Slaves @ Exit Festival 2018, Novi Sad

Ever since the first lineup announcement, I was saying Slaves are the most important name at the festival. However, I was shocked by the lack of hype. It seemed like the both, the media and the crowd were competing in who will ignore them more. Fortunately, it didn't hurt the show in any way. The first time I heard Slaves was 'Control,' their collaboration with Chase & Status. However, the first time I really gave them a chance was late last year when I almost bought a ticket for a Kasabian show in Brussels, only to see them opening the show. Unfortunately, I couldn't go, so this show was a must.

As I said, the hype around Slaves was practically non-existent, but it didn't hurt the show. I've seen Fusion - the 10 000-cap and the third biggest stage at the festival more crowded, but this time, it was more important who was at the show. While some other bands had a bigger crowd, many of them were casual listeners or a mainstream crowd that goes to a pretty much anything. This time, it wasn't the case. The vast majority of the crowd was young, really young, hailing from the alternative and underground circuits. There were punks, hardcore kids, but also ravers, hypesters, and indie kids. As the Slaves respect no genre borders, their crowd doesn't give a fuck either.

From the very beginning, the band was delivering the insane amount of the energy from the stage, and it didn't take long for the crowd to respond. Maybe shy for a bit, they quickly started the first mosh pits and collective sing-alongs. The duo on the stage did seem a bit surprised at the start, but everything "clicked" in no time. I said it earlier, but the energy was incredible. Both, guitarist Laurie Vincent and the drummer and singer Isaac Holman were all over the place, with the later going down in the crowd on a few occasions. Delivering the crowd-favorites such as 'Cheer Up London,' 'Where's Your Car Debbie?,' 'Photo Opportunity,' throwing in the new single 'Cut And Run' and slightly less known tracks such as 'Fuck The Hi-Hat' they kept the crowd going for the whole show. The floor may not be the fullest I've seen, but it was evident the most fans knew exactly why they were there for. Finishing off with 'The Hunter' only underlined the impression.


Started in Brussels in 2017 by the two fans with the idea of exploring and connecting cultures they love. From boards and wheels to beats and screams to pens and cans. If you found it here, we love it.

  • facebook_circle-512
  • Email-Sig-Icon-Instagram
  • twitter-icon

© Wasted Attitude, 2020