- Last year's edition of Hors Bord, a newcomer to France's increasingly saturated festival scene, proved a testing trial for the promoters. Despite a great lineup and a strong buzz around the event, a hailstorm of biblical proportions meant attendance was low. Last month, on my way south to Bordeaux for the second edition, I was unnerved to discover that heavy rainfall and lightning were once again projected for the week ahead. Thankfully, though, these reports were misleading.
Held in Bassins à Flot, a series of industrial docks built by the Germans during WWII, Hors-Bord feels similar in aesthetic to festivals like DGTL in Amsterdam. The lineup was rooted in house music and rich in live acts, all of whom performed during the daytime on the main site. At night, the most enthusiastic ravers migrated 200 feet down the canal to I-BOAT, Bordeaux's most famous nightclub.
Despite some brilliant performances from the likes of French psychedelic pop act Buvette, most of Thursday was drowned out by incessant rainfall. On Friday, the weather was more inviting, and a set from Black Devil Disco Club on the second stage, Bacala, got my day off to an inspiring start. 70-year-old Bernard Fevre's onstage presence was warm and entertaining, ripe with showmanship and post-modern irony. "This one's for the GTA heads!" He bellowed, before delivering one of his signature electronic disco tunes. The crowd was sparse but dedicated, and Fevre rewarded them with a smiling encore. At the main stage, Motor City Drum Ensemble and Antal kept the vibe upbeat during their back-to-back, mixing South African bubblegum with Cajmere's "Percolator" and James Brown edits.
Throughout the weekend, I-BOAT's main room hosted a run of renowned electronic acts, while a smaller floor on the deck welcomed local hip-hop DJs. The latter worked well, providing a nice contrast to the pounding beats below. Friday's most thrilling set went down on the boat, delivered by a DJ not that well known in France, Beatrice Dillon. Warming up for Objekt, she moved effortlessly through bleepy house, UK rave and dubby cuts. Each tune felt radical in her hands, an effect reinforced by the dim lighting and her tendency to lurk in the shadows of the booth. Even Objekt's performance felt a bit linear by comparison.
On Saturday, Belgian rapper Romeo Elvis opened the main stage with bags of swagger. He blended pop with modern rap, discussing topics as wide-ranging as Brussels, drugs and bestiality. DJ Koze, easily one of the festival's biggest draws, stuck close to his singular style of house. He ended on a jazz track, giving the next DJ, Floating Points, the perfect launch pad. I can't remember ever seeing the Eglo boss on such good form. Blending Kenix Music's "There's Never Been (No One Like You)" with tribal house and sun-drenched reggae, his set was an easy highlight. Beside me in the front row, a couple of 40-something punks, doused in glitter and make-up, danced cheerfully throughout.
The scene was now set for a night of colourful house, with Omar-S, Boo Williams and Chaos In The CBD still to come. Omar-S was my favourite of the three, blending his own sultry productions ("Set It Out," "S.E.X.") with some of his more festival-ready weapons ("Thank U 4 Letting Me Be Myself," "The Shit Baby"). While he played, red and white lights shot through the smoke-filled stage. It was an irresistible performance, and a fitting way to round out a thoroughly enjoyable weekend.
Photo credit /
Jacob Khrist
Throughout the weekend, I-BOAT's main room hosted a run of renowned electronic acts, while a smaller floor on the deck welcomed local hip-hop DJs. The latter worked well, providing a nice contrast to the pounding beats below. Friday's most thrilling set went down on the boat, delivered by a DJ not that well known in France, Beatrice Dillon. Warming up for Objekt, she moved effortlessly through bleepy house, UK rave and dubby cuts. Each tune felt radical in her hands, an effect reinforced by the dim lighting and her tendency to lurk in the shadows of the booth. Even Objekt's performance felt a bit linear by comparison. On Saturday, Belgian rapper Romeo Elvis opened the main stage with bags of swagger. He blended pop with modern rap, discussing topics as wide-ranging as Brussels, drugs and bestiality. DJ Koze, easily one of the festival's biggest draws, stuck close to his singular style of house. He ended on a jazz track, giving the next DJ, Floating Points, the perfect launch pad. I can't remember ever seeing the Eglo boss on such good form. Blending Kenix Music's "There's Never Been (No One Like You)" with tribal house and sun-drenched reggae, his set was an easy highlight. Beside me in the front row, a couple of 40-something punks, doused in glitter and make-up, danced cheerfully throughout.
The scene was now set for a night of colourful house, with Omar-S, Boo Williams and Chaos In The CBD still to come. Omar-S was my favourite of the three, blending his own sultry productions ("Set It Out," "S.E.X.") with some of his more festival-ready weapons ("Thank U 4 Letting Me Be Myself," "The Shit Baby"). While he played, red and white lights shot through the smoke-filled stage. It was an irresistible performance, and a fitting way to round out a thoroughly enjoyable weekend. Photo credit / Jacob Khrist