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The British Summer Time festival at Hyde Park is a unique way to experience open air music. The festival runs for just three weeks featuring a variety of headliners across the weekends and open house mid-week.
The festival takes over the majority of Hyde Park, with the perimeter fenced off with named entrance gates dotted at certain points, top tip make sure you head to the right one as per your ticket as it’s a lot of walking to the other side if you don’t! Also check what you’re allowed to take in they have strict rules and you will be bag checked.
Getting to the festival – with just under 70,000 festival goers attending each event and often many others sat around the walls, listening to the bands, it’s no surprise that the surrounding areas are beyond busy with people and several roads around the festival are shut to help traffic and keep the pedestrians safe. Travelling via tube is the best option with Marble Arch and Hyde Park corner being located closest. Due to severe train delays – every single train into London for us was cancelled – we had to drive and although we luckily secured parking nearby, I would personally never ever do that again. The heavy Friday London traffic was exacerbated further due to gigs at Wembley and Wimbledon and multiple other events also occurring, this meant the journey took twice as long as normal. Worse was upon exit they wouldn’t let us into our car park until crowds had dispersed – not ideal if you need to get away after the concert sharply.
The venue itself is amazing, with excellent crowd control and as someone that can get anxious about a lot of people in the small space this didn’t ever feel full. There are a lot of people but it’s a massive space, with multiple stages and musicians spread across time slots to experience, all of which we could watch easily without feeling crowded.
On top of the various acts playing across the three stages, there is so much to see and do. Multiple bar areas often themed by the sponsoring drinks, to supermarkets, to make up and of course the main sponsor American Express had its own areas with a lot of people obtaining the branded Stanley cups. I always smile at the fairground rides as personally attempting spinning after some food and a couple of Aperols didn’t seem the best plan – I’m clearly in the minority as I didn’t see it empty once!
The food options are vast; we arrived starving and I was positively overwhelmed with the choice and could have eaten all of the options. I settled on a donner kebab which was delicious and a new experience as had not previously eaten one at the start of a night out before.
The toilet situation. Multiple toilet dedicated areas. These are nice Portaloos, I found them to always be clean and without much queuing. They even had the red and green light system s you knew which one was empty. They had mirrors and working big sinks. They have separate urinal areas too which helped with crowds.
The Seating options. In a word limited – although I did note more available than in previous years, with a few pub benches scattered around. As no pop-up seating is allowed, I always take a jacket even in the sunshine, so I have something to sit on. Picnic rugs are allowed at certain points.
The noise, I found the bands to be at the right level of sound for me personally but was impressed to see multiple stalls with headphones for those that may be struggling and for the children as I did see quite a few families enjoying the event. They must shut the venue around 10.30pm so not to noise pollute the local area.
The Music. If you can get there early enough to enjoy artists across all of the stages, it’s well worth the steps.
OneRepublic took to the main stage, for one hour at 6.40pm. The timings are accurate and given on the BST app which is a must download ahead of the event. As huge one republic fans (my husband is proud to add that he is in the 1% of listeners to their music on Spotify for about the third year running). We have been lucky enough to see them twice before. We love their music. We love Ryan Tedders stage presence. They always put on a fantastic show. I would add that on this occasion Ryan we assume was slightly unwell because his voice – although still incredible – wasn’t the usual standard that he can achieve. Their music catalogue is mega, hits such as ‘Apologise’, ‘Counting Stars’ and ‘I ain’t worried’ had the whole crowd were on their feet and having the best time. It was the perfect warmup to Maroon 5 and to be honest I we would’ve gone to Hyde Park just to see OneRepublic anyway. The band and Ryan have written so many hits that you’ll have heard from multiple of artists – for example co-writing Beyoncé ‘s ‘Halo’ which they didn’t play this time, to Leona Lewis ‘bleeding love’ which the whole of BST joined in with. He is a super talent, as are all the band and they certainly know how to put in a show -if you’ve not seen them, Get them on your band bucket list.
The main act was the global phenomenon Maroon 5. Hitting the stage just after 8.40pm. This American pop rock band have so many good songs every track they played got the crowd up singing and dancing. Their music and show were perfectly suited to the outdoor, open air, London skyline sunset views. Drinks in hand, singing to all the classics we felt that music buzz you only get when really truly in the moment.
They kicked off with ‘Harder to breathe’, within the first few songs ‘This love’ and ‘Sunday Morning’ had been played. My personal favourite was ‘Animals’ wow his voice gives me chills.
Adam Levine is a mega star his vocals were just perfect. He spoke a little between songs and was humble, thanking fans for their career which began in 2001! He also played ‘Memories’ and shared a tribute as and more insights into why they wrote the song. Heart breaking but a reminder to go grab life.
Towards the end they played crowd favourites ‘Girls like you’ and ‘Moves like Jagger’, the visual effects played behind the band were almost to the point of optical illusions, but I loved them, really eye catching and perfectly matched to the songs.
I did find the main stage view blocked somewhat, if standing centrally by the pillars which host cameras and some very lucky people. However, I always seem to gravitate to the left when looking at the stage and my views were great there. They also have big screens all around if you prefer to stay back.
The encore consisted of ‘Payphone’ and ‘Sugar’ – brilliant song choices and reminds you of the sheer range of songs and hits they’ve had over the last 25 years!
As someone lucky enough to have been here several times – for very different genres of music and singers spanning across multiple decades, I have yet to find a better open-air venue to soak up the music in Britain in summer.
Review by The Punk Buddhist Journalist – Stewart Campbell
Since 2019, Raehills Meadows, near Moffat in Dumfries and Galloway, has been the site of Eden Festival, an independent, not-for-profit celebration of music, arts, and culture.
‘Showcasing both internationally acclaimed artists as well as local up-and-coming acts, from Folk, Soul and Electronica to Jazz, Rockabilly, World and everything in between. With more than 250 acts over 10 stages.’
Jude Norton-Smith at Rabbie’s Tavern is my first port of call. As I walk towards the entrance, a delicate, tender, nurturing music hastens me in.
Jude’s recent EP, “I’ve Seen a Many Strange Things”, played in full, works as an enchanting, enriching overture for the many strange and wonderful things one can and may hope to encounter at this now 18-year-old festival.
