CAMDEN ROCKS FESTIVAL returns for the fifth time with a glorious line-up.

At first glance, it seemed just like a regular Saturday in Camden town. Tourists wandering around with their flashy cameras, people in their black leather jackets and heavy boots, and music being played a little bit louder than in any other part of London city. With one exception – bands. Loads and loads of them. Everywhere.

To be precise – 200 bands at 20 venues.

Because you see, Camden rocks everyday but the festival set the bar even higher.

When I got back from The Great Escape festival one particular thought came across my mind – TOO MANY BANDS. I mean, how can you possibly choose? This is why I was convinced that one-day festivals might be more my thing. But as it appears, I was wrong. Again. Unless anyone knows a way to be in many places at the same time? If so, then hit me up! I definitely need to think about some tricks for the next year edition.

Nevertheless, glad to know I haven’t turned soft. I mean, everyone of us has their highs and lows when it comes to the music taste. It was really good to go back in time a little bit, to the roots, to where it all started.

Good rock music always tends to be around – Dave Davies

Camden Rocks festival showcased a wide variety of outstanding acts, from a few big names to many up and coming bands, from heavy rock stuff to slightly gentle indie rock. Something for everyone. I am fully aware (and fully heartbroken) that I missed out on a lot of great performances but somehow you just have to make that decision. Who will it be then?

My first stop was The Dublin Castle, a legendary pub and music venue, where the history echos so loud you can easily hear Blur, The Killers, Arctic Monkeys or Amy Winehouse living and breathing within its walls.

Black Foxxes, barely back from their hometown show at the BBC Radio 1 Big Weekend and already prepping for Reading and Leeds festival, appeared on stage to see a full house. Since critically acclaimed debut EP Pines, the three-piece has not ceased to astonish their fast growing audience. With the authentic and unadulterated rock and broad vocal range, the music sets they deliver are destined to grace much bigger stages.

Hitting the likes of Kerrang!, Rock Sound and now BBC Radio 1 Black Foxxes are meant, and definitely ready, to achieve the immense things spreading their pure sound across the globe.

The Black Heart was next on my list. Located in the centre of Camden but hidden in the alley, pumping the music through its veins, the venue gathered quite diverse crowd.

The heart, everyone’s favourite part as they say.

5 pm and Asylums are on.

Southend-on-Sea pop punk rockers who do things the only way they know. Their own way. The big way. Unleashing the madness upon the 150-capacity venue Asylums prove, yet again why they are to be taken seriously. Having received boisterous cheers in response to their set not only confirmed that, but also strengthened their position among many emerging acts. Their massive and heavy hooks easily tower over the crowd and you are left with the endless ringing in your ears.

What’s more, the charismatic Luke Branch, the frontman of the band, does not expose the tight connection with the audience, not even for a second. From jumping to the middle of the room, to reaching its ceiling, from stage diving and surfing on highly enthusiastic people to taking a selfie with a fan during the set, he creates a strong bond what leaves a trace of a very unique experience.

This four-piece represents a wind of fresh creativity the music scene might be needing right now.

Asylums‘ debut album, Killer Brain Waves, is due for release on July 29th via their own Cool Thing Records so you might want to pre-order now.

At this point, I was really hoping to see Creeper performing at The Barfly but the queue was ridiculous! Such a small space for such a great band. Better luck next time perhaps. I also missed Fizzy Blood and MOSES but there will be time for some tears later on. Still a few bands coming up.

When I entered Electric Ballroom I was not surprised when I saw many people proudly wearing The Cribs T-Shirts and a few Carl Barât look-alikes. The atmosphere was brilliant and the energy was contagious, a few drunk bodies in each corner of the venue too.

I must admit that Carl Barât & The Jackals were much better than I had expected them to be. It was easy to notice that since the start they have begun to create their own identity and original image of the band, respectively. However, it was also obvious that The Libertines’ songs, such as I Get Along, The Good Old Days or Death On The Stairs, received the loudest cheers from the audience. Many The Libs fans after all. It is really hard to compete with that amount of grand history, I suppose.

It was a tough choice between the closing bands. Ok, it wasn’t but I wish I’d made it to catch a glimpse of Press to MECO and Young Guns doing their thing. However, as stated earlier, you just have to make that decision.

The Cribs who have been rocking out for over a decade now, put on an amazing performance. I don’t want to sound overexcited or just fangirl too much, or anything like that, but I was really, really, really looking forward to seeing them live. Such an iconic band with an immense impact on the entire music world. Even if that world is a room-size and has plenty of posters with The Cribs‘ on them hung on its walls.

Kicking off with the tracks like Different Angle and Cheat On Me the band remind everyone why they are worthy of the headliner’s spot. Their edgy and raw sound is being scattered across reaching everyone in the room, even those waiting pointlessly outside of the venue. Come on, be a No-One receives a huge singalong whilst Mirror Kissers, We Were Aborted and City of Bugs bring the old school vibes back with a little bit of uneasy sentiment. All that intertwined with their top tracks, such as Burning For No One (For All My Sisters 2015) allows the co-vocalists, Gary and Ryan Jarman, form well-known catchy melodies adding the upbeat rhythms hailing from the drums, thanks to the third member of the family Ross Jarman.

Cowlily is a definite stand-out, even if it’s just my personal choice. The song, the outcome of The Cribs‘ genius songwriting skills, emphasises the band’s lyrical depth which can never be diminished by the crushing guitars.

I’m a Realist, taken from 2007 Men’s Needs, Women’s Needs, Whatever, is a preface to the approaching end of this glorious set. Thrilled crowd singing back at the band, devoted moshers trying to make a mess against the security’s resistance, all that delivers a feeling of being captured within the rare charm of The Cribs‘ show.

Finishing off with the song Pink Snow, The Cribs leave all their sisters with a scarce sense of a profound hunger and yearning for much more.

As for me, I just stand there a little bit longer, in front of the stage, looking at the big The Cribs sign trying to remember all the details and feelings.

Photo: Kasia Osowiecka