out Siouxsie at any point now. Named after the Danish fairytale, the band did create some stories of their own, but given the days triumphant line up, Esben & The Witch did prove to be a little bit of a downer, and somewhat un-engaging.
Beirut
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There is simply more then that to be said about main headlining band Beirut, the blossoming project of Zach Condon. With massively triumphant tunes laced heavily 
with a brass backing, Beirut played a celebratory set filled with vigor with a range of material from their back catalogue – their two albums Gulag Orkestar and The Flying Club Cup, as well as EP material. Despite the jubilant presence of this band, who powerfully played each carefully crafted track after track with precision, the crowd were perhaps still recovering from Mumford & Sons – which proved to be a mighty shame as Beirut proved to have an unyielding capability to launch into substantial steadfast powerful tracks almost faultlessly. Either way, Beirut proved to stun the crowd with truly beautiful tracks such as hit “Postcards from Italy”, as well as showcasing a range of other tracks. It’s clear to say that after this show, the Beirutando may have got a little bigger, better and bolder.
Serena Maneesh
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To close the night, Haldern is known for its choice of calming music to turn it down a notch. A lullaby, something melodic, something smooth – but certainly not this time round. Final closers were 4AD signees Serena Maneesh from Norway, who played to an emptied field, however this 
wasn’t just any rock to be taken lightly. If music itself could ever been deemed ‘parental advisory’ purely on musical terms – this was it. Bold, brash noise rock filled the air with an insane intensity, which seemed almost vulgar. It would seem that in reality, only an older crowd stayed to witness the dark spectacle of what the band presented.
Serena Maneesh performed range of tracks from their albums, although each track virtually indistinguishable as the band launched into their soaring, constant set of noise. The sound was thick and unshakeable, filling the air and for those who were there, proved to be a lot to take in – with the crowd emptying slowly as the night drew closer to an end. Even so, one probably couldn’t of asked for a more intensely powerful ending to an amazing day, which isn’t always all that bad.