Jude Norton-Smith
“I’d describe my music as alt-folk. It’s tender music, full of love and light and mischief while also occasionally swelling into a beautiful chaotic racket.
“We’ve now got this beautiful strange elastic band, and I think we’re all pretty logged onto this shared folkish musical world.
“We’re all using the language and sounds of folk music to give it this really live and embodied feeling – it feels very human and joyous. I’m inspired by nature and the natural world, but recently I’ve found the music I’ve written has had this extra layer of memory on top. like remembering the memory of remembering nature.”
It’s 4:15pm, I sit upon the Good ship Cheesecake that overlooks the cycle-powered Reaction Stage. Newly pressed boot prints lay upon the expectantly muddy footpath and stage front. Sherlock finishes their set; relaxing lo-fi rap beats soothe the transition from reality into the sacred festival site.
You slink along to the Bodega, a hypnotic bar within a permanent wooden structure.
Old-time swing music plays subtly in the background. I feel a swell of nostalgia for a time period outwith my own.
My inner Holden Caulfield is awakened as I sit at the back and survey the scene. The prices are reasonable… if you’re rich, which I’m not. I’m not complaining, there will be someone who can afford the drinks at festivals, but it’s not me. A wall-mounted arrow points towards a DJ booth with a neon “Desiato” above it. The arrow proclaims, “Make a jazz noise here”.
The Bodega hosts talks, workshops, and in the evening, it becomes an alluring neo-nightclub, like dancing between dreams inside an ultraviolet mood lamp. I remember completely missing this space the first time I came to Eden and stumbling upon it at 1am on my first night of my second time with my friend. We felt like we’d stumbled upon a hidden room in a labyrinth we thought we’d mastered.
Hypnotised by the room, we catch each other’s eyes.
“…I don’t remember this space?”
“Me neither.”
“How could we have missed this?”
“I don’t know.”
“…Is this actually here?”
“I don’t know.”
We looked at the room in silent bewilderment, caught each other’s eyes once more, nodded and left.
Never to speak upon what had changed.
I can now confirm, one year on, that the room is indeed both there and real.
Reality is not all it’s cracked up to be, kids!
I make my way to the main stretch of the land, and I stumble upon the Barrett’s Bananas. Upon graciously receiving a banana, I speak to Captain Banana, Gordon. He tells me the founder of the Barrett’s Bananas, Richard Barrett, passed away in 2020 of Motor Neurone Disease and Eden Festival is always an emotional time as it’s the first festival Richard ever handed out bananas.
What more wholesome and delicious gift could a person receive than human generosity and a banana during a weekend of partying?
So now the Barrett’s Bananas raise money and awareness of Motor Neurone Disease whilst delivering banana-y goodness.
I’ve now used the word banana 9 times in this paragraph, here’s another to make it a round 10: banana.
After my banana (that’s 11 times now), I meet old friends and sit by the Garden Bandstand for our annual catch-up.
Since first going to Eden in 2022, it has been a site of meeting friends old and new. Festivals are the perfect place to meet sandcastle friends (whole, complete friendships formed in brief moments, sharing our hearts one to another, before the tide comes in, the weekend ends, and what once seemed corporeal melts as breath into the wind).
These are my favourite moments. I love the music and the atmosphere, but it’s the quiet conversations, the people, and the openness found in these moments that reinvigorate my soul.
I even once met Jesus here…nice guy.
It’s 7:15pm and Glasgow rockers Telekinephews take the pagoda-shaped Garden Bandstand. With two tracks featured on BBC Introducing, the most recent of which springs forward from the stage with such infectious energy, we cannot help but ponder upon the immortal question posed by singer Joe Miskimmins: “Can you drink 45 pints of fortified wine?”
No sir, I do not believe so, but damn it, I feel an almost patriotic duty to try!
Telekinephews
Joe tells me he’s playing again at the Woodland’s Bandstand Stage tomorrow and he’s also helping run the stage with his friend Cal, using and donating their own sound system for the weekend:
“These small stages are important for grassroots artists without funding.
“I was brought in as an artist with Telekinephews but, through the spirit of DIY culture, we brought the P.A. and had a bigger role in sound engineering and booking the bands.
“Festivals are a place of discovery. We want to think of these stages as being a mine for hidden gems and creating ‘if you were there, you were there’ moments (the musical equivalent of my sandcastle friends).
“It’s important to nourish artists. I guess very quickly Telekinephews understood the need for DIY culture, to promote honesty, integrity and give a platform; so, we developed Big Nephew events to promote those sorts of events.”
Joe talks with such passion about music and making music happen it’s infectious. As are Telekinephews on both performances, as the sense of care and enthusiasm Joe has for music is transfused through him and the rest of the band.
I’m Holden Caulfield again as I go to get a programme for stage times to properly plan the weekend. What really knocks me out is £6 for a programme! I don’t know what festival etiquette is, but to not offer the information of who is playing what stage and at what time is the equivalent of going to the cinema, buying a ticket and not telling you what time the film starts or what screen it’s on.
To be fair, you could walk round each stage and take a picture of each chalkboard by the stages, but there was not, as far as I could see, one at the main stage.
So, here’s a few pictures of what some poor sucker had to pay £6 for.
Tucked away from the main walkway is the Woodland Bandstand (the very same one mentioned by Joe), and Makongo takes to the stage.
Singer Ngana takes a step toward the audience, wearing shades and a Scott McTominay overhead kick T-shirt, and asks us: “Are you ready for the Revolution!?”
Makongo
! Listen, pal!
We the people are stronger united.
We the people are better together.
I want you to have a better life.
I am just here to make my life better.
I am not the problem.
The problem is not me.
Not me, not me.
I am just the scapegoat!
Described as blending traditions from across the globe, music rooted in hip-hop yet reaching far beyond it, fusing cultures, stories, and experiences that celebrate collaboration and resilience.
Ngana tells us before his next song that the best dancer gets a passport! He’s not joking. It’s one of the best pieces of promotion/merch I’ve seen. Each band member is inside, along with the story of the band and the lyrics.
Makongo finishes up and a Scottish festival tradition begins.
It starts to rain.
I retreat to the sacred, hallowed ground of my one-man tent. It’s the sophomore slump of the day as the afternoon coffee en route has long since left the system…
It’s Saturday.
