LIDO Festival Review: A Fusion of Music, Message and Sustainability in Victoria Park

As the sun filtered through the trees in East London’s Victoria Park, a gentle breeze danced over the grass. People began to trickle into the park, a world of music awaiting them. This was LIDO–a festival carefully curated with a bold artistic vision, and a commitment to changing the way festivals impact the planet. 

Air by Daria Slikker

From the moments attendees entered the grounds, it was clear this wasn’t the standard setup. Gone were the lines of greasy meat stalls and branded plastic bottles. Instead, an array of all-vegan and vegetarian food vendors lined the paths. No single-use plastics were in sight as everything served came in recyclable containers, with well-marked bins stations throughout the park. LIDO felt soft around the edges. People lounged on the grass in small groups, the hum of anticipation lingering in the air. The vibe was gentle, and unhurried like a community picnic rather than a commercial blowout. It allowed for the kind of unfiltered presence that most large-scale music events unintentionally crowd out. 

As the evening approached, French duo Air took the stage, or rather, a stage within a stage. House in a sleek white cube that glowed with minimalistic elegance, the band emerged dressed entirely in white. The crowd, hypnotised, swayed to ‘Sexy Boy’ as if lulled by the pulse of a dream. What was remarkable was how seamlessly the aesthetic complemented the sound. The white cube amplified Air’s retro-futuristic electronica, turning it into a visual meditation. The minimal staging didn’t distract, it magnified the subtlety and texture of each synth ripple and bass groove. For long-time fans and newcomers alike, it was a transportive experience. 

Massive Attack by Daria Slikker

When the night fully fell, Massive Attack took the helm and transformed LIDO into something else entirely. The mood shifted. Gone were the soft hues and ambient moods of earlier; in their place came sharp contrasts, black and white strobe lighting, and piercing messages layered over haunting visuals. The set began not with music, but with words: Nigerian-born, British-based poet Inua Ellams delivered a powerful political monologue, followed by Khalid Abdalla, known for his role as Dodi Fayed in The Crown, who passionately contextualised the Palestine Solidarity movement as ‘the civil rights movement of our time.’ From the very first notes, it was clear that Massive Attack weren’t here just to entertain. With footage in the background of war-torn landscapes, exploited mining operations in the Democratic Republic of the Congo, and a staircase leading down a lake in Switzerland, they forced the audience to reckon with the deep intersections of politics, technology, and art. One screen boldly declared: ‘The minerals are what the virtual world is made of.’

As ‘Teardrop’ began, the park seemed to hold its collective breath. Elizabeth Fraser of Cocteau Twins fame, emerged like an apparition, her voice as crystalline and entrancing as ever. The applause was instantaneous and she remained onstage for ‘Black Milk’ and ‘Song to the Siren’, cementing a rare moment for all in attendance. Throughout their set, Massive Attack’s trademark pairing of unsettling visuals and intricate sound reached a new zenith. Messages flashed: “Suspicion is another form of control”, “Cambridge Analytica told you who to vote for,” and “All the world became a stage.” 

Elizabeth Fraser by Daria Slikker

What made LIDO remarkable was not just its lineup but the ambition behind every element. From the eco-conscious infrastructure of the 1MW battery from Grid Faeries x Ecotricity to the thematic coherence of its programming, LIDO felt like a glimpse into what the future of festivals could be. Sound was impeccable too, thanks to the cutting-edge ML3A system from Martin Audio, mixed by veteran engineer Robb Allan, giving both acts room to breathe while keeping their sets immersive and visceral. LIDO was the first fully battery-powered festival and marks how art does not just entertain, but enlightens and provokes. 

Massive Attack’s Robert Del Naja had spoken ahead of the festival about combining art and science to overcome modern challenges. “Clean productions beginning this journey to normalisation is good news for everyone,” he said–and LIDO proved him right. This wasn’t just an experimental gimmick; it felt like a prototype for a better kind of festival: less destructive, more conscious, and no less spectacular. 

It’s rare to see a music festival both sonically satisfied and intellectually rattled. Most festivals seek to escape the world; Lido dared to look it in the eye. Air gave us beauty, Massive Attack gave us truth, and the organisers gave us a blueprint. By the end of the night, as crowds filtered slowly out the park, the atmosphere was one of quiet awe. Lido didn’t shout; it resonated. And in a crowded field of over-commercialised festivals, that resonance made all the difference. 

Find tickets for Charli XCX, Jamie XCX, and London Grammar at LIDO here.