Festival review: Primavera Sound 2011, Barcelona

It's a curiouser experience being able to play the same game in the last week of May in the capital of Catalonia, the cultural explosion that is Barcelona - but proving equally as easy.

The reason is the Primavera Sound Festival 2011 which takes place every May and now, in its 11th year Primavera (spring in Spanish) has grown (sprung perhaps?) from a small eclectic gathering to a major player on the world music circuit. Despite heavy sponsorship and tie-ins it maintains the feel of an independent and un-corporate affair, mainly due to the leftfield music policy which puts great effort into showcasing bands that possibly have no massive record sales to boast but have a cultural and pioneering significance or are emerging in the digital age of new music media.

The festival heavyweights are still there; this year in the form of Pulp and The Flaming Lips but there's no compromise with popularity over quality which maintains Primavera's position as the European festival of choice for those with a more discerning ear.

All of which brings us back to our game of Glasgow indie bingo: "Ooh, there's Lee from Camera Obscura. There's Sci-fi Steven from Bis".

There has always been a large Scottish musical influence at Primavera with Teenage Fanclub, The Vaselines, Sons & Daughters, Arab Strap and The Delgados, being just a few of those who have graced the stage at previous festivals and this year's edition is no different with Belle and Sebastian, Mogwai and BMX Bandits performing high up amongst the 220 other acts.

My indie bingo sightings of the afternoon, however, aren't actually playing at this year's festival (although both their bands have previously done so) instead they're part of a swelling group of loyal fans from Scotland and particularly Glasgow who make the journey every year to Barcelona to attend Primavera but who also take a few days either side to enjoy the city.

It's an addictive trip, which may explain the high percentage of Scots at each festival; encouraged by the presence of the Glasgow indie popsters, those who've been once immediately decide they're doing it again next year and the word spreads.

During Caribou's set I get chatting to a group of folks in their early 20s from London and ask them what persuaded them to come to Primavera: "A friend in Glasgow recommended it," says Chris. His friend Amelie is bursting with excitement at the thought of seeing Belle and Sebastian. So although the music was clearly the first enticement for those early pioneers, other factors keep the interest going.

Something about Primavera is reason enough to ignore the many festivals on our doorstep. Something makes us willing to spend a month's wages in a week and endure day-long journeys, usually involving a Ryanair flight to an airport which under the Trade Descriptions Act should surely not be called Barcelona, totally worth doing.

Having played at the 2002 festival Bis reformed last year just to play the 2010 'edition', sharing the centre stage with Pavement and The Pixies. This year Sci Fi Steven has returned with his wife purely as attendees. Such was the enjoyment of last year's gig that his brother and co-band member, John Disco, declared that Bis should only play Spanish festivals. It was at first a joke, but resonates with the truth that Europe can do certain things (often culturally inclined) with an effortless sophistication and style that is harder to find at home.

This is a festival all about the music with no gimmicks and no flags (apart from a few politically inspired messages this year referring to the current Spanish election demonstrations). A tiny police presence and an absence of security heavies add to a relaxed atmosphere, where people are trusted to behave themselves. The abiding rule is the characteristically European approach of 'do what you'll do but don't ruin it for others'. It's the whole package which appeals, as a visit to Primavera is also a visit to Barcelona and a Spanish way of doing things and indeed in penning this article I realise I'm writing a city break travel-guide as much as covering a festival such is the symbiotic relationship between the two.

The main part of the festival takes place over three days at the city's Parc Del Forum location, a mass of concrete and terracing on the east of the city which overlooks the Mediterranean, about an hour's stroll along the beach front or a 10 minute journey on the superbly efficient Metro system.

Flanking these days are the opening and closing parties at the preserved village of Poble Espanya on Montjuic, the spectacular previous site for Primavera, before it outgrew the capacity. There is also a stream of free city gigs including shows in parks and subway stations and Minimusica, an interactive live music event for families.

The main event at the Forum sees bands starting at 5pm with the final acts on at 5am, which coincides with the Metro system opening for the day. At first it seems astonishing but one quickly adjusts to this nocturnal pattern which still allows plenty of time to indulge in the treats of the city. As there is no campsite, the favoured option is to stay in apartments and therefore, the festival-goer is immersed in the Barcelona lifestyle – which is no bad thing; great coffee, fine foods, a visit to see some Gaudi or a trip to the beach – all of this before the raison d'tre of the trip. Add in one other key factor – pretty much guaranteed good weather - and you can see the appeal to us from over this way.

The atmosphere is clearly infectious for the bands too. As Grinderman reach the climax of their colossal main-stage set Nick Cave implores us – nay, orders us – to get over and see Suicide at another stage as "that's the reason any of us are here". He suggests this as an alternative to listening to Grinderman's last song.

When Jarvis Cocker acknowledges the plight of the 99 injured protestors from the peaceful demonstration in Placa De Catalunya the same evening as Pulp perform live for the first time in nearly 10 years, he dedicates Common People to them and the crowd erupts. It's not an empty gesture but one which is built on the genuineness of the shared passions of all the people at this festival - both performers and audience.

Wayne Coyne, the exuberant front man of The Flaming Lips declares, "This is one of the greatest festivals we've ever had. It was great for us just to be in the audience".

And sure enough, due to the dedicated programming policy, and the overall ambience of Primavera you believe him – this festival gives bands the chance to see the bands they look up to, were inspired by or admire now. Faith in the organisers also offers attendees the chance to stumble across new and exciting bands and artists which reminds me of how the Edinburgh Fringe once was before prices rocketed and high-profile comedy acts began to dominate. It's a very engaging process unearthing a gem and Primavera has plenty.

On the last day of our trip my companions and I make a visit to a restaurant on the edge of the Barri Gotic (the centre of the old city) to take advantage of the Menu del Dia, a lunchtime offering which usually includes three courses and a drink for one price.

It's a scrumptious meal serving up a delectably tender tuna steak as the main course. The waitress, recognising our accents asks if we're from Scotland and it turns out from between 2005 to 2007 she lived in Glasgow and worked amongst other places at King Tuts.

She asks if we are in Barcelona for Primavera and we tell her we've been coming for the last four years. She attended for the first time this year. Does she miss Glasgow we ask? "Mostly the music" she replies.

Hopefully the weather, the food, the beach and the annual occurrence of Primavera Sound go some way as compensation.