I awake from my beauty sleep feeling less rested than before I slept, the wonders of camping! My neck and back want to speak to the manager. But if you want to make a festival-y omelette, you’ve got to break a few spinal column-y eggs.
I stumble forth and sit with my fellow weary travellers; a communal Kraft macaroni is cooked and handed out. Mankind has peaked with macaroni for breakfast.
At 2am Scotland will play their first World Cup game in 28 years, and Rabbie’s Tavern stage will be showing it live. I’m as excited as can be and can’t think of a better way to take it in than in the middle of a field in Dumfries and Galloway. Armed in my new Scotland shirt (fakey, of course, I’m not made of money, you know. £75 for a top at retail! The biggest rip-off since Programme Gate!), I make my way in.
Midday, Rabbie’s Tavern, and Vibrant Rebels open the Saturday stage. Two days running I’ve stumbled into this venue to start the day. I count nine members, the sound as full and whole as you’d imagine. It’s a decent crowd for what followed an undoubtedly heavy night for a good portion of the attendees; hangovers hover softly in the morning air.
The crowd is sprinkled with children and families, some of which are possibly attending their first festivals together. You can see early memories being formed. Having families and kids at festivals helps keep you grounded, bringing forth an automatic level of care and responsibility we’d hope others would show if we had young kids of our own there.
That is another thing I like about field festivals. It comes with a sense of communal care and a genuine sense of wanting to make sure everyone around you is safe which, sadly, can feel somewhat lacking living within the hustle and bustle of city life. For me at least, I come with the intention and notion of supporting the communal atmosphere and respecting the land.
A thumping rendition of “Feel Good Inc” by Gorillaz bursts forth and the early crowd erupts. The saxophone player jumps from the stage to dance and play with the audience, the slick guitar riff piercing through the early-day grog and blaring like an alarm clock for the recently awoken.
It’s across to the Vishnu Lounge, where Fettle, a two-handed folk duo, offer a softer, soothing alternative to the start of the day… the start of the day for me at least. Because from 10am on
Friday till 4am Monday morning, the Vishnu Lounge is constantly open and hosting performers or playing music. That’s crazy!
Two wooden structures with hanging hammocks both in front of and behind the performers, where a row of bathtubs (unfilled) work as seated additions. Surprisingly comfortable, tricky to get out of, or maybe that’s just me after a night of camping. Like a fading action star, every year after the first night of camping I slowly rise, I look upon the site, body aching, slowly inhaling and exhaling a cigarette, and say, “I’m getting too old for this shit.”
Flanked by leather sofas and a hanging teepee-like structure, this is the kind of place you could sit and become absorbed by the sounds and welcoming atmosphere. Hours could go by without noticing. Often these are my favourite moments, when the rules and concept of time no longer apply.
I sit in the bathtub and talk to the kilted man beside me. He tells me he’s worn his kilt for four straight days. He puts my Scottishness to shame but bestows upon me a pink flowery wreath I promise to wear for the rest of the day and return to him at the Scotland game (I’m so sorry, Nadean, I couldn’t find you and still have it at home! Hit me up, bro!).
I meet another friend from Glasgow. We sit and roll a cigarette, her voice rough and coarse. She played the Cabaret Bar last night but, upon going up, her technician had vanished, so just belted her songs out acoustic. This is somehow more rock and roll than if her set had gone to plan, art from adversity.
She says, “Right, shall we mosey on up to purgatory?” and so we do.
Polar Bears in Purgatory
Polar Bears in Purgatory, described as: “An energetic, melodic punk trio whose down-to-earth humour and catchy hooks are unparalleled.” What’s not to like?
I’ve seen them before, but there’s an extra member this time on keys and trumpet.
I ask him, “Are you a new polar bear?”
“Ehh… I’d say half polar bear.”
No matter the percentage ratio of polar bear to man, he’s a welcome addition to Purgatory.
The songs are fast and frenetic. This sort of music reminds me of the early 2000s, sitting and scrolling between the two music channels we had at home, sitting in hope more than expectation to catch a video or song I liked.
They play a song, “How Hard Is It Not To Be A Dick?” — another pertinent question. I think about how profound some of the questions have been this weekend. Can I drink 45 pints of fortified wine? Am I ready for the revolution?
Before the next song starts, the singer states: “This next one’s not a song; it’s a recipe for chips.“
Wow! Soul-searching and cooking instructions!
It’s the Main Stage for Colonel Mustard and the Dijon 5. It’s as busy as I’ve seen so far. The front of the stage is a muddy marshland, but the dancers seem undeterred, dancing with the same bombastic energy that comes with this huge-sounding 11-piece band!
Colonel Mustard and the Dijon 5
“Ok, the front is really marshy, is there a space in the middle we can make a little dancing amphitheatre?”
Despite being Glasgow and festival stalwarts, this is somehow, and rather criminally, the first time I’ve seen them! I’ve been missing out. How could you possibly not be in a good mood while listening to Colonel Mustard?
It’s the sort of feel-good music festivals were born for.
“We’re gonna try a new one and it’s called ‘In the Moment’, which is the only place to be.”
It feels like the feel-good hit of the summer…well if that wasn’t already a song by Queens of the Stone Age.
“So just live in the moment… and behave yourself.”
I catch stray lines as I write, something about “a taxi driver with flatulence” and something about drinking Buckfast. I ponder if the good Colonel has ever considered if he himself could drink 45 pints of said beverage?
A selection of beach balls lay in the marshy stage front. There are kids in wellies and families kicking them about and enjoying it with equal pleasure, as if they were at the beach. One of them comes my way and I pass it back. A wee boy passes it to me again, which I return in kind. I find myself in a passing drill, which moves on to him taking shots at me as a goalkeeper.
I wish I could say I was letting the shots in, but honestly this kid, at five, is better at shooting than I am with an actual ball.
His mum comes over and we chat about how a “beat the goalkeeper” with a set of goals would have gone down really well. An opportunity missed, perhaps.
I refrain from my Gianluigi Buffon duties to acquire strong coffee number two of the day before returning for She Drew the Gun.
She Drew the Gun, fronted by Louisa Roach, are described as entering a “musical world informed by influences ranging from 80s electronica, hip-hop, political poetry, and cosmic Scouse psychedelia”.
