When first entering the gates of Buena Vista Lake on Wednesday evening, you are greeted with abounding visual bliss. Lightning In A Bottle (LIB) 2024 had nearly 48 hours before its two biggest stages even hosted an act, but the geographic landscape was as vibrant as ever. Production company Do LaB, which founded LIB in 2004, knows the value of letting participants settle into the unique culture before the weekend’s intensity sets in. For festival goers that opt into the five-day experience, Wednesday and Thursday offer the opportunity to explore the space, get to know their neighbors, and catch some unforgettable sets.

Vivid atmospheric lighting across the trees and marshland by the lake gave the space an enchanted energy. Live artists throughout the grounds began sketches that evolved into sprawling visual pieces that reflected the sights and sounds of their decadent surroundings. Roaming DJ floats shaped like bananas, owls, shoes and dragons made their way across the expanse, attracting unsuspecting festival goers as they wandered between more than 12 performance spaces. The immersive art installations filling every crevice were consistent reminders of the care and attention to detail that was put into this incredible undertaking.

Thursday night’s condensed lineup of music brought diva-certified house bangers from Honey Dijon at the Woogie stage, elephant-stomping dubstep and trap from Mimosa at The Stacks stage, and the electro trumpet and live vocals duo of Siren & Seer on the Grand Artique stage, among many others. Grand Artique, a western-steampunk themed commune village of sorts is an indelible piece of what makes LIB unique. Vendors at the general store offer barter and trades for collectible trinkets, oddities, and legitimate goods. Pickles are treated as a delicacy, and a refurbished dining train car is ready for afternoon tea as you take in a performance. None of these items, down to the fine china, is nailed down. Because attendees of LIB have an unending respect for the culture that is being fostered here, that even certified A-list acts can attest to.

Case in point: Skrillex chose to forgo the usual expedited travel accommodations and camped at the festival for the weekend. Playing a rousing surprise set at 3am at the Stacks on Saturday, and a genre bending blowout of a headline set on the Lightning stage on Sunday, Skrillex focused on the music during his sets. Afterwards, he took the time to extol how grateful he was to be a part of this festival. He noticed how clean the grounds were. Unlike many festivals, which espouse sustainability but look like a dump by the end of each day, attendees actually pick up after themselves at LIB. This is a festival where attendees would rather dance with more space than crowd at the rail. A festival where there were very few phones in the air during sets, despite having full service. A festival where the porta-potties were regularly serviced and kept reasonably clean. A festival where big time acts are excited to play small stages and lesser-known acts confound crowd expectations on the main stages.

No matter the stage, the sound quality was magnificent throughout every set I experienced. This is no easy feat when you host more than 70 music acts over five days. If there was any downside to the auditory direction of LIB, it was the sound bleed between the stages. Unless you were closer than the sound booth at each stage, you would inevitably come into earshot of another stage's low end. As fun as they were, this effect was exacerbated by the roaming DJ floats as well.

Favorite sets from my five days included a boisterous and revelrous set from the legend himself Fatboy Slim at Woogie stage. With more than 30 years of headlining shows in his rearview, he is still able to make you feel like you were witnessing his very first one. Fatboy Slim was the Woogie stage incarnate. Making its debut at this year's Coachella as the Do LaB Stage, this incarnation of the famed Woogie stage was a colorful fabric-laden mushroom, adorned with light fixtures that people seemed to adore. Other highlights included the dubstep stylings of Skream, Of The Trees, and the mighty Tipper, playing one of his final shows ever on the Thunder stage. With earth-shattering veracity, these bass-heavy offerings featured nearly immaculate attention to the low end. Devoted bass heads were quite literally shaking in their boots with glee. Intertwined in many of these acts were spectacular performances, from aerialists on chains, fire twirlers, and professional dancers from the Skyhigh Odditorium. Giving the crowd that extra bit of sensation during a world-class DJ set was an absolute chef’s kiss.

Undercard acts were ready to impress as well. Paw Paw Rod’s brand of soulful hip hop, Jyoty’s bombastic eclectic expressions, and Glass Beams meandering Middle Eastern surf rock left festival goers sonically quenched.

It's not LIB without its share of surprises, planned or not. Do LaB has been known to bring the big names without warning, to the delight of fans (as shown at this year’s Coachella with Billie Eilish’s surprise set). This year at LIB, the biggest surprise was spelt “Sürprise” as the Rüfus Du Sol took over the relatively small lakeside Junkyard stage at sunset. People relaxing on floaties in the lake as well as an absolutely packed dance floor were treated to one of the most unique DJ sets from the Australian duo you could dream of.

Elsewhere on Sunday, M.I.A. brought a raucous set to the Lightning stage. Running through hit after hit, she paused to remind people to protect themselves from 5G towers and noted her protective yet stylish headgear. She later managed to make her way into the crowd, only to stumble while attempting to get back onstage. The congenial crowd had her back throughout the set as she maneuvered her way through a powerful performance despite the spill.

When a production company like The Do LaB puts their all into a festival, it shows. When art and wellness are prioritized, the best artists will flock, and collective consciousness will prevail. There are few experiences that invite you to explore the best version of yourself, make you feel safe and venture to encapsulate every possible artistic discipline in a single event. Most boutique music festivals market themselves with this in mind and routinely fall short of their vision. I am blown away by what the Do LaB has cultivated at their flagship festival. Lightning In A Bottle delivers.

Review by: Jay Bartell

Like what you read? Follow our social media and playlist for the latest in independent music:

Lightning In A Bottle 2024 Delivers a Boisterous & Beautiful Boutique Experience