Last night Fierce Panda hosted their Summer Showcase in The Oak Room at Covent Gardens 'The Hospital Club; comprising of two of their signings, 'LONGFELLOW' and new signing, ''MASAKICHI'.
Having heard their new single, 'Spring' on Soundcloud I was eager to see 'Masakichi' live, to see if they were able to recreate the dynamic range from their released tracks, and put simply- I was not disappointed. The five piece from London played a flawless set from start to finish, combining soft droning verses with shatteringly heavy choruses, laced with tonnes of groove and subtle uses of compound time signatures, the harmonies between Hannah Cartwright and Hattie Williams really polishing off what was a tight, and solid performance.
If you are like me, and you can't really listen to vast amounts of Post-Rock instrumental bands without yearning for vocal melodies and harmonies, I would recommend checking out Masakichi. Their instrumental arrangements have all the epicness and dynamism of atmospheric Post-Rock, while filling the void often left by other bands through their use of melodic vocal lines, and harmonies.
Their Album is out September 18th, and can be pre-ordered from Fierce Panda Here.
LONGFELLOW, an established Fierce Panda act took to the stage shortly after, and cracked straight into a set full of incredibly well written, upbeat pop songs from their latest release. Having been blown away by Masakichi's set, I had high expectations for Longfellow. Although I wasn't disappointed by their performance, I felt that there was a lack of emotion and passion during the first half of their set, their cover of 'Elastic Heart' by Sia not managing to capture the raw emotion of the original and falling into the back of the room, Owen Lloyd's vocals unfortunately getting lost in the arrangement.
New single 'Choose' introduced a welcomed melancholy and emotional track into their set which really stood out and addressed my prior issues, the downbeat song really conveying the pain of emotional stalemate and cyclical relationship routines in a raw pop song. Ending their encore with 'Medic', Longfellow managed to prove themselves as a versatile act, thoroughly dismissing my prior reservations, and providing me with songs stuck in my head while on the train home.
Longfellow's New EP is available to pre-order from Fierce Panda Here.
Have you heard of Nozstock before? I wouldn't blame you if you haven't. This modest 5000 capacity festival, aptly sub-headed 'The Hidden Valley' is hidden deep within the Herefordshire countryside- near the Hamlet of Bromyard. Now in it's Seventeenth year, Nozstock has established itself a dedicated fanbase of locals, and those from increasingly further afield. Each year has a theme, and this year's- A Hitch-hikers Guide to the Galaxy, saw the site lovingly decorated in everything space. The theming did stop there though, with space related workshops and activities for the younger members of families and the audience, those tired from listening to music could retreat to any of the activities area to participate in Jetpack making, building spaceships, rockets, blacksmithing, to the vaguely advertised 'Space crafting' (at the Enchanted Glade 17:00 Sunday).
In my now seemingly traditional festival journey, a gruelling 8 hour drive down to Bromyard at lunchtime had me pitching my tent in darkness, in the hammering rain, undeterred from enjoying ourselves, we set off to explore the site and listen to some music.
Nozstock festival has an intriguing demographic, due to it's diverse acts -as you will hopefully read throughout this writeup- and as the night draws on, the crowd grows wilder, heading down to the COPPICE, BULLPEN, and CUBICLES stages, all dedicated to different styles of Dance, Electro, Dub, 2 Step, Hip-Hop, Garage, Basscore and Drum 'n' Bass. Admittedly, upon arrival; and without any prior knowledge of the festival I was worried that my only dance move 'Big fish, Little fish, Cardboard box' wouldn't last me throughout the weekend and I would be ousted as an impostor of dance and electro music. Much to my relief, the friendly crowds didn't catch on.
Heading to the Orchard Stage for NEVILLE STAPLE BAND's headline set, we caught a jam packed performance full of crowd skanking in the mud, churning up the sodden floor, kicking the first night of music off with a energetic and tight performance. It has to be noted however- that this festival breaks the tradition of curfew by 11, or half past, with headline sets on the mainstage starting as late as 23:45, with smaller bands playing throughout the site to as late as 2:40, before music stopping around 3:30. The site however is fantastically laid out with sound from each stage not spilling over into over crowds, and bearing in mind that it only takes 10 minutes to complete a circuit of the site, this is a seemingly impossible but well realised feat.
SATURDAY
We kicked off Saturday with HIPICAT, winners of the 'Gigslutz PlayNoz 2015' competition, who brought the new day in with easy to process (for those hungover) Psychedellic rock. Luckily the rain for Saturday had abated, and throughout the day, the churned mess in front of the stage dried out enough to sit down and enjoy the weather. As mentioned earlier, before around 8pm the day had a completely different vibe to the night time, becoming more diverse musically, and more appealing to families with younger children. South African loop pedal artist, JEREMY LOOPS wowed the afternoon crowd with multilayered tunes consisting of massive harmonies, beatboxing, harmonicas and guitar arrangements that have taken him around the world, picking up bits of culturally diverse sounds and mashing them up into a impressive set.