I’ve often found it hard to describe music, ironic, I know, as I sit trying to do just that. I have a very strong musical sense and intuition, but trying to define or pigeonhole a genre of music almost feels like it does the music itself a disservice.
She Drew The Gun
Seeing as that’s why I’m here though… The set reminds me of something between Billy Nomates and Kae Tempest.
In particular, “Became” is a standout. I personally like music with that slight darker edge and this one drips in it.
“And it’s for Land money power
And that’s the truest why
And every second minute hour
Will never satisfy
The black hearts of the war men
As they launder genocide
And the weak hearts of the law men
With power on their side”
It’s a great set and I promise myself I won’t write anything silly or cliched like “She Drew the Gun and blew me away”… I suppose I just did, dammit.
One final return to the Woodland Bandstand for another hidden gem and potentially my highlight of the festival: Sloblins.
Sloblins
Described as: “Scottish Budget Slob Rock. The simplicity of a nursery rhyme, the smell of a nappy crime.”
This is like if The Grinch Who Stole Christmas formed a punk band.
Fully kitted in all goblin attire, songs abruptly stop so Mr Sloblin can attempt a handstand and cartwheel and, of course, songs about finding it hard to pee and poo.
Now, depending on your taste, this may sound absolutely awful or absolutely amazing. Honestly, there will exist bands where the goblin aspect is a gimmick to disguise the music not being very good. But honestly, these guys are excellent.
Don’t be fooled by the foolishness.
Or maybe do be fooled by the foolishness!
If Dick and Dom had pursued punk music instead of kids’ TV, it would be this.
Sloblins
Just before approaching the Main Stage, to the right is The Melodrome, tucked in beside the beautiful old-fashioned ferris wheel. Some form of child-like wonder pulls you towards it like a moth to a flame, and I find myself throughout the day just sitting by it and watching it go round.
Another activity that can make time dissolve.
The Melodrome resembles an old Punch and Judy-style stage, with curtains that both cover and reveal the bands.
Maz and the Phantoms
It’s here I’m seeing Maz and the Phantoms (with the added bonus of Jude Norton-Smith also being the bass player, does their talent know no end!?)
Described as: “A kaleidoscopic fusion of genres that incorporates surf guitars, catchy sing-along hooks, dance-inducing breaks, and an unparalleled electric intensity.”
It’s a powerhouse performance, full of energy, enthusiasm and connection with fans new and old.
Having played the Main Stage the day before, they now play a packed Melodrome as the sun sets and the colours become richer. A beaming yellow light from the ferris wheel and the rich stage lights combine to create some of my favourite photos from the weekend.
The audience dance along to their latest single, “Pigeon Song”, with Jude dutifully demonstrating the moves to be followed along with.
As a pigeon lover, I can’t express the joy of seeing a crowd full of people mimicking the world’s best bird! Pigeon lovers of the world, unite!
Rabbie’s Tavern, 1:30am.
I’m there early, of course I am, both me and Scotland have waited long enough for this moment!
Have Mercy Las Vegas finish their set with renditions of “Yes Sir, I Can Boogie” and “We’ll Be Coming Down the Road”.
The place is absolutely bouncing. I subsequently find out the band are responsible for arranging the stream and the game being shown at the festival, so hats off to you. I hope Las Vegas does indeed show you mercy.
As they finish, I make my way to the front and see if any help is needed in the set-up.
The anticipation is building.
The plan is to stream it from a laptop through the projector onto a screen. Perfect, though it’s 1:55am and the kick-off is at 2am.
I strike up a conversation with the person next to me. I say, “I’m really excited but I’d also be more calm if the projection was on within 5 minutes of kick-off.”
“…his laptop has just started updating.”
With the bizarre kick-off time of 2am, I’d imagine that’s when the computer may automatically set itself to update.
Another slightly worried-looking guy comes over asking if it’s working yet.
I say to the guy: “Why don’t you go to the sound desk and get the radio commentary ready and we can play it over the speakers?”
A genius idea, I thought. He hurries away.
2 mins to kick-off. Squeaky bum time.
The crowd, being incredibly patient and trusting, breaks out into ‘Flower of Scotland’. I’m suddenly transported from being anxious for the stream; this alone is just fantastic.
And just as the room finishes its rendition, the live feed works, the projector is on and Scotland at the World Cup is up on the screen!
The cheer that erupts is equal to that of having scored.
It’s jubilant, it’s wild.
“No Scotland, no party, baby!”
…and then the football starts.
Boy, oh boy, Scotland are a tough watch.
I pity the football neutral tuning in for patriotic curiosity only to watch this dire, dire style of football play out.
But at the end of the day, it’s all about the result and, despite playing fairly uninspiring football, this Scotland national team is the most successful in my lifetime.
Scotland go on to beat Haiti 1–0.
Apparently, the national anthem in the stadium was the loudest noise recorded at a World Cup game, but Rabbie’s Tavern upon the final whistle can’t be far off.
Terrible, terrible football!
Brilliant, brilliant result!
By the time we stumble out it’s 4:30am and its essentially daylight, so we go in with dark skies, Scotland wins, and beautiful blue skies shine upon the land of the free… (the land of the free, who voted against our own independence…)
I decide to go for a walk around the empty stages.
I love empty spaces after big events have occurred. It’s got a haunting quality, like the memory and energy of the event still linger in the air for a while after. The ghost of events past, present and yet to come.
There is an almost mist-like fog that hangs in the air, and through the fog appears… a bottle of fortified wine?
“Is this a Buckie bottle which I see before me?
The handle towards my hand.
Come, let me clutch thee.
I have thee not, and yet I see thee still.
Art thou not, fatal Buckie, as sensible to feeling as to sight?
Or art thou but a Buckie of the mind, a false creation.
Proceeding from a Buckie-oppressed brain?”
As the time of night/morning finally catches up with me, I follow the air-drawn Buckfast towards my tent and into slumber.
It’s Sunday.
I find myself at the Main Stage for the first performance of the day.
Niamh Corkey plays, lullaby-esque, to the early-day risers. It’s perfect Sunday music.
Niamh Corkey
Mid-song, the stage generator suddenly goes out. Without missing a beat, Niamh and her band come to the front of the stage, climbing down onto the speakers so they are right at the front and continue playing acoustic, a cappella style.
