It’s been a long winter. The days have been cold, the nights dark. But as Spring is welcomed in, with it comes the whiff of freedom. And more importantly, at least for the hedonism that comes to me as the winds attack my window, festival season approaches.

Whilst it’s a few months before things start happening in the UK, our European friends have the pleasure of better weather during these transitional times, and thus I had to look further afield to scratch my party itch. More specifically, the Portuguese capital. I’ve never been to Lisbon, but it’s a city that is often highly recommended. So, when the opportunity to travel there to take in the culture and the music, I was glad to accept.

The festival in question is Sónar Lisboa. Sónar first began in Barcelona in 1994, with the ethos of shining a light on the best electronic music from the local scene and the wider European hemisphere. It’s grown into one of Spain’s most revered musical events, and so the Sónar team decided to expand their reach, and open a second festival in Lisbon, which I’ll be attending the third edition of.

With a mouthwatering line up that boasts some of Britain’s premium electronic acts, such as Nia Archives, Eliza Rose and Shygirl, local risers like ZenGxrl, and European legends like Paul Kalkbrenner, I pack my sunglasses and before you know it, I’m watching Luton airport shrink into the distance.

Day 1
Following a somewhat uncomfortable flight squished between two large gentlemen – one of whom keeps licking their lips in quite an intrusive manner – I land in my temporary home and bask in the pleasant early evening warmth. I’m met by a Sónar official and he books me a car to the hotel, during which time I take in some of the city’s dazzling architecture.

Arriving at the hotel, I drop off my bags and attempt to tidy my unkempt hair, before heading towards my first pit stop of the trip – a welcoming ceremony for press. Situated inside a gorgeous botanical garden full of cascading plants, floral arrangements and art installations, I take in the decadent atmosphere, grab a drink and chat with Paulo Amaral, from the board of directors at Sónar Lisboa.

“Basically everything that is electronic music in Portugal, we are related to,” Amaral explains to me. “We were invited by Sónar festival to come to Lisbon three years ago, and we were part of the birth of it here. It’s very different from the other events that we do, it’s very different sounds and styles, it’s not always tech or house, and we do a lot of other things with art and installations. Sónar in Barcelona has had a 30 year journey growing up to the gigantic festival that it is now and we hope to do that as well [in Lisbon]. It will take some time but we are hoping to grow. We are not in a hurry, for now it’s a nice, small boutique festival that we hope that the people that come have a really nice time and enjoy the city.”

I query who Amaral is the most excited to see across the stacked line-up. “I’m very curious to see Sevdaliza,” he says. “Because I wasn’t a very big fan. Then when we booked her I started to listen more to her work and really liked it. But I like to see an artist live – for me it’s take or break. Because everyone sounds good on Spotify, but when I see them live, that’s when it makes me love an artist.”

Considering that Amaral has the enjoyment and welfare of nearly 20,000 people on his shoulders over the next few days, he seems remarkably relaxed. “This year is our third year,” he shrugs, smiling. “Last year I was tuning, this year I think I’ve got everything under control. I will try to enjoy some of it, and there’s a lot of things I want to see. The stages are close so I hope I can enjoy most of it.”

We shake hands and I mosey off to spread my social wings. I meet some of my press contemporaries, and within an hour we are carted off towards the main wing of the festival. The setting for Sónar Lisboa is a far cry from the muddy fields in middle England that I’ve become accustomed to. Atop a steep hill (as much of Lisbon is, as anyone who has been will confirm) sits Parque Eduardo VII, a grandiose, post-colonialist palace, surrounded by gorgeous greenery. Idyllic from its outer core, it’s an idiosyncratic but refreshing location for the festivities to come.

Remembering that I haven’t eaten since breakfast, I grab a delightful veggie burger from a food truck inside the festival. Suitably nourished and all out of ideas for light chit-chatting, it’s about time to feed a different hunger – I’m starving for some tunes!

I, like my new acquaintance Amaral, am also intrigued by Sevdaliza. The Iranian-Dutch multifacet’s name has been unavoidable of late, so I thought it best to find out what the fuss was about firsthand. Donning a sleek cream-tinged dress, she’s a sensual presence, a performer to its fullest accentuation, as she serenades a beguiled crowd with her swooning vocals, otherworldly presence and provocative choreography.