It has to be said about the hospitality of the NozStock press team, which was second to none. Instantly upon arrival, Damo and Nolly were on hand to answer any questions about the site or anything else, and organising a press picnic on Saturday was the icing on the cake. ROZELLE treated an unfortunately modest crowd to an expertly crafted set of Indie Rock tunes, and personally I thought they would have been better suited to a later slot than they were given, or been allocated a place on one of the bigger stages at a similar time. As the evening grew cold, back on the Orchard Stage SKINNY LISTER kept the crowd warm with their pub folk tunes, rallying mass dance offs, swaying, and mass cheers to a highly energetic set.
As are most festivals, NozStock is not just limited to stages for music, with the Wrong Directions Cinema Tent providing short and feature length films throughout the day, the Laughing Stock stage promoting comedy, and Bantam of the Opera & Velveteen Valley offering magic, theatre and late night cabaret to indulge in. Saturday's comedy headline came from Seann Walsh, who through his blend of current topics, anecdotes about living with his girlfriend and stand up comebacks gave the audience 40 minutes of non-stop laughter.
WU-TANG CLAN's set was flawless, apart from the fact that they didn't actually show up. Pulling out of the festival late last week, they had yet to provide a reason for this late and very unprofessional cancellation by Saturday. The disappointment throughout the crowd was noted, with expletives slamming Wu-Tang's to be found scrawled on toilets around the site. Fortunately DE LA SOUL was on hand to provide a heavy and incredibly well received set, expertly encouraging crowd response, easily drawing the biggest crowd of the weekend.
SUNDAY
The clouds burst early Sunday morning, turning the just dried ground back into a sloshy mess. This however didn't dampen spirits, as the crowds were back out in full force come 4pm for TANTZ's high octane Yiddish dance music set. Combining elements of reggae, electro swing, power-klezma, rock, dub and upbeat insanity, Aaran Kent riled the crowd up into a frenzy between -and whilst- on Clarinet duties. TANTZ, despite the miserable weather were able to deliver a hard hitting set that was without fault, and one of my favourite of the day.
The eclectic mixture of artists over the stages was impressive, and NozStock seemingly taking pride in promoting a lot of local and nearby artists, giving the crowds the opportunity to take a punt on many bands that they may not have heard of. This is a great attitude to have when organising a festival, as the promotion of smaller artists is invaluable to those working as musicians.
MR B THE GENTLEMAN RHYMER graced NozStock with two sets on Sunday, one at the Orchard Stage, and a later set on The Bandstand. The well spoken ambassador of rhythmic lyricisms split his catalogue for the event, self notedly playing more of his pop ditties earlier in the day, before giving a more chap-hop set in the evening. MR B's one man quest to 'introduce Hip-hop to the manners of the Queen's English' went down a treat, building a solid rapport with the crowd throughout the duration of his set. We stopped to eat later by the Orchard Stage whilst BROKEN BRASS EMSEMBLE's expertly arranged set of swing tunes drew an active crowd, an act I couldn't have even imagined playing at the same festival as the one I had initially seen upon my arrival on Friday. The brass troupe from Holland would transcend from swing into funk and Hip-hop styling flawlessly, and then come straight back into big band arrangements as though it was nothing, with slick professionalism.
Sunday night drew to a close with Motown legend, MARTHA REEVES AND THE VANDELLAS on the Orchard Stage. Unfortunately getting off to a late and rocky start- Martha Reeves called a abrupt end to her opening number within the first 15 seconds of coming on stage, before complaining to the sound engineers and starting over again. Martha Reeves' voice sounded a bit strained throughout their performance, but held up well regardless. Appealing to an audience of older and younger fans, it's lovely to see that the Motown Veteran's music has crossed the generations and was being sung along to, danced to, and enjoyed by such a diverse audience.
If I had to summarize NozStock 2015 in one word, it would be: Crazy.
Allow me to explain, and since being back for 12 hours (at time of writing) the 2 examples I have used to explain the unprecedented madness of this weekend to friends and family are: Firstly, the penultimate act for me this weekend involved me having to follow a guy dressed as a badger into a small room covered in zigzags where we had to dance to gain access to a secret stage, where I watched a three piece post-rock band who consisted of a Peter Serafinowicz doppelgänger and a mannequin torso on stage. And secondly, whilst out and about I saw a person dressed as a button being chased by a pack of kids with sparkly wooden spoons, attacking him under the command of a woman dressed as what looked like a salt shaker.
This weekend has been fantastic, and I would like to thank the team at NozStock for their hospitality and for such an unexpected experience, which I'd hope to experience again next year!
The Beat Herder prides itself on being a festival like no other and has firmly established itself as one of the best festivals of the summer, constantly evolving and improving. 17 lovingly crafted stages set across the Ribble Valley site in Lancashire catered for all types of music taste. Each year there’s the promise of new arena to wet your appetite. This year that was Trash Manor, which got an upgrade from a red & yellow stripy tent to a stately manor complete with a roman style fountain and grinding robots.
What I love most about this festival is the attention to detail. It’s in abundance everywhere, from the flower boxes to site signage, to my favourite hangout – Quality Street (a street complete with a sweetshop, barbers, tattooist, garage, hotel and a parish church). The whole site is built from reclamation yards and the organisers positively encourage punters to explore the every nook and cranny, after all it’s not just about the music.