This is met in kind by the audience, who all move forward and congregate around the stage front. This offers a wonderful intimate, interactive performance for the rest of the set, just like one of Joe Miskimmins’ “if you were there, you were there” moments.
Honestly, it couldn’t have gone better had things gone to plan. Once again, art from adversity.
To top it off, the warm sun has begun pushing through the clouds and arching just over the top of the stage.
Niamh Corkey
I’m back in the bathtub, where to the rather shall his day’s hard journey soundly invite him?
A lilting, ethereal music drifts from the stage.
Half-conscious couples sway from hammocks, lulled by the soothing sounds, sleep-deprived and spent but finding simple comfort and solace in one another’s arms.
Warm bodies, warm souls.
My friend Claire tells me she’s just spent the last 10 minutes gently rocking Bob from Telekinephews in one of the hammocks like a baby while he lay dreaming.
Ah yes, sleep. Sleep that knits up the ravelled sleeve of care.
And it makes me reflect upon the weekend.
Am I ready for the revolution? How hard is it not to be a dick? Can I drink 45 pints of fortified wine?
I realise every single one of the musicians who have played here this weekend will no doubt have dreamed of doing so at one point. Every single great band and moment of time started with a dream, a notion, and over the course of the weekend, as lack of sleep leads to waking dream, dreams and reality intertwine and become one beautiful dancer.
So literally anything you can hope to achieve is possible. Anything that can be conceived sitting in a bathtub in the middle of Dumfries and Galloway can be accomplished.
So, I make the decision to visit the wishing tree. A table with material strips and marker pens lies vacant. The universe, like a genie, at this moment offers me the chance to make one wish. One wish to make my dreams come true.
I pick up the pen. Ponder briefly. And then write what my heart desires.
I place the pen back down and tie it to the tree. I take in my masterpiece. Thank the tree. And then walk away.
Knowing with this request in the hands of the universe, everything’s going to be alright…
Following Louis Theroux’s latest documentary ‘Inside The Manosphere’, social media commentary about the featured influencers has blown up – and not in ways they’ve enjoyed.
Between being summarily roasted across all platforms, deleting back-catalogue, and losing relationships over it all, there has been one pervasive opinion from the social landscape – FAFO.
Today Forbidden Forest festival took to Instagram to lambast one of the Influencers featured on the documentary, for demanding press access to their event. Though the name is redacted, the message is clear – Forbidden Forest doesn’t want them there, and is letting everyone know where they stand. The caption reads “We LOVE working with creators… Not this one though. Better luck next time x”.
Some other well known Influencers took to the comments, with DJ Zoe London saying “incredible, thank you for standing up for what’s right”, but with festival reviewer Rob Kellas of TPDTV simply writing “Noted”.
At the time of writing over 20k likes on Instagram, give a good picture of the public sentiment behind this move.
One of Ibizas iconic nightclubs Pacha was our choice of destination in our visit over to the White Isle this week. Pacha is steeped in history hosting some of the biggest nights on the island week in and week out over the primetime summer months.
This year, every Saturday night, the masked legend that is Claptone, hosts his Masquerade evening at Pacha. Walking through the door, we gladly accepted a gold venetian style mask, much like the one Claptone wears, and headed through the foyer and into the famed dance floor.
Supporting the German DJ on the night are Lovra, Dom Dolla and Jacques Lu Cont. Strolling in early, Lovra is on the wheels of steel, getting the crowd warmed up for the evening. Her energy behind the decks is infectious and the dance floor fills before Dom Dolla takes to the decks. The house music producer from Australia treats the crowd through an uplifting set, full of hands in the air tracks right before the main act for the night arrives.
Arriving in his Masquerade attire, Claptone’s gold mask shines beneath the amazing lighting system Pacha has installed on its ceiling. With the main room, now full to the brim and the surrounding VIP tables packed, Claptone takes us on a journey through some of his biggest hits and remixes. Professional dancers wearing all sorts of funky outfits take position on the various podiums around the room and across the DJ booth and groove as Claptone kicks off his set. The headline set starts as expected with a banging house hit Lauren (I Can’t Stay Forever) by Oden & Fatzo, the crowd erupts into cheers, fists are pumping, heads nodding and bodies grooving. This really sets the scene for the rest of the evening, Claptone’s two hour set has the crowd reacting to every single tune. I, along with pretty much everyone else on the dance floor, remain dancing for the entire set, and that is testament to the quality of music that Claptone provided on the night. Towards the end of his set the music was taken up a notch, Claptone’s tech house sound rounding off what I can only describe as musically one of the most entertaining sets I’ve heard live in a long time!
If I’d recommend a night in Ibiza this summer, I’m most definitely going to recommend Masquerade at Pacha. The crowd, the music, and the atmosphere where just right for a night to dance away too.
Claptone is playing every Saturday evening until the 6th of October. Huge thanks to the Pacha PR team for accommodating us on the evening.
Check out the full lineup from this years Glastonbury right here, its jam packed as you’d expect with headliners Billie Eilish, Paul McCartney & Kendrick Lamar closing out the Pyramid Stage across the weekend and a host of other brilliant artists packing the many stages in the vast surroundings that Glastonbury provides.
This weekend, in North London’s Trent Park was the scene of what was supposed to be a day of winding back the clock and enjoying some of the world’s finest RnB and HipHop musicians. The lineup read like a who’s who from back in the day; Fat Joe, Blackstreet, Mya, Horace Brown, Bobby V, Eve, Jon B, Tony Touch & Fatman Scoop were all set to perform at Metrofest.
With lockdown rules lifting across the country and various restrictions for international travel still in place, there was always a risk that an international artist may not make it into the country or fall ill and test positive for COVID. This is the risk one takes with organising a festival during these times. Did this have an impact on Metrofest? Read on and find out.
A few days out from the event, Eve cancelled citing ‘unforeseen circumstances’. Cancellations happen, it’s just a part of the industry. Other artists that travelled to London from USA had arrived days earlier and were quarantining in various hotels in London (as far as we know).
Fast forward to Sunday, the weather was holding out, the ground was soft and not too much of a mud fest and the crowd was building after the event opened 90 minutes later than it was supposed to, with very little warning to those already arriving on site at the original 11am opening time.
