Review: C2C 2024

It can be driven by a deeper awareness—one that, if recognized and channelled thoughtfully, can become a powerful force. When balanced with practical needs, this instinct to preserve can be harnessed creatively, rather than turning into mere nostalgia or a lament against the new. It’s about embracing change while ensuring that what makes something special isn’t lost in the rush to open up.

DARKSIDE, the experimental duo of electronic savant Nicolás Jaar and multi-instrumentalist Dave Harrington, has been quietly but steadily returning to stages across Europe, reigniting their cult status after years of hiatus, finally arriving at C2C 2024.

Their set must have felt like a homecoming for Jaar, who shares a deep bond with Turin. The city once hosted him as a resident, and he famously left behind a chunk of his personal vinyl collection at ISOLA bar as a parting gift. Just this past September, he returned to present his book Isole at Magazzino sul Po, engaging in an intimate dialogue with the Almare collective.

DARKSIDE’s alchemy of synths, guitars, and pulsating beats was perfect match for C2C’s ethos, which has long been a fusion of live performances and DJ sets, an ever-evolving conversation between the electronic and the acoustic.
Their set was an immersive dive into the freeform spirit of their Spiral album, with an almost improvised flow where Jaar’s vocals took centre stage at times. The Blade Runner-like visuals were striking—Jaar in a dark, flowing coat, bathed in deep red neon light. This aesthetic perfectly matched the industrial vibe of Lingotto, an ex-car manufacturing plant that added a gritty, futuristic backdrop to the performance. Their new live drummer brought an organic pulse that replaced their usual machine-like beats, creating a hypnotic interplay between raw, human spontaneity and dystopian, cinematic atmosphere.

After Darkside, the pull of the Hessle Audio trio—Ben UFO, Pangaea, and Pearson Sound—was hard to resist. Shifting from the main stage to Stone Island meant weaving through a vast hall filled with slender concrete pillars, lit by the scattered reflections of some disco balls.

The circular setup, with its Function One speakers forming a kind of sonic altar, created an experience that felt closer to a real club night than a festival. The DJs, half-hidden behind the booth, eschewed the cult of personality in favour of letting the music speak for itself—reminding everyone of the true spirit of DJing.

With the low lighting, the dense, packed crowd, and those powerful cones of sound, it was pure, unfiltered clubbing energy. The back-to-back set was playful and unpredictable, moving seamlessly between syncopated, percussive-heavy rhythms with more than a hint of a South American and African swing, to tighter, four-on-the-floor beats, peppered with nods to UK garage. The crowd was fully in it, feeding off the energy from the decks. It was one of those sets that just kept you moving—fun, dynamic, and expertly crafted.

On the following night, Romy from The xx took the main stage, delivering a motivational, upbeat set that had the crowd dancing and jumping with visible enthusiasm. Meanwhile, over at the Stone Island stage, John T. Gast was performing his own atmospheric, experimental set. The two acts unfolded almost simultaneously, creating a choice between high-energy pop euphoria and introspective, sonic exploration.

As Romy wrapped up, anticipation built for Bicep’s new CHROMA show. This ambitious project marks a new chapter for the duo, featuring a series of singles and a fresh audiovisual experience.

Positioned centrally between the speakers, I experienced impeccable sound quality. Bicep delivered an energetic set, both members appearing deeply focused within their minimalist setup. They seamlessly blended well-known tracks with new material, offering a balanced mix that satisfied both longtime fans and newcomers. The accompanying laser and light show was nothing short of spectacular, enveloping the venue in a rave-like atmosphere that elevated the entire experience.