The DIY ethic is also noticeable in the refreshing absence of corporate sponsorship and that’s how fans want to keep it. This year however, heritage drinks brand Jägermeister unveiled their new festival experience ‘Unearthed’. Jägerhaus comprised four separate spaces that offered festival-goers an immersive experience which differs between night and day to reveal secret rooms and passages. The two story wooden shack had a Germanic mountain lodge feel and complete with hexagonal pool table and funky stags heads. There were notable sets from Raff Daddy (2 bears) and Mike Skinner over the weekend, though the venue never quite set the festival alight in its promise. Is this a sign that Beat Herder losing their independent roots, I sincerely hope not….
Matt Whalley from Blackburn said “Beat Herder was amazing as per usual but no more expansions please. Stay true to your loyal fans and don’t go commercial.”
This years Beat Herder was a special one…. their tenth birthday and they invited some of original line up back to celebrate it with them. It’s hard to believe that only ten years ago that Beat Herder was a little known 1,200 capacity rave in the woods. Those numbers have swelled to 15,000, and it’s the wide range of music, and the lovely Lancashire charm that keeps people coming back year on year. Lifers even dedicate their love with a BH sheep logo tattoo. I was tempted myself…but maybe next year.
The main arena opened at 4pm on Friday, giving punters a chance to set up, acclimatise and get pretty drunk by the time the first acts came on. Over the weekend we saw a good caliber of acts from local bands to well-known international dance artists. Here are my highlights.
As Friday evening fell UK base artist Melé & frequent collaborator Slick Don played to young and hyped crowd in Pratty’s Ring. Belting out a host of heavyweight euphoric dance tunes Slick Don urged people to get on shoulders and rise above the crowds. Melé has been steadily rising in the ranks due to his quick mixing style and increasing radio play of his summery anthen Ambience, earning the support of Annie Mac, Mista Jam and Pete Tong.
Securing a huge electronic dance act such as the Basement Jaxx must have been no mean feat for the organisers and what better way to celebrate their 10th anniversary. The Jaxx did not disappoint as they brought their carnival-esque and energetic show to close Friday’s proceedings on the main stage. They ran through their galaxy of hits from Where’s Your Head At, Good Luck, Red Alert, Do Your Thing, Raindrops, as well as showcasing material from their new album Junto Never Say Never. It seemed as if the whole of beat herder, young and old were bouncing in the air to the finale to Bingo Bango. A job well done.
If you’ve ever seen A. Skillz live you know the man is a wizard on the decks. On Saturday evening the DJ extraordinaire set The Fortress alight with a pounding wave of scratching, sampling and mixing, fusing together, hip-hop, dance, breaks, DnB, soul, funk and disco. We heard mash-ups of everything from Eurhythmics, Nirvana, Damien Marley, The Champs, Route 94, Brookes Brothers. Too many hands-in-the-air moments to mention, and with fire canons lighting up the crowd, this was ASkillz at his very best and it was ridiculously good.
I seem to follow the same pattern each year, and 2015 was no exception; swing dancing on Sunday morning followed by a jerk chicken in the sunshine, then over to the Toil Trees stalwart Mr Scruff’s for one of his legendary 5 hour sets. Accompanied by Mc Kwasi’s cheery infectious nature, his chilled out vibes make you want to smile & dance. He starts off with some more laid back grooves, that build to a more jungle funk to a trip-hop vibe. Towards the end of the set most people are waving their hands in the air and singing along to ‘Hot 8 Brass Band’s – Sexual Healing’. Like A.Skills there are no genres that he won’t touch jazz, motownesque horns, funk, hip hop, ska, reggae, disco and house are all up for his treatment. Sunday’s are made for this.
The sun shone gloriously in the afternoon Crazy P took to the main stage. Championing disco-house vibes lead singer Danielle’s big personality and on stage energy adds a huge amount to their live band performances. She high-kicks the crowd out of their final day sluggish state showcasing their latest offerings from the excellent ‘Walk Dance Talk Sing’ – ‘Cruel Mistress’, Scrap the book, Like a Fool, Hear my Song, The Come On; as well as throwing in some crowd pleasing older favourites ‘Love on the Line and ‘Eruption’.
Caroline Greener from Leeds said “Crying with laughter multiple times, warm crowds, dancing till my feet hurt, being with an amazing group of friends in a magical place where rainbows live and fireworks fill up your eyes. Thanks beatherder!”
This is my fourth year of herding beats in Sawley. I almost don’t want to publish this review for others to see. I want to keep this wonderful festival for the few thousand in the know. When something’s this good it would be rude to share, surely….
Ten years ago, Latitude Festival was born to “rewrite the festival rulebook”; to combine music with culture, inviting guests to discover a curious wonderment of poetry, music, literature and comedy, escaping reality and exploring bewilderment. A decade on, and Latitude continues to master this art. Enticing over 20,000 families, energetic teenagers and middle-aged pear cider consumers alike, Latitude is certainly a festival that stands true to its ethos; to be a multi-arts boutique event set to challenge the festival status quo. And on its tenth birthday, Latitude certainly pulled out all the stops to make this celebration one to remember.
FRIDAY:
The festival kicked off in style on Friday, with a plethora of home-grown talent and hard-hitting headliners ready to entertain the crowds of thousands. As tents were barely even unzipped, funnyman Alan Davies took to the stage of the Comedy Arena for a 45 minute masterclass in worthy stand-up at its finest. The QI team captain created a sea of giggles throughout his set, albeit in a routine that seemed slightly reined in for the younger crowd gazing at him with wide-eyes and confused faces.