As I arrived mid afternoon, there was still a fairly sized line of people waiting to get in via the General Admission entrance. As I entered the festival grounds, Horace Brown hit the stage and belted out his big tracks like ‘One for the Money’ & ‘Things we do for Love’. Horace is pretty chill and was great live, his soulful voice played out over the sound system and pulled in a huge crowd. Next up was Mya, whom a good number in the crowd came to see.
We waited patiently for the transition but the minutes turned to hours and there was no sight of Mya, a DJ was playing music on the main stage trying to keep a nervous and anxious crowd entertained. During this time, there was no official message or comms from the organisers that anything was changing.
Jon B was supposed to be on at around 5pm, but that time came and went. Bobby V and Blackstreet were up next but again, there was no sight of these artists on the main stage. Fatman Scoop was supposed to be hosting the main stage for most of the afternoon, but he also was not seen until late into the evening.
You could sense the frustration of the crowd, some who had travelled from various parts of the country, drove hundreds of miles, spent money on trains and accommodation to see their favourite old school artists. With just a DJ on the main stage for a large part of the afternoon, the noise from the restless crowd grew louder.
Eventually Fatman Scoop turned up and hit the stage to bring the crowd back to life as he got the crowd to join in on tracks like ‘Be Faithful’, before Jon B then arrived, almost 3 hours after he was scheduled to perform. Performing a short set full of classics including ‘Are U Still Down’, ‘Someone to Love’ & ‘Dont Talk’, he quickly left the stage before the nights headliner Fat Joe took over.
Walking out to his classic collaboration hit ‘New York’, the crowd piled into the main stage area to see the Brooklyn rapper in his first UK live event. Taking us through his hits from his vast back catalog, he played ‘Whats Luv’, ‘All the Way Up’, ‘Lean Back’ and this years big hit, ‘Sunshine’.
Cut short from what was supposed to be an hour’s performance, Fat Joe left the stage, only then for Bobby V to come out and perform. With a tight cut off time at 9pm, the Atlanta singer performed for less than 10 minutes before the sound cut his performance off and the crowds were informed to leave.
Meanwhile, as Fat Joe was performing, Blackstreet released a video on their Facebook page apologising to fans for not performing at Metrofest due to a number of organisational issues. You can see their video here:
After the event, social media was brimming with unhappy festival goers who felt cheated and wanted their refunds back due to a number of high profile artist no shows and their inability to cash out the remaining money from their wristbands. The cash out system started working after a day of technical glitches & three days after the event finished, Metrofest posted on their Instagram the following statement:
As a reviewer, I must be transparent and fair and my honest view of Metrofest is summarised here:
It’s important to remember, logistically running a festival in these unprecedented times is extremely difficult and risky and it has reflected as such at Metrofest.
There was a great crowd in attendance!
The main stage lineup promised so much yet failed to deliver with a number of no shows.
The transparency and comms from the organisers needed to be much better, especially as the afternoon went on and immediately after the event.
As a member of the press, the press area wasn’t fit for purpose, one portaloo for some 50+ people which by 3pm was not a pretty sight.
Exiting the festival was problematic if you were in the VIP area. You needed to exit through the general admission exit, but it meant heading out into the main stage crowd which was pushed up against the VIP entrance. It was dangerous with people being pushed up and squashed against the temporary fencing. I feared someone would get seriously hurt and eventually security opened another exit.
As a member of the press, I was issued a press pass, only to have it confiscated off me mid-festival due to too many people backstage. This was extremely embarrassing for me and uncalled for.
The above issue stems from either a lack of security and people without the correct passes being allowed backstage. Two security guards mentioned to me they were understaffed at the event.
Do I hope that Metrofest will return again next year, absolutely. The idea of an old school RnB music festival has a wide appeal, but there are some fundamental things that need to be sorted before the organisers gain the trust back in those that attended!
Since making their debut at Reading and Leeds Festivals way back in 2002, Brit-Nominated Biffy Clyro return to this year’s festival as the final headliner. The Scot rockers will be taking the place of Queens of the Stone Age, who, due to restrictions and logistics, sadly are unable to perform at the festival. Simon, Ben and James last headlined in 2017 and will be performing hits from across their incredible career including tracks from their latest No.1 album A Celebration Of Endings. The band are very happy to return: “We are delighted and honoured to be headlining Reading & Leeds for a third time.We cannot wait to get out there and play for you all again after such a tough year…It’s gonna fuck!!”
Making their debut at the festivals this year will be Dublin four-piece Inhaler. With their debut album It Won’t Always Be Like This rocketing to the top of the album charts, these lads are set to be the ones to watch as future headliners.
London rapper and songwriter Russ Millions will be bringing his own style of hip hop to the festivals and will undoubtedly perform his Tik Tok dance challenge-inducing #1 Platinum-selling single Body. He can’t wait to get back out there to perform: “I’m excited to be reunited with my supporters again at R&L, let’s turn up!”
Emerging from the pandemic gleaming, Holly Humberstone is one of the biggest breakthrough UK pop acts of 2021. Less than a year since the release of her debut EP, her dark, wonky, electric pop with brutally honest lyrics has gained over 100 million streams worldwide, all recorded from her bedroom in Grantham.
Born and raised in Camden Town but rapidly achieving global recognition, Bakar is set to bring his fresh carefree sound to Reading and Leeds this summer. Refusing to be defined by genre, his sound effortlessly dances the line between indie and rap. HIs soulful offering ‘Hell N Back’ has garnered over 87 million Spotify streams.
South London’s Blanco, at just 21 has already made his mark on the UK rap scene, breaking out as a key member of ’drill dynasty’ Harlem Spartan. Refusing to limit himself, Blanco embraces versatility from Drill rap to Brazilian paired with complex metaphors and cheeky references produce his individual sound, which he is set to bring for an electric set at Reading and Leeds.
Positioned at the unique intersection between metal and hip-hop, Dana Dentata, is a force to be reconned with. Crafting empowering, feminist, industrial, metal-dripping rap, her shock-rock performance art isn’t one to be missed over the festival’s weekends.
Hailing from Dublin, Chaya, is a multi-instrumentalist with classical training, growing up on exclusively classical music until New York City’s underground scene introduced him to the vibrant world of electronic. His diverse influences collide to produce a truly individual sound, often embodying classic UK Garage elements married with classical undercurrents.
