Levitation France isn't a huge festival but, just like the third chair Goldilocks sat on, it's just about the right size. Held in the beautiful city of Angers (about 300 km west of Paris), it was conceived as a direct relative of the big Austin-based event from which it borrows its name. It makes perfect sense to hold it here, too - Angers is one of Austin's sister cities; they even organise a full Austin Week to go with it -- with conferences, exhibitions, concerts, and even a barbecue.

First of all, the organisation is pristine. Of course, it helps that people are - in their vast majority - friendly, respectful, and civilised (less garbage lying around, no pushing, etc), but the main thing you notice once you head to Théâtre Le Quai (the venue where the event took place) was the lack of queues. No huge lines at the food trucks or at the bars, and no waiting around to use the loos (Best Festival Toilet Award goes to Levitation France, hands down). This may seem like superficial commentary, but the fact is, when the cogs behind a festival are dodgy, it ends up getting in the way experiencing the music. After all, if you're hungry, or thirsty, or desperately in need of a toilet break, you can't really enjoy the bands you came to see, can you?

Ah yes, the music. The sets were also neatly organised, with one stage beginning when the other had finished so you could virtually see every band on the line-up - dinner/toilet/social breaks excluded. Sonically and grosso modo speaking, one noticed a huge post-punk revival; everybody seems to have re-discovered their Joy Division records. One must keep in mind that this new(ish) wave of psychedelia had its peak around 2012/13 anyway, with 2014 marking the beginning of its descent (I can almost pinpoint it to the first edition of Reverence Festival in September). So it's only natural that these festivals start to branch out to include electronica, post-punk, and other hybrid adventures that are just too interesting to be labelled.

My first day kicked off with Swiss band Klaus Johann Grobe - a band I'd been looking forward to seeing live since they released their debut album Im Sinne Der Zeit back in 2014. Their music is so incredibly classy and exciting at the same time that it made their show the perfect way to kick things off. I was still at the champagne-fuelled opening party at this point, mingling with other journalist friends, so I watched their whole enthralling performance from the balcony. This was a good omen for what laid ahead. After finishing the last champagne bottle we all moved downstairs - just as Golden Dawn Arkestra took to the main stage. I must confess, I didn't know a lot about them, but I was curious enough. Their strong stage presence mixed with the very theatrical performance kept giving me major Blasted Mechanism vibes and, just like the Portuguese band, they were lots of fun on stage.

By this point, I had moved to the other stage in order to secure front row for YAK. I had high hopes for this one and I wasn't in any way disappointed since they ended up being one of my absolute highlights of the festival. Oli Burslem is one of the best performers I've seen in a very long time, and seems very much at ease with being on stage. He is so engaging and talented that you can't take your eyes off him, and obviously both knows what he's doing and has a lot of respect for the métier. I saw him later on at Thee Oh Sees show, and I must say, I love it when bands are as excited about the music as I am. I know this may sound redundant but some of them seem to forget why they got into this in the first place.

Next in line was the first big name of day one: Silver Apples. Ok, so this is was the semi-disappointment of the festival for me. Don't get me wrong, I love Silver Apples, but maybe I was expecting something different. I just couldn't get into it, plus there was some kind of frequency that was so loud it kept making me feel weird in my stomach, so I just ended up listening to his set from outside. But maybe it was fate, as I ended up watching Sonic Boom early - the two shows overlapped for about twenty minutes - and he was great.

I then rushed to the food trucks so I could have something for dinner before Thee Oh Sees' gig, and let me tell you, I had the most lovely yassa at the African cuisine truck. And then off I went - all merry and not too stuffed, getting psyched about seeing John Dwyer and Co. closing their tour at Levitation. They gave it their all - heart soul and guts, all of it for us to savour.

I started day two with a show by a Dutch quartet I didn't know called Rats on Rafts, who delivered a very tight performance. I went straight from their show to interview La Femme, so I missed Yeti Lane and Marietta, but was back in the game by 8pm to see Sunflower Bean, another show I'd been anticipating for a very long time. The New York trio were super competent and well worth the hype.

I heard bits of The Underground Youth set while eating a marvellous burger and fries at the patio outside, but I was too hungry and I couldn't really process what I was hearing, so you get no comment from me about their show. The Black Angels' Alex Maas was my next stop, and although his set was very enjoyable, he suffered from a few technical problems that prevented it from being top-notch. From there, everybody migrated back to the main stage to see The Limiñanas, whose set was one of my favourites at the 2013 Liverpool Psych Fest. I still got to pay a little visit to the La Monte Young Tribute, but by then the crowd was already beginning to warm up for La Femme. I wished I was in the right the state of mind to stay there and do the full sit-in with the rest of the audience though, as everyone seemed to be having a good time, but by the time I arrived the whole thing had already begun and I was unable to fully dive into it. Plus, everybody around me was just getting wired about La Femme.

La Femme. We're talking about the most relevant band on the French scene right now, so their show was hugely anticipated in this sold-out second night of the festival. Well before the end of The Limiñanas you already saw people taking their place near the stage, so even though I was able to get to the front, it wasn't easy. They played a flawless show in every way, but for some reason there were people - or so I was told, since being right in the front I didn't notice anything - who left. If you were expecting to fall in love with them without having had a lot of contact with their music before, this was not the show for you. It was also a matter of actually getting into it or not, as theirs was not a shut-up-and-play-the-hits performance. This means no 'Sur La Planche' (they must have had enough of that song by now), no 'AntiTaxi', no 'Nous Étions Deux'. They did play the 15-minute long track that closes their new album Mystère however, in what seemed a somehow ironic commentary to the "psych" label of the festival. I was absolutely knackered by the time they'd finished, but still got to hear a bit of Dead Meadow.

Levitation France seems to function at the same steady heartbeat that a small town does, with everything working properly without ever going over the top. All-inclusive yet relevant enough to gather some of the finest names around, the fourth edition confirmed the event has definitely established Angers as a mandatory late-summer stop on the European festival circuit.