After playing a touch of table tennis at the ping-pong thunderdrome at Pandora’s Playground, we saw the incredible Santigold perform hits such as Disparate Youth and Big Mouth at the Obelisk Arena, bringing the enthusiastic crowd up on stage to dance alongside her. However, it was four-piece Kendal indie rock band Wild Beasts who were definitely ones to watch – now in their sixth year playing at Latitude, the band performed intensely and luminously, with tracks such as Wanderlust epitomizing why this band are brought back to the festival year after year.
Now, some of the lucky 1,000 Latitude goers were overwhelmingly excited to witness the secret set of Ed Sheeran in the enigmatic, cosy setting of the iArena stage at 11pm. The pin-up ginger apparently wowed fans with an array of acoustic covers; from Bill Withers’ Ain’t No Sunshine to Blackstreet’s No Diggity – I say apparently, as I was one of the unlucky ditherers who missed it, instead smiling giddily at the prospect of just seeing the euphoric set that Alt-J had just performed.
Returning to Latitude for the third time, Alt-J are a band with that touch of originality that has mesmerised many. As the sun set on Henham park, the Leeds three-piece allowed their distinctive sound to drizzle onto the stage with a hauntingly charged performance of Hunger of the Pine, soon detonating the crowd into a frenzy with the epic classic Fitzpleasure. Sullen blue light and thick haze pervaded across the stage throughout the set, with classics such as Left Hand Free and Matilda allowing the mixed audience to transpire into a palpable live adventure fit for the masses. With whispers emerging that Ed Sheeran was in fact dwelling in the woods, the teenage heavy crowd tangibly began to disperse for the forests – but it didn’t take away the shine of Alt-J’s performance, and the rest of us gazed on to witness why this band were fully deserving of their headline spot.
SATURDAY:
We headed off to the comedy tent at the crack of dawn (11am) for a bit of light-hearted laughs to begin the day – in the form of Funz and Gamez, a show with an all singing host, an elf and a dog playing the piano. Sure, it has all the ingredients for a tacky kids act, but this was anything but – it was inappropriate, weird and absolutely hilarious. The songs were awful, the jokes were purely for adults and the kids had absolutely no idea – “Life lesson number six! Don’t get too close to your Grandma.” An unexpectedly hilarious show, an occurrence that happened repeatedly at Latitude.
The picturesque Waterfront Stage, set amidst the beautiful Latitude Lake – where revellers could in fact swim and enjoy a free gondola ride – played host to some fantastic acts over the weekend. Saturday bought Chilly Gonzales and the Kaiser Quartett, a classical music act who impressed the crowd so much they received a standing ovation – which, with a crowd of mainly over 65’s, should not be taken lightly. Sadler’s Wells presented an opulent display of dance acts on the stage; from Roja and Rodriguez’ Titanium to the BBC Young Dancer of the Year finalists, there was an eclectic blend of raw ballet, to hip-hop performances, through to contemporary dance. The routines were breath-taking, awe-inspiring and simply beautiful to watch – whether you understood the concept of dance or did not. It was astounding, and a true celebration of the wonderful cultural diversity that Latitude embraces.
Badly Drawn Boy’s performance at the Obelisk Arena was interesting, yet not memorable; but what we’ll all certainly remember was his sour, arrogant demeanour at his “5k” festival fee. “I’m one of the best artists of the last 20 years.” he told the bewildered crowd. “I deserve more.”
Both José González and Laura Marling charmed their audience with stunning performances at the Obelisk arena, while Manchester indie band The Charlatans brought their wistfully glorious Britpop sound to the BBC Radio 6 Stage. But what so many had been whispering their excitement for was James Blake. Injecting electronic beats with his melodic, soulful voice, he certainly pulled off an impressive and widely diverse set, gaining many a fan in the process.
The night, however, belonged to Portishead. As the majority of the younger audience shot off to see The Vaccines over at the BBC Radio 6 Stage, the rest of us were able to encounter the atmospheric and hypnotic sounds in peace, enhanced with the melancholy, haunting visuals of unnerving surroundings. The set was a cacophony of cinematic splendour, Beth Gibbon’s ghostly and poetic voice hauntingly travelling through songs such as Machine Gun and Glory Box to a crowd lost in a trance-like state. Noone really expected Beth to crowdsurf, but she hurtled into the crowd anyway. Noone really expected Radiohead’sThom Yorke to join Portishead on stage for the encore, but he did it anyway. Noone really expected Portishead to be so euphoric, sensational and explosive, but they were. And damn it, they were by far the best act at the entire festival.
SUNDAY:
With revellers aiding their hangovers with a £8 breakfast roll, Sunday began with the absolutely hilarious Last Leg Live in the comedy tent. Adam Hills, Josh Widdicombe and Alex Brooker brought the Channel 4 hit to the stage, and before long every crowd member was vibrating with laughter, even more so after racing both Alex and Adams’ prosthetic legs through the crowd.
Sir Bob Geldof and co caused a hurricane of festival-goers to race to the front of the main stage, as Irish punk act the Boomtown Rats performed hits such as Someones looking at You and I don’t like Monday’s to a crowd of thousands. It wasn’t a favourite for the children, as the majority seemed to be doing cartwheels and handstands. But the parents, lager in hand, seemed to be absolutely lapping up every second of it.