Next up is a b2b treat from Hamburg’s rising techno trailblazer Helena Hauff alongside regular collaborator Imogen. The duo of DJs provide scintillating sonics with boundary-pushing rife, with a compelling chemistry between the pair.

After a while, the punching rhythms take their toll, and the fatigue of travelling settles in. I return to my quarters to rest my tired eyes.

Day 2
Crawling out of bed just in time to enjoy a wonderful continental breakfast spread courtesy of the hotel, I’ve got a free day ahead. Time to get touristing! After a quick stop at the festival premise for a day time conference from Ableton, I frolic through the Lisbon streets towards Calouste Gulbenkian Museum. Home to the collection brought together by the museum’s Armenian namesake over the course of his lifetime (1869-1955), it’s one of most quintessential private art collections in the world, spanning from ancient dynasties to the renaissance-era Western society, geographically vast and contextually significant.

I peruse through time periods, absorbed, from the Greek coins to the porcelains of mediaeval China, and onto a cascading journey through European art that spans from the 12th to the 18th century. I always find museums a slightly surreal experience, and this time is no different. It can be so hard to comprehend life beyond what you witness, but such escapades as this help illustrate how gorgeously small I am in the grand scheme of things.

Finding my way out into the sunny late afternoon, I saunter back towards the festival grounds, guided by the booming oomf of the sonics. I float towards the main stage for one of my most anticipated acts of the weekend – Oneohtrix Point Never.

The musician and producer is known for his avant-garde and unique compositions, and in front of a spellbound crowd flicks between emotionally potent cadences to glitchy rhythmic intonations, from serene melodies to just-plain-weird sounds. It’s an audiovisual spectacle: backed by striking images projected behind the producer that are trip-laden and eclectic, the set is a visceral, cinematic and uncompromising experience, and one of the best DJ performances I’ve ever seen.

During this set I’m so incessantly bewitched that I’m not aware of my surroundings. That is, until it’s pointed out to me that I’m standing about two feet away from Björk. Yes, you read that right, Björk. Let’s say it one more time, shall we? Björk. Mum – I’ve made it!

After being blown away by the past hour, I need a quiet sit down. I stroll back to the hotel for a quick pit stop, which gives me the opportunity to prepare for my next task, a chat with Berlin icon, DJ Paul Kalkbremmer, who will be playing later on in the evening. I’m escorted to a backroom area separated by black drapes, and find Paul Kalkbrenner lounging on a leather chair. He greets me with a boyish smile and we open with a discussion on Sónar.

Kalkbremmer has a long attachment to the festival, having known the organisers for over 20 years and played at the festival throughout that period of time. “It fits in well with the calendar and there’s not much else for me to play in Portugal,” he says, describing the – for him at least – relatively small event as a perfect warm up for a busy schedule ahead this summer, an opportunity to get “fluent” with new tracks that he’s been working on throughout the winter. I ask if he’s excited to see anyone on the line up, but he shrugs and says he doesn’t know anyone else playing today. “As a DJ you should be very involved, up to date with new artists. But I have the privilege of not having to do that, of living within myself.”

The legendary DJ has been active on the club scene for 25 years, and now finds himself primarily booked for the biggest events in the world. His career has evolved from playing in dingy small-cap venues in his youthful days. “I don’t think there’s so much connection between the big things that I do and the smaller events and clubs, which is weird. The clubs are where the young people go to, the vast majority of the audience are under 25. I guess most of the new Berlin underground clubs, I don’t know.”

I question whether he suffers with tour fatigue, a seemingly chronic condition for overworked DJs across the globe. He laughs, answering, “I have anti-tour fatigue. On the scale that I play I can’t do smaller shows in the winter because of exclusivity. So compared to the summer, my winter looks quite empty in terms of shows, so I actually seek the summer and as many shows as possible. I mean, it’s different now. I remember how it was flying eco every weekend, with the travelling taking entire days.”

