Birmingham may be the home of metal, but metal kids have to grow up some day. Now in its ninth year, there is a sense that the city’s Supersonic festival is maturing. While it remains based in Birmingham’s Custard Factory, this year it spread out further into this industrial sprawl, making more sensible use of the myriad of dark spaces beneath the railway arches. This attention to the design of the individual venues extended to the audio and the visual aspects of the festival: the new Boxxed and the reworked Space 2 areas in particular had some of the most advanced sound systems I’ve ever heard in a festival setting, while all stages now had space for artist-specific projections. These are timely developments, especially in light of Supersonic’s continuing interest in more experimental art forms, enabling an increasing range of musicians to wed their vision to that of the festival organisers Capsule. Read the rest of this review at The Liminal.
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