Jazmin Bean is a complex and intense enigma, who will be showcasing their intoxicating mix of Alt Metal Electropop to The Pit Stage. Unapologetically impossible to define, Jazmin radiates an empowering sense of individualism, self-integrity, and independence. They embody the spirit of the Gen Z’s vibrant unorthodox subculture.
Indie-Punk three piece from Brighton, Gender Roles follow a whirlwind 2019 full to the brim with a triumphant BBC Radio 1 Maida Vale session with Annie Mac and riotous sell-out headline shows. The trio bombard the stage with charged-up, hazy guitars and a whole lot of chaotic fun.
Born out of sheer “boredom with the state of music at the moment” Punkband, bring pure attitude, punk and swagger to all their raucous tracks. They channel the youth of Britain’s disinterest and disgust in post-punk Britain paired with gritty, unpolished instrumentals.
Also announced today is female rap phenomenon Trillary Banks, who will be set to deliver a captivatingly raw blend of Rap and Dancehall culminating in contagious summer sounds. Trailblazing for women in the UK music landscape, she debuted her ‘FIRE IN THE BOOTH’ freestyle with Charlie Sloth, a rite of passage for any rapper but all the more valuable for female representation.
Essex Golden Boy French The Kid, naturally blends a resonant mix of English and French melodics, aided by growing up in the South-West of France. His bars share deep introspection, tackling mental health, his gritty past as well as looking ahead to the bright future.
Championing a unique style of conscious rap, Kam-Bu, uses his fast-paced, bass-leaden bars to share contemplative stories, stirring up the London scene. He takes aim at urgent political issues from Grenfell to institutional racism, as well as themes on the Black culture and the environment. Smoothly oscillating from party anthems into poignant lyricism, he is not one to be missed.
The BBC Music Introducing Stage will be showcasing the best up and coming talent from across the UK at Reading and Leeds Festival, with artists such as Radio 1 Live Lounge Introducing winner Bonnie Kemplay, Berwyn, who made the BBC Music Sound Of 2021 list, The Rap Game’s Lady Ice and Graft as well as Kent starlet Josie Man, Somerset singer songwriter Finn Askew, Leeds post-punk rockers Yard Act, electronic rising star Meg Ward, South London rapper Master Peace and many more.
Sadly, due to various restrictions and logistics, a few artists are now no longer able to perform at the festivals. This includes Queens of the Stone Age, Madison Beer, Denzel Curry, Sofi Tukker, Super Whatevr, Wallows, Oliver Tree, Tate McRae, MizorMac and Nation of Language.
For those heading to Bramham Park, the Leeds site will again be welcoming a full timetable of after-hours events at Late Night Leeds from Thursday night with DJs and performers taking to the three stages, Anachronica, a new dance stage, and of course the legendary Picadilly Party, to keep festival goers partying until the early hours. With a brand new, audio-visual experience stage, among the line-up on the dance stage will be DJ Semtex, BadBoy Chiller Crew, Fumez The Engineer, Hariett Jaxxon and chart-toper 220 Kid. This year the Anachronica stage is focusing on all things in the forefront of UK dance music. DJs who are pushing the limits and pioneering in Jungle, Garage and Dubstep will be stepping up into the Mad Max-esque world of Anachronica, skillfully salvaged and adapted to blast out some of the biggest tunes late into the night.
Creamfields one of the world’s biggest electronic promoters have revealed plans for an all-new 50,000 capacity two-day camping festival in 2022 which will see them bring their award-winning festival South, taking over the stunning Grade II listed Hylands Park for Creamfields Chelmsford.
With the iconic Hylands villa as its backdrop, the multi-stage festival will also give fans the chance to experience the colossal 15,000 capacity Steel Yard superstructure is scheduled to take place on Friday 3rd and Saturday 4th June Jubilee Bank Holiday weekend, which has been moved to a four-day weekend next year to celebrate Her Majesty the Queen’s Platinum Jubilee.
The launch of Creamfields Chelmsford is a game changer for the UK festival landscape and coincides with the 25 year celebrations of its award winning sister festival in Daresbury, which is staged annually in the heart of the Cheshire countryside and attracts sell out audiences of 70,000.
Since its inception the UK edition has become one of the biggest electronic music festivals in the world, attracting big name artists including Calvin Harris, Swedish House Mafia, Eric Prydz, Tiësto, deadmau5, Carl Cox, Bicep LIVE, Chase & Status, Pendulum and The Chemical Brothers. Internationally, Creamfields is one of the few festivals to have successfully established itself on the global market with shows staged in Chile, Abu Dhabi, Ibiza, Malta, Argentina, Peru, Hong Kong and multiple cities across China to name a few.
Creamfields Chelmsford is an exciting new addition to the UK Festival calendar and for fans in particular who can expect an all-star line-up of dance music heavyweights to be announced.
Creamfields flagship festival in Daresbury, will take place 25th – 28th August Bank holiday weekend 2022.
Wireless, returns to the UK and will bring the energy to South London’s Crystal Palace Park for the very first time, taking place on 10-12 September.
The world’s hottest artists and UK icons Future, Skepta and Migos are set to headline whilst a host of grime, trap, afrobeats, R&B and hip-hop stars including Meek Mill, D Block Europe, AJ Tracey, Megan Thee Stallion, Lil Baby, Young Thug, Lil Uzi Vert, Headie One, Swae Lee, Rick Ross and more are also confirmed for an unmissable celebration this September. With over 50 acts across the weekend, this year’s event is going to be in exceptionally high demand. Barclaycard exclusive access to tickets starts at midday today, general tickets go on sale Thursday 29 April at midday www.wirelessfestival.co.uk.
Headlining Friday is Atlanta legend Future whose irrefutable longevity has secured his spot as one of the most influential artists of the past decade. Having conquered the streets and the charts, crafting a sound that reshaped not just rap but pop music, the Life is Good, Mask Off, Fine China superstar is set to see the night out in style. Wavey UK trap kings D-Block Europe join the bill, as well as the ever-ascending Lil Baby who has fully stepped into his star-moment following arguably the biggest rap album of 2020 ‘My Turn’. One of rap’s true rockstars Lil Uzi Vert joins alongside Gunna – fresh off the success of his critically acclaimed sophomore album ‘Wunna’. Young T & Bugsey fresh off their 3X BRIT nominations, self-anointed Queen of Drill Ivorian Doll as well as Mo Stack, Digga D, M1llionz, Unknown T, SL, and Tiffany Calver & Friends joining the bill. Capital XTRA’s Yinka and the legend DJ Semtex will host the stages.