Things are easy for Kalkbremmer now, and he revels in his success. “I’m actually way more enthusiastic about it right now than when I was younger. It’s much harder when you are not discovered as an artist and you have to prove yourself. Since that’s changed, there’s actually way more space.”

Eager not to take up too much more of the man’s time with his set quickly approaching, I excuse myself and slip back out into the festival atmosphere.

The rest of the evening consists of a cacophony of diverse and daring music. Tommy Cash, with his signature double ponytail, impresses with a blistering performance that melds storming, bass-heavy beats full of abrasive accentuation with spitting rap flow full of bite and guile. Kalkbremmer is next, delivering a trance-heavy, hazy set with plenty of climatic and euphoric moments throughout. Although I did find him to be somewhat smug as a human, there’s no denying that he knows how to get the party started.

Later on the night was the artist that I was undoubtedly the most excited for. Nia Archives is a personal favourite of mine, and an artist whose journey I’ve supported since the very beginning, long before my Wonderland tenure. I’ve seen her live a handful of times before, but not since the beginning of the run-in to the release of her forthcoming debut album, so there were plenty of new tracks to hear in person. As usual, Nia brings effervescent energy, with playful DJing and anthemic balladry shining through during the triumphant set.

After a long day of discovery and the odd burst of social anxiety, I opt to slip out into the peaceful night, wandering back towards the hotel to gather my thoughts and give my legs a well earned rest.

Day 3
Sunday arrives and with it a missed opportunity – I’ve slept through breakfast. I decide to venture out into the city for some lunch, and after walking past plenty of lovely looking establishments, my subconscious guides me to a desolate sports bar. The room is dark, the furniture decrepit. I’m the only person there. An MTV countdown is on one TV, blasting noughties hits far too loud. On the other TV, a rerun of yesterday’s football match between Switzerland and Denmark plays (it finished 0-0). Still, I enjoy myself, chat with the solo bartender who appears desperate for social stimulation, drink a few lagers and accidentally spend most of my afternoon there.

I realise the time with a jolt, drown the rest of my pint and head out, squinting from the light having been holed up in the boozy bunker. I stumble towards the festival once again.

I find myself moving in tandem with thousands of other onlookers to Branko, a Portuguese sonic wizard who brings crowd-pleasing productions that borrow from Afro sounds and R&B tinged-influences. Next, I’m at the Carhartt Wip stage for XEXA, a multidisciplinary artist whose ambient tonal approach is inspired by Afrofuturism and her São Toméan ancestry. A continuous, subtle and challenging set, the local gem was one of my best new finds so far.

Grove ensues, a Bristolian producer, musician and singer who has been on my radar for a while. An emphatic amalgamation of influences, the queer creative constructs punk next to dancehall, flirts with jungle and lingers in DnB (at one point a saxophone pops up out of the blue, wild). A generic minefield with personal and political lyricism aplenty, Grove is an enthralling listen and watch.

I catch a short amount of Brazilian producer Vhoor’s vibey baile-funk-meets-UK-garage before dancing away to Mancunian beatsmith Florentino and his Latin-tinged club bangers. Next up is the blessing of a DJ set from the legendary Bonobo (as heavy as you can imagine), before ShyGirl joins the party, presenting “Club Shy”.

Now, considering how interesting she is as an artist, I was hotly anticipating this new project. I have to say, I was slightly disappointed. Playing mainly light techno and house, the sounds were often conventional, with hazy sampling and boisterous bass. Enjoyable if not mind blowing.

The closing act of the festival, Eliza Rose, has risen to global acclaim over a short period of time. Deservedly a climatic moment of the weekend, her combination of electronic styles as far reaching as broken beat to bassline, house to jungle, is a glorious listen. I’m engrossed throughout her two hour set.

By this point, the night’s winding down so I head back to the hotel. The following day sees me wandering around Lisbon waiting for my evening flight, and then I’m back in the air, heading for London Gatwick.

My reflections of Sónar Lisboa are wholly positive. Musically, it was diverse and generally forward-thinking, the location was good fun, the festival goers were friendly and respectful, and Lisbon is a gorgeous city. What a weekend! Roll on the next one, roll on summer!

Tickets for Sónar Barcelona here.