When I respond with my belief that half of London's electronic fans are currently milling around the festival, they respond “I thought it was mostly Belgians and French people, maybe some from the borders of The Netherlands and Germany.” It's hard to wrap my head around how locals might not be aware of the international profile of Horst, though some of that could be that Brussels considers its scene to still be on the smaller-end compared to its neighbours. It strikes me as odd, that upon my approach to Horst a local attendee asks me “Is Horst popular in the UK?!”. Read this next: Guide to Brussels: 6 DJs reveal their favourite spots in the city Now celebrating its 9th edition, Horst has expanded: Set across six stages and welcoming over 10,000 attendees per day, with a lusted-after roster of some of the most in-demand acts in underground music it’s no surprise people have made their way from all over the world to experience it for themselves. 2023 sees the addition of a number of permanent art projects as part of its theme ' Where the Wild Things Are' - a celebration of rough-edged, urban spaces - including an ambient stage designed by Turner Prize-winning contemporary artist Mark Leckey, which will remain a permanent fixture on the site. The festival has taken place within Asiat Park, a former military site and industrial hub on the outskirts of Brussels, since 2019 and works with a number of local organisations to help develop the dilapidated site into a cultural location. The unifying factor of all its editions seems to be an excellently curated line-up and, at least in the last few years, the looming presence of the luminescent cooling towers it sits beneath. As a result, Horst and its overall vibe changes dramatically every year due to the shifting aesthetic of its stages - varying from industrial caverns, flamboyant festival tents to open-air serenity. Since its debut in 2014, Horst has worked to combine art, architecture and music - allowing all three forms to co-exist naturally, without one ever seeming to take focus from another. Indeed, the Horst experience is one of peeling back its multitude of layers - discovering what it is that lies beneath the perfectly-crafted setting, the raucous crowds and sharp-edged aesthetic. Admittedly, I’m not sure I really understand what Horst is really, really about until the festival’s closing moments - as a spattering of rain-soaked attendees begin embracing each other beneath the red-tinged light provided by the giant disc of the La Soleil Rouge stage, bleary eyed but peaking with curiosity and sentiment as they take in some blissful low-end chug from local hero and Basic Moves honcho Walrus. Stunning post-industrial locations, a plethora of vibe-heavy dancefloor vids and consistent chatter of once-in-a-lifetime sets strewn across social media have all become the lens through which those who haven’t had the chance to go, will view Brussels' new underground behemoth. No, they seem to have realised that Horst isn't a place for the regimented Horst is a haven for those who like to go with the flow.ĭespite having a secure place on many underground electronic music fans' festival bucket lists, Horst remains somewhat of an enigma to the uninitiated. This chatter is a constant fixture across Horst’s three days, at least among first timers - who excitedly compare notes such as: “God, these people can dance”, “did you know there was a secret stage?!” and “wait, where’s the big warehouse that was here last year?” Those returning, however, have a serene expression as they cut around the festival - unbothered by toilet queues or manoeuvring the cashless system to get a drink. “Did you not expect this?” replies a friend, emerging from the bushes on the side of the path. “I honestly thought it was going to be in a bunker somewhere,” a rain mac-clad festival-goer declares as they slowly make their way out of the industrial site on the outskirts of Vilvoorde, Belgium - the setting of underground arts and music festival, Horst.
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