Saturday is headlined by Grime veteran and UK pioneer Skepta, performing an exclusive Greatest Hits set. One of the scene’s biggest names, the Mercury Award winner has historically kicked down doors in the scene and culture, from its underground origins to its present scale as part of a UK mainstream. Reflecting this journey, Greatest Hits is a one off 2021 special, a gift back to the fans, celebrating a life in music and the times we’ve all lived through together. Grime hero AJ Tracey will make his mark with his highest profile Wireless main-stage slot to date – which will be the first place to see tracks from his newly released album ‘Flu Game’. The critically acclaimed Philadelphia people’s champion Meek Mill will make history with his first ever UK appearance, joined by the Bronx’s very own A Boogie wit da Hoodie and Rea Strummard’s breezy melody man Swae Lee. Also announced are Polo G, NINES, Tion Wayne, Steel Banglez, Central Cee, Hardy Caprio, JAY 1, Swarmz, S1mba, Blanco, Darkoo, Zie Zie with Manny Norte and DJ Semtex as stage hosts.
Sunday will see the world-conquering kings of Atlanta Migos bring the world’s greatest hiphop festival to a close. Quavo, Offset and Takeoff are set to bring flossed-out dark beats and sly humour in tow to the main stage as ‘The Beatles of Their Generation’ prove their staying power. One of the hottest new voices in hip-hop Megan Thee Stallion is set for the main stage – the ‘Savage’ and ‘Body’ rapper is ready to celebrate Hot Girl Summer in the capital. The chart-topping Headie One is set for a hero’s welcome following the release of his #1 album ‘Edna’, as is the UK scene’s versatile veteran Chip who headlines the second stage. Sunday will also be graced by hip-hop’s luxe superstar Rick Ross, the free-spirited stylings of Young Thug as well as M Huncho, MIST, Nafe Smallz, Digdat, Potter Payper, K Trap, M24, Abra Cadabra, Poundz, Charlie Sloth & Friends, with Manny Norte and DJ Semtex on hosting duties.
Wireless 2021 acts announced so far:
FRIDAY: Future, D Block Europe, Lil Baby, Lil Uzi Vert, Gunna, Mostack, Digga D, Young T & Bugsey, M1llionz, Unknown T, SL, Ivorian Doll, Tiffany Calver & Friends, DJ Semtex and Yinka.
SATURDAY: Skepta, AJ Tracey, Meek Mill, A Boogie wit da Hoodie, Swae Lee, Polo G, NINES, Tion Wayne, Steel Banglez, Central Cee, Hardy Caprio, JAY1, Swarmz, S1MBA, Blanco, Darkoo, Zie Zie, DJ Semtex and Manny Norte.
SUNDAY: Migos, Megan Thee Stallion, Young Thug, Headie One, Rick Ross, M Huncho, MIST, Nafe, Smallz, Digdat, Chip, Potter Payper, K Trap, M24, Abra Cadabra, Poundz, Charlie Sloth & Friends, Yinka and Manny Norte.
Historic Royal Palaces and IMG are delighted to announce today the hotly anticipated return of live music to Hampton Court Palace in August 2021. Traditionally held in June, this year’s Hampton Court Palace Festival has been rescheduled following the government’s roadmap announcements and will take place two months later in August. Legendary artist Tom Jones, music icon Van Morrison, indie idols Bastille ReOrchestrated, British rock heroes Keane and Swedish sensations Björn Again join this year’s line-up. The concerts are held in Base Court, one of the magnificent Tudor courtyards within the palace. Tickets go on sale at 10am on Tuesday 6 April, available from: www.hamptoncourtpalacefestival.com
The festival will open on Friday 13 August with legendary artist, Van Morrison. Entering the Grammy Hall of Fame in 2007 and winning an Americana, BRIT and Grammy award for his outstanding contribution to music, Van Morrison is a true icon. From Brown Eyed Girl to Moondance, the impact of the OBE awarded, global sensation’s artistry on the music industry is inconceivable and his legacy stronger than ever.
Global sensations Björn Again will return to the Hampton Court stage with an unforgettable show of much-loved ABBA songs and 70’s fun on Saturday 14 August. Their internationally acclaimed show has been performed in 71 countries over 35 years, amassing over 5,000 performances and is acknowledged for initiating the ABBA revival.
Following their critically acclaimed 2018 ReOrchestrated tour, on Tuesday 17 August and Wednesday 18 August attendees will see Brit-nominated Bastille reprise a selection of songs from their three albums (Bad Blood, Wild World, Doom Days); re-imagining, deconstructing and rearranging their iconic songs with a 20-piece orchestra and choir.
Keane first skyrocketed to fame back in 2004 with their debut album, Hopes and Fears, which featured alternative rock anthems such as Everybody’s Changing and Somewhere Only We Know, the album was awarded the 2005 Brit Award for Best British Album. Having taken a hiatus back in 2013, the quartet are now back after releasing their stunning fifth studio album, Cause and Effect. The band will grace the stage at Hampton Court Palace Festival on Thursday 19 August.
“The Voice” coach and music legend, Tom Jones, returns to the Hampton Court stage, after a crowd rousing performance in 2018. He will be singing hits from his unrivalled repertoire and a career spanning more than 50 years, such as timeless classics Delilah, What’s New Pussycat and It’s Not Unusual. Tom Jones performs on Monday 23 August and Tuesday 24 August.
Previously announced international superstar, Lionel Richie, soul-pop phenomenon Rick Astley and jazz marvel George Benson will return to Hampton Court Palace Festival in 2022 when the festival returns to its usual month of June.
2021 Date Artist Friday 13th August Van Morrison Saturday 14th August Björn Again Tuesday 17th August Bastille ReOrchestrated Wednesday 18th August Bastille ReOrchestrated Thursday 19th August Keane Monday 23rd August Tom Jones Tuesday 24th August Tom Jones
2022 Date Artist Wednesday 8th June Lionel Richie Thursday 9th June Lionel Richie Saturday 11th June Rick Astley Thursday 16th June George Benson