The beauty of Latitude is the pure fortuitous run-ins with a diverse assortment of weird and wonderful happenings in each corner of the festival; from a live mime performance, to book signings, to a herd of pink sheep, to an early morning yoga session, there’s so much for you to witness and discover – at one point, we walked through the forest to see snow white in a coffin, who then stood up – fully naked – for us all to draw her. Only at Latitude.
Noel Gallagher’s High Flying Birds brought the festival to a blissful close on Sunday. With an impressive band behind him, Gallagher delivered crowd-pleasers and unknown songs alike, not least prompting mass sing-a-longs with Oasis classics like Don’t Look Back in Anger. And who can blame him? Although not one to live up to the phenomenal performance by Portishead last night, it was a well-received by the ‘crowd of Guardian readers’ he assumes goes to Latitude, and a perfect way to end the festival.
The past decade has proved Latitude as an unconventional, yet magical adventure for all those who attend. Though clearly designed as a family-friendly festival, its sublime diverse culture allows anyone – of any age – to experience something different, something new, and something that can spark inspiration. To read about it is one thing – to experience it is another. Latitude is one of the most magnificent festivals I have had the pleasure of attending, and one I will surely wish to return to in future.
With this years NASS festival now being over a week ago, for many people the infamous ‘festival depression’ is slowly starting to sink in with many already looking forward to the next dose of the drum and bass festival next year. We here at Summer Festival Guide had the chance to attend the festival for the second year running, documenting the event through images and words. Attempting to compare the two trips to the festival is almost indescribable, with team NASS stepping up their game so much this year there NASS 2015 will definitely be one of the main highlights of our festival season.
Opening the weekend up on the Friday’s main stage, We Are The Ocean (3.5) started of on a mellow tone trying their best to get the drum and bass lovers to swap their addictions for beats and drops for guitar and drum solos. Managing to draw a few in for the crowd favourite ‘Young Heart’ the band performed a strong set to a very inactive crowd. Moving forward, Modestep (5) got the crowd going from the first tones presented to them. With ‘Sunlight’ and ‘Freedom’ sending the participants into a frenzie, the NASS three day party was well and truly underway. Being one of the controversial headliners, Enter Shikari (4) drew in a medium sizes crowd for their set, however this didn’t stop the band giving it their all to win over the few still sitting at the back of the field. Clearly catering their setlist towards the festivals drum and bass roots, the band moved away from their rock genes with focusing on the more electronic tracks in the bands backlog with ‘Anaesthetist’ generating the most crowd participation.
With ‘The Slammer’ possibly being considered as the outcast stage from the others with the acts originating in the rock genre, many of the bands received a less than deserved minimal crowd. Saturday’s line up including Shvpes, Heck and The One Hundred with each of them putting on a strong set despite the almost empty tent. Many of the bands involved on the stage except the headline act for each day experienced the lacking crowd, and with that we sympathise as had it been any other festival each of them would have had a good sized crowd which the more than deserve with their individual talents.
The Summer Festival Guide favourite Wilkinson (5) returned to NASS Festival for yet another performance at the festival. Playing the crowd favourites ‘Too Close’ and ‘Dirty Love’ to close the set, the crowd reaction alone can easily prove why the festival promoters keep bringing back Wilkinson, with the guaranteed party that he puts on the table for all festival goers. Heading over to Lower Than Atlantis (3.5), the comparison between the two is non existent. Despite having a good sized crowd gathering for their set, the band played a setlist which was far too short for a headlining set, containing only seven songs the band performed an average set which could easily be improved if the sound quality within was controlled. Rebel Sound (4.5) being the side project of Chase and Status left many wondering what the hour would hold with this being their first festival headlining performance. Producing their own remixes on the crowd favourite ‘Stay With Me’ by Sam Smith and a lighting show brighter than any other, Rebel Sound will never be forgotten in the history of NASS.
With the closing day of NASS almost being a complete wash out, many of the festival goes seeked refuge within the covered Southbank and The Slammer stages. Giving everyone a dose of much needed pop punk, ROAM (3.5) brought their usual high energy to the stage hoping to lift everyone's spirits, earning a lot of bobbing heads and even their mini mosh pits. Hactivist (4) also managed to almost fill the tent with their rock infused version of the ever so popular Jay-Z track ‘Paris’. Closing the weekend, the chilled out Public Enemy (3.5) managed to secure a crowd despite many waiting for the highly anticipated set from popular DJ Hannah Wants. With a stage show based performance, the act was one that many would agree should not have closed the festival main stage with the major comparison to the popular Rebel Sound and the crowd pleasing performance that they delivered.
Agreeing that this is the best line up NASS have produced, with a few lineup changes in terms of the closing set at this years event, the festival would be one that more than many would not forget, however ending the festival on a mellow note on the main stage could have improved the overall weekend. Bring on NASS Festival 2016!
Described as urban-based-yet-rural-feeling, multi-dimensional festival, Lovebox’s original dance roots have expanded across a wide variety of musical genres. The festival, which originated as a club night founded by Groove Armada back in 2002, has transformed into the 40 acre two day Victoria Park event it is today.
