Primavera Sound 2023 Porto, review: The star power of Blur, Kendrick and Rosalia trumps a weekend of dreadful weather

The line-up remains peerless but Porto’s execution was a little out of step for what is considered one of the world’s best festivals

Blur’s Damon Albarn does his best to bring some energy back into the arena after a downpour (Hugo Lima)

The smallest sibling of the Primavera Sound superbrand, Porto’s edition of the music festival sometimes feels as if it receives the headliner hand-me-downs of its Barcelona brother.

This year, there’s Blur, Halsey, Kendrick Lamar, Fred Again and Spanish superstar Rosalia – but Portugal misses out on a sprinkling of the big names who performed in Spain only days earlier, including Calvin Harris, Depeche Mode, and Christine and the Queens. To add insult to injury, all of those artists are on the bill for a third Primavera festival this year – the newcomer Primavera Madrid, which celebrates its first-ever outing the same weekend.

Madrid’s debut turns to disaster on 8 June when “severe” weather forces organisers to cancel the opening day. Thankfully, Porto avoids the same fate – but notably, not the torrential rain. There are other unfortunate glitches, not least a power failure during headliners New Order, interrupting a weekend that otherwise mostly delivers on its promise.

Wednesday’s headliner Kendrick Lamar is a spectacular live performer, although not the kind who spends much time interacting with the crowd. The rapper’s set list spans 2011’s woozy “ADHD” and 2012’s propulsive “m.A.A.d city”, plus covers of Pusha T’s “Nosetalgia” and The Weeknd’s “Sidewalks”. It’s a crowd-pleasing concoction and one that would be even more pleasurable if we got a bit more from Lamar himself, especially given that his performance coincides with the most punishing downpour of the weekend, sucking the energy (and a decent chunk of the crowd) from the festival site.

The following day brings better weather and, in fact, when the storm does return, it adds some drama to Fred Again’s set during which the rainfall peaks amid the driving bassline of “Rumble”. Perhaps it’s the water or maybe it’s his enthusiastic delivery, but Fred’s pad controller breaks midway through his set, leaving him punching madly at buttons like a tweaking velociraptor, as samples fail to land in time. A replacement is quickly found.

Thursday’s headliner Rosalia is, by some margin, the highlight of the weekend. She is an innovative artist who manages to produce a pop vision that is at once so singular, confident, kooky, warm and feminine that it is strikingly out of step with her peers. On stage with her is an extremely zealous Steadicam operator who she pulls around like a giant hi-res selfie stick, beaming down the lens hypnotically. Whether she’s swooning on the piano in huge single “Hentai” or riding in circles with her scooter gang for “Chicken Teriyaki”, nobody is having more fun.

By Friday, the rain eases and the tension fades. Pusha T is known on record for possessing one of the coldest deliveries around, but his set is a total crowd-pleaser. The rapper flits from the 21-year-old Neptunes hit “Grindin’”, taken from his Clipse days, to the Future single “Move That Dope”, and even a verse from Kanye West’s “Runaway”.

The stage is set for the Pet Shop Boys, who walk the line between cringe and cool better than anyone in pop. Tonight they are sensational, with outfit changes that include an iridescent mirrored anorak and a volley of singalong hits including “Can You Forgive Her?”, “Where The Streets Have No Name” and “Left to My Own Devices”. The two Nineties suburb-style lamp posts that bathe their heads in an orange glow for “West End Girls” are by far the best prop of the weekend.

Why does it always rain on me? Festivalgoers wear raincoats and hooded jackets (Hugo Lima)

On Saturday, it is New Order who experience the festival’s second calamity – a power outage during one of the headline act’s most famous songs. The cutoff in “True Faith” is so perfectly timed that the audience don’t seem to realise at first. “S*** happens,” shrugs Bernard Sumner, when he finally gets power to his mic back. “Never mind.” The music cuts again once more before the band are back on track, but it’s hard not to shake the feeling that momentum has been lost, as a large chunk of the crowd decamps to watch Blur.

Damon Albarn seems to be doing his best to bring some energy back into the arena. To the abrasive boinging of the opening riff on “Popscene”, he bounds around the stage pumping his fist with a dynamism belying his 55 years. Alex James smokes his signature cigarette. It’s a nostalgic set of no-nonsense and no filler that includes “There’s No Other Way”, “Girls and Boys”, “Coffee and TV”, “Song 2” and the soaring “This is a Low”. Blur are always resilient and dynamic live performers but you get the sense that some of their biggest hits are now tough for them to swallow. “You must have done something terrible in your former lives to deserve this song,” laughs Albarn, launching into “Country House”.

Primavera Porto is a marvellous festival when things go well, but there is one more thing that regrettably needs to be said. With its late-night headliners and limited shelter, this is an event optimised for sunshine. I am no irrigation expert, but I am far from the only one to notice that the rainfall streaming downhill from the tarmac to the grass of the main stage has mingled unappealingly with piss. By Friday, the main stage has marinated into a muddy bayou that wafts zephyrs of ammonia through the crowd. The toilets are finally closed on Sunday night, but a fishy odour hangs in the air throughout Blur’s set.

Primavera’s line-up remains peerless, but this execution was a little out of step for what is considered by many to be the highlight of the entire global festival season. It’s possible the team were spread too thin by their transition to three events and caught out by the surprise weather. Whatever the case, the only fish in this port should be served in a Caldeirada.