Field Day, now in its 11th year (I know, can you believe.gif?), packed-up its tents, bars, and drug dealers and moved from its home of 10 years - Victoria Park - to Brockwell Park in South London.

The financial clout of event-behemoth AEG (who run that other little festival called Coachella) meant the inaugural All Points East took over Victoria Park, with an exclusive deal to use the east London park. Now turfed out of their home for 10 years, the question is: how did Field Day fair in its new home? Would the weekend see a new lease of life for the festival, or would teething site problems prevail? The answer on the basis of our time there on Saturday is: a little of both.

Sadly, North London borderline-surrealist rapper Jimothy Lacoste was missed due to his midday start time. However, a fine start to the festival prevailed with the boundless energy of New York rapper Princess Nokia. As you’d expect from someone so overtly feminist and queer, this was a no-fucks-given kind of set - while also full of joy. In-between tracks such as 'Tomboy' (my what fun it is to hear a crowd sing “With my little titties and my phat belly” in unison), Princess Nokia would sometimes leave the stage for a bit to let the crowd enjoy some bangers. Sum41’s 'Fat Lip' was… unexpected, but quite frankly a hoot - adding to the memorable nature of her set. Also, who doesn’t want to hear Blink-182 sung a cappella?

Some of Dan Snaith’s “side project” Daphni we caught at The Barn, in a DJ-set format with some classic immersive visuals, very useful for those with flying saucer eyes. The Barn is where the first grumbles of Field Day surfaced; our first-hand experience wasn’t a good one for Daphni - overcrowding and congestion made for a stressful experience, with only one side of The Barn open to enter and exit.

This, however, was child's play in comparison to the problems experienced by many later as Four Tet headlined. You can see the complaints for yourself here, as Four Tet’s set was halted due to overcrowding, and Mr Tet thus playing for a reduced time. It seemed like an odd decision to have our Kieran Hebden headlining such a small stage, especially as he’s played at peak-time on the main stage at Field Day in the past. Some residents had been saying for a while that Field Day is too small a space to play host to so many people (residents and indeed festival goers scarred by Sunfall’s quite horrific fail at Brockwell Park last year), and perhaps their point may be valid.

For all this talk of overcrowding, this was not the case at Charlotte Gainsbourg with full-band in-toe on the main stage. The iconic French singer/actor worked with a setlist mostly from 2017’s album Rest; as she delivered bouncy, crisp electronics yet with a woozy edge to proceedings. During Gainsbourg’s set at her London show earlier this year she remained often in the dark, allowing the music and bold lighting to do the work; here Gainsbourg was in full view, bathing in glorious early evening sunshine and face broadcast on the big screens. Older tracks ‘Heaven Can Wait’, and ‘The Songs That We Sing’ added a bit of lighter pop to a thoroughly pleasant set, before ending on her late father’s track ‘Lemon Incest’.

Fever Ray closed the night in Crack’s tent and was undoubtedly the highlight of the day (and possibly year). Karin Dreijer did her wonderful shit while flanked by two dancers doing batshit moves, featuring tracks from both Fever Ray albums; and not for the first time today in Crack’s tent we get a set that is unashamedly queer af. The build-up of ‘To the Moon and Back’ genuinely made the hairs stand-up on end, before that line was unleashed on the drop - “I want to rub my fingers up your pussy”. What a rush and a very positive way to send off the festival. For us, at least.