There was almost too much to see, do, eat and drink. 13 stages supplying a huge selection of music throughout the two days, Mountain Dew’s Live & Loud skateboarding competition, roller disco, a full range of parlours providing clothing and accessories to the festival goers as well as a large array of food and drink stalls which cater for every mouth – more than enough to keep the 50,000 strong crowd busy.
On a sold out Saturday the stages were graced by acts such as Hot Chip, Annie Mac, Jessie Ware, Little Dragon, Danny Brown, Flume, with the veteran rapper Snoop Dogg himself headlining the final evening slot on the main stage.
A special mention must go to Mountain Dew's Live & Loud skateboarding competition. The half pipe treated crowds to stunning highflying performances from skaters around the world leading to an impressive final competition at 7pm.
Snoop Dogg played a shorter set than anticipated but hit an all star set spanning an almost 25-year-old career, performing hits from The Next Episode through to Sweat. He also treated his audiences to covers from B.I.G with a closing show performance of Bob Marley’s Jammin’.
Highlights throughout the day included a chirpy up beat set from Hot Chip on the main stage, which mixed hits new and old with fan favourites Ready For the Floor and Over And Over being highpoints. Jessie Ware who hit all the right notes with the sun blissed crowd, with her 2014 album Tough Love and Annie Mac who picked the crowd up and got them bouncing on the sandy fields of East London.
Festivals are big business, and the last few years have seen many boom with the increasing commercialisation of the smaller festivals and the increase in artist attention through social media. Truck, by contrast, has been going for 18 years, maintaining both its small capacity and indie ethos, providing a platform for local and underground artists to showcase their talents alongside big, well-known artists such as Clean Bandit, The Charlatans, and Basement Jaxx. Truck’s local connections run deeper than just the line-up however, with the local Rotary Club handling the majority of the catering, and one of the most popular stages sat in a concrete barn that held the lingering smell of the cattle that usually reside there.
With an increased crowd capacity of 6,000, this festival was shockingly a sell out once again! The highlights of the two-day event, which came to a head in the early hours of Sunday morning, came in the form of the headliners – indie-rock band The Charlatans, dance act Basement Jaxx and the more mainstream, Clean Bandit – as well as the smaller and lesser known artists – Essex group Rat Boy (who caused rather a stir with security with an audience stage invasion at the end of the set), Joy Division star Peter Hook, and Bedfordshire’s Don Broco.
The low-key nature had its upsides and downsides: lip smacking food and great local acts where balanced by the fact that, with the exception of the main Truck stage, and to some extent the Market stage, the stages were almost all set up inside small tents and buildings such as the Barn, which couldn't hold the capacity of people wanting to watch the amazing bands on offer. For acts such as The Wytches and Slaves, there were queues surrounding the entire field for over half hour before the band were even ready to start, just to try and get into the barn, which was already full to the brim. The capacity of the Barn compared to the popularity of the bands playing was a shame because it hosted so many of my personal festival highlights, as it did for many others.
The weekend vibe was completely laid back and inclusive, once again. It was in no way about wearing the right clothes or being seen, but rather about kicking back and enjoying the unique atmosphere while soaking up the festival sun. There was no fancy VIP area like you'll find at other big festivals; backstage was purely functional. Instead, everyone mingles in the main arena – the artists roam the site, picking up beers at the bar just like everyone else. Truck is clearly about the music and people enjoying themselves, something that feels lacking at the bigger festivals which seem to be just money-spinning corporate beasts.
With every act, bar the headliner’s of each stage, allotted a half-hour performance slot, it’s nothing if not fair. You can power through bands and stick with sets you might otherwise leave, meaning you get a great idea of each carefully edited set list designed by each band to show themselves at their best.
While small, sweet, and harmonious, the weekend did not go without its troubles. On Friday, people arrived at the Market stage to catch the first band of the weekend only to find out that the security fence had not yet been erected, causing the stage to open over an hour late! With similar issues over at the Barn Stage, the first acts at each stage found their sets being cut by 5-10 minutes through no fault of their own, often meaning the crowd missed out on some of their favourite songs. And it wasn’t just the organisation causing problems.
During the set of the popular two piece punk band from Tunbridge Wells, Slaves, two bright red flares went up in the middle of the crowd. As security got hold of the flare and made it back out through the crowd, you could feel the heat of the flame. And just as you thought it was in hand, up went another one from the same troublemaker. Slaves, however, were not phased, even calling for another flare when the song finished and the lights went dim!
With the fabulous line-up, a new site layout and even a new bridge across the stream, alongside the perfect festival weather, this was the festival you’ll be gutted to have missed.
Somerset House has established itself as the perfect summer music venue, with an impressive eighteenth-century courtyard, right by the River Thames in central London. Summer Series always has an impressive and diverse line up every year, with the likes of Adele, Amy Winehouse, Professor Green and Ellie Goulding on their list of past performers, this year was no different. So far Passenger, Nick Mulvey, George Ezra and James Bay to name a few have graced the stage, tonight was Kwabs, Raleigh Ritchie and Zak Abel’s turn to shine.
Walking through the venue, it's small and intimate. People are starting to filter through, grabbing beverages and jerk chicken on the way. Zak Abel kicked off first and warmed up the crowd for the night’s following proceedings. The up and coming star, probably best known for his vocals on Gorgon City’s 2014 summer smash ‘Unmissable’, performed to the crowd, his own material from his latest EP ‘Joker Presents’. After a few microphone issues, Abel soon caught the attention of the audience with his edgy but soulful voice as people started to arrive. Songs in his set included, ‘Higher’, ‘Alchemy’ with a Daniel Beddingfield’s ‘Gotta get thru this’ mash up and ‘These are the days’.
Following Zak Abel, was Raleigh Ritchie, who built on the atmosphere and energised the crowd further.. Asking people to dance ‘like no-one’s watching’, the audience didn't hesitate as they started singing along to his set which included hits ‘Stronger than ever’, ‘The Greatest’ and ‘Bloodsport’. Given the short amount of time he was on stage, he gave an explosive performance and left the audience wanting more.
The much anticipated Kwabs didn't disappoint when he graced the stage to headline tonight's event. Full of suave and rhythm, he grooved to the beats of his up and coming debut album ‘Love+War’ which is out this September. He performed known hits such as ‘Walk’, ‘Wrong or Right’ and ‘Pray for Love’, as well a as sneak preview at some album material. If that wasn't enough, Kwabs also threw in an amazing cover of Arctic Monkey’s ‘Do I Wanna Know?’, then sat down and serenaded to a quiet audience, James Blake’s ‘The Wilhelm Scream’ and John Lennon’s ‘Jealous Guy’. It was an intimate moment, and Kwabs really connected with the crowd. The audience then started to dance and sway to ‘Fight for Love’, ‘Saved’ and lit up the whole courtyard with their mobile phone lights to ‘Cheating on me’.
The Summer Series was the perfect way to begin the weekend. The weather was great, the intimate venue meant the sound was enclosed within the courtyard, emphasising the sounds and atmosphere a whole lot more and from tonight's performance, Kwabs debut album sounds amazing – definitely watch this space!
Miles away from the hustle and bustle of the city, in the rolling hills of the secluded Leicestershire countryside, the ground was once again shaking as Noisily returned for its forth year. With a tantalising line up for any electronic dance music fan, this festival brings you the best acts from the UK and abroad, including MC Xander and Whyt Noyz both from the UK, Stephan Bodzin (DE), Grouch (NZ), Parasense (Russia) and The Outsiders (Israel) as well as Brazilian techno giant Victor Ruiz. From Psytrance to techno and glitch-hop to house, Noisily enlightens you on a journey of music.
In Orbit did the décor for the tree house stage, where MC Xander, ODJBox and Specimen A headlined. Most of the décor throughout the festival was done by Liquid Fairies who are highly recognised in the psychedelic festival scene, their attention to detail is second to none including the golden kite bird décor on the crown of the Liquid stage as a nod to the birds which surrounded them during the build. Within an hour of the festival opening, everyone was exploring their new wooden playground that they would call home for the next 3 days – the hammocks in the shaded woodlands area were a popular addition, providing a chilled out vibe.
The main stages are Liquid (from Glade/Liquid records )(Psytrance), Noisily (Techno), and Treehouse (from Glitch & NeuroHop, Mid Tempo to Bassline House and Electro through to Drum and Bass, Dub and other genres). As well as having 3 main stages Noisily also has several sub stages: Nicholas Cage, Yeti Tent and Bassport Gazebo (Bassport takeover the Treehouse stage at 9pm Sunday with Drum and Bass). There are 3 main bars close to the main stages, apart from the cocktail bar which overlooked the festival from the hill.
Psychedelic dream temple was here this year on the first leg of its European tour showcasing 18 international artists, and headed up the list of performance and circus artists.
With what started as a gathering of 500 people back in 2012, has now grown and expanded into Noisily festival as we see it today – which welcomed just under 3000 festival-goers in 2015.
With its high production values, diverse line-up and unique atmosphere, Noisily has already put itself on the map for small festivals.
Although the ground was soggy, the air stayed clear for the majority of T in the Park, Scotland's biggest music festival. There had been a lot of anticipation with the change in venue from the usual Balado sight in Kinross. However it seems with a few “teething problems” set aside, Strathallan did not disappoint. With a promising line up of artists from Avicii to Noel Gallagher’s High Flying Birds set to headline, there was a very diverse weekend of music in store for Scotalnd’s festival goers.
The Cribs and The Wombats were the first to take to the main stage on Friday, offering a punk-rock vibe to get the crowd warmed up with their infectious energy. Tord Øverland Knudsen from the Wombats living up to his usual playful, crowd pleasing self. Meanwhile acts such as Blossoms and Indiana were pulling out all the stops in the BBC introducing and T Break stage.
Later on Annie Mac took to the Main Stage and had everyone up dancing for her first of two performances over the weekend. After her followed Hozier, performing his debut Album with hit song Take Me To Church amongst the set.
As Rudimental hit the main stage the crowd multiplied. Well known for their high energy live performances, drum and base group Rudimental put on a spectacular show, opening with Not Giving In. DJ Locksmith could not stop moving and his infection energy really rubbed off on the crowd. The DJ also pulled on the crowds heart-strings by dedicating a song to his son. Waiting All Night was a huge crowd pleaser and had everyone dancing and singing along.
When Sam Smith took to the main stage, you could hear a pin drop over at the BBC introducing stage. The crowd were hung on his every word. He delivered a very sincere performance and stated how happy he is now he creates music true to himself. He thanked the crowd for helping this happen. Some reckon they even seen Sam Smith shed a tear during his performance.
Kasabian wrapped things up on Friday night headlining the main stage. As the countdown clock displayed on stage got lower and lower the energy in the crowd lifted higher and higher. With Bumblebee and Underdog being amongst the opening songs the atmosphere was electric from the beginning of the set right through to the end. Songs from Kasabian’s No.1 UK album Empire went down a treat and it was clear to see both the crowd and the band were having a great time. People headed back to their tents with Kasabian's bass line resinating in their bones.
There were a number of early risers on Saturday morning who turned out to see acts such as The Lafontaines and The Strypes play. Later on pop-rock group Lawson took to the stage, getting the whole crowd singing along to songs such as When She Was Mine.
Jungle were a real crowd pleaser in King Tut’s Wah Wah Tent. A young boy took to the stage mid set and break danced which had the crowd going wild. Also performing in King Tut’s was St Vincent who delivered an intense and captivating performances. The set was accompanied by some spectacular lighting to add to the intensity of the performance. After St Vincent came Scotland’s pride and joy, The Proclaimers who attracted the widest age range. Delivering hits such as Letter From America and 500 Miles the Tent was full of good vibes and nostalgia.
A lot of young excited festival goers gathered to watch The Script on the Main Stage on Saturday Night. Well known for his tendency to leave the stage and come down to the crowd, Danny O'Donoghue did not disappoint the die hard front row spectators. Girls were screaming and crying and doing everything they could just to touch the Irishman’s leather coat. Danny stated he loved to play gigs in Scotland as it was close to home and had the Celts in the audience raise their hand. Performing all of the classics alongside the more recent hits, The Script attracted an enthusiastic crowd.
The Libertines, the first of the headliners to be announced when T in The Park released 2015’s line up, took over the main stage. The Libertines attracted a slightly different crowd, many excited to see the band play for the first time after their reformation. The band opened with hits such as Time For Heroes and Can’t Stand Me Now and played an encore including Up the Bracket and closing with Don’t Look Back Into The Sun. There seemed to be a great relationship between Pete Doherty and Carl Barât throughout the set which pleased the crowd.
Some of Scotland’s finest talent was on display throughout the weekend with acts like The Proclaimers, Admiral Fallow and headliners Twin Atlantic playing across the stages. Many people faced a tough decision on Saturday with Avicii and Twin Atlantic playing at the same time on separate stages. However it was safe to say whichever act was chosen would not have disappointed. Both acts offered an energetic, all singing, all dancing performance that not even the rain could hinder. The Swedish DJ, Avicii, offered a visually captivating performance with smoke, streamers and a spectacular lighting display. There was a rave taking place in Strathallan with people dancing and singing along to hit songs Hey Brother and Wake Me Up.
On the Radio One Stage, Twin Atlantic were offering heart filled seventh T in the Park performance. Amongst speaking of the honour and emotion the band were feeling to be headlining on a Saturday night, lead vocalist sam McTrusty also had the crowd sit on the ground and on his count stand up and go wild. With a wide range of new and old songs from what What is Light? Where is Laughter? to I Am An Animal, Twin Atlantic invested their hear and soul in the performance and had the audience captivated from start to finish.
The third and final day of T in the Park was kicked off by acts such as Saint Raymond, The Parsonage Choir and Ella Eyre. The View followed James Bay, whose good looks and great tunes both attracted many goey eyed females. It was great to see the amount of people out to see the opening acts on the final morning of the festival.
The Main Stage and Radio 1 Stage were both displaying tough competition on Sunday evening. Catfish And The Bottlemen, Kodaline and Jamie T all offered an indie/alternative rock performance Radio 1 Stage. In tandem on the Main Stage there was a slightly different vibe, with the soul singing group Alabama Shakes giving a spectacular performance and had people in the crowed shouting ‘We love you Brittany!’.
The crowd were extatic to watch Paloma Faith perform. She played a variety of songs, from her first ever single, Stone Cold Sober to the more recent chart topping single Changing. Although there was much controversy over Paloma’s revealing outfit, the singer-songwriter put on a great visual performance with her quirky stage set up, opposed to the black back drop the crowd had gotten used to across the weekend. This performance was not the first time the crowd has got a glimpse of Paloma. The brit appeared at the front of the stage the previous day to watch her “idol” Labrinth play and later stated he made her cry “actual tears”.
Stereophonics opened with Catacomb and a small flame display and continued to wow the crowd with all-time favourites such as Graffiti On The Train, Mr Writer and Maybe Tomorrow. Stereophonic are no strangers to T in the Park and have developed a reputation that is certain to attract a large crowd every time. Just when it seemed the energy could not be elevated any higher, Stereophonic kicked it up a notch and played finished the set with 2005 No.1 hit, Dakota.
Noel Gallagher’s High Flying Birds were the grand finale on Sunday night. The band’s own songs got the crowd going, however it was the old Oasis classics that got the crowd going wild. People of all ages showed up to absorb the atmosphere and sing their hearts out. There was many an emotional Oasis T-shirt wearer when they played songs such as Champagne Supernova and The Masterplan. Noel communicated with the audience throughout the set and offered a more sincere performance many may be used to. The band closed with Don’t Look Back in Anger. A very fitting end to both the set and T in The Park, 2015.
