“This is the drunkest I’ve been at a gig for a long time!” The drifting garbles of a wobbly frontman on the rockabilly Please Please You stage may be as off-putting as those hearing it from the queue to get in- particularly if you're not happy with treating the outdoor festival just as an extension of the University of York's out-on-the-lash experience. The heavy influence of the nearby uni- exhibited by the second stage being named after campus music mag Circulation- might be enough to make one fear the day will be packed with struggling student pet projects and their supportive (rowdy) mates. But with such big-name acts as Rudimental and AlunaGeorge, YO1's lineup is a mix of the chart-topping with the uni-bopping. And with the promise of York's first taste of summer sun comes the promise of a diverse crowd; families rub elbows with locals, students and lovers of house, rock and reggae at the one day dance and indie event.
Holding up the baton for pleasant acoustic sentimentality is Bison Coffee Stage starter Travels By Telephone, whose haunting guitar stops short of the mawkish. His guitar sticker, happily proclaiming “you're doing better than you know”, provokes an unorthodox response from an onlooker: Wrong. a) I have syphilis. b) I don't like Talking Heads.
Meanwhile over on the main, Dub Barn Collective's white beards, tans and suits are giving off a distinctively Alabama 3 vibe, while being just as funky. It's a shame their 12pm slot means they can't gather the sort of numbers New York Brass Band draw in. Brass instrumented pop covers of 'Forget You' and a shaky rendition of 'Never Gonna Give You Up' appeal to the wider university crowd, despite the fact that the tartan-clad 7-piece don't capture of the soul of its New Orleans inspired roots.
The ripening summer rays pose an issue for sunbathing enthusiasts, as the lack of an entirely outdoor stage is particularly problematic for The Marzec Group, who find most of their fanbase prefer sitting outside the tented main stage, rather than in its musty depths. Perhaps this is why their usually enlivening multi-instrumentalist performance is somewhat muted.
One cannot be blamed for not trusting a dry day in Yorkshire spring time considering recent snowstorms, but other signs of YO1's greenness come across in its portaloo policies. By 4pm, the portaloo queues would have given the toilet lines racked up at major festivals a run for their money, leaving desperate punters squatting in nearby fields.
Other problems involving YO1's crowd numbers surfaced among the bars, as they were soon experiencing influxes of epic proportions. London's Tusk Wax suffer over on Circulation due to a significant clot; that is, a clot made up of bar goers encroaching upon the less than ample dance space for Tusk's bangin' tunes as the tent can't hold both. And, despite the fact that a £3.60 pint of cider is relatively unheard of in the cheap and cheerful pubs of York, this didn't prevent the good selection from selling out before the evening properly took hold.
Luckily this clears the way for Medlar, whose fast-paced house attracts dancers who begin to monopolise the tent area. However, choices have to be made on where to next move your feet. Fox North Coalition provide a cheery southern American vibe to the festival, with great big hats, crooning and an effective utilisation of a mouth organ. Radio One sweetheart AlunaGeorge pulls such a crowd over on the main that its too difficult to huddle in and hear her sugary sweet tones.
With food running out as well as drink, ducking into the Irie Vibes tent is never a bad idea. The darkening skies give an extra energy boost to Cojo of Bushrock Hifi's set, as the reggae dub begins to transform into ragga jungle. A patter over to main stage headliner Rudimental is a perfect complement, as the relatively new drum and bass collective exhibit the pizazz that drove them to fame so rapidly. Hit “Waiting All Night” cause an uproar but it's “Feel The Love” that add an electric quality to the air.
Once their set has finished at the seemingly early time of 10pm, only the Irie Vibes Soundsystem is of any merit. The sampling of such great artists as Panda Dub a highlight to more disappointing sets over on the other stages, though unfortunately the lack of basic amenities and food stuffs prompts early removal from the festival for many. For a festival in its second year and only just moved to a big site, it's somewhat understandable. However, if YO1 wants to pull in such a crowd next year, more foresight and preparation is essential to allow everyone to enjoy the event to its fullest..
London, a place where some of the best and most widely known festivals are held drawing in millions but deep within the heart of Islington, an alternative festival is stirring and let me tell you, quirky and unique are just the start!
It began on Friday 3rd May as I approach the doors with club like bouncers, I cannot help but wonder what is going to be behind the doors and without a doubt, it was indeed different to any festival that I have encountered before.
Located in Islington Metal works, North London, the festival ran for 3 short days only and I can honestly say that without a doubt, it was a truly remarkable experience.
Walking through the doors, I instantly felt that I had time warped , surrounded by people in Victorian gear, it felt somewhat surreal yet comfortable at the same time to completely distance myself from modern day life.
The main room (although slightly small) was cramped full of people 100% engrossed and enjoying the atmosphere. A good job was done with the space they had, with ruby red curtains reminiscent of Aladdin’s cave and seating areas to chill out to the music.
Not only was Make Believe a 3 day excuse for childhood dress up, it also showcased some amazing bands with a banging head for music. With the main headliners including The men that will not be blamed for nothing, Sunday driver, Beatrix Players and The hall of mirrors to name but a few . The music although not what I would instantly listen to, surprised me by plenty of unique instrument playing and high note hitting. I found myself humming along and having them going around repeatedly in my mind for the rest of the night.
As well as live music, the festival also offered theatrical performances in the style of theatre, circus, art and puppetry so there was something for everyone to get stuck into.
The best part of the whole experience was the atmosphere of the room. As soon as you stepped over the threshold, it was like escaping 2013 and entering a new magical world where everything is possible and the possibilities are endless.
That simply sums up their title: Make Believe… Over those 3 days, you can be anyone!
Liverpool Sound City is a determinedly different festival. The line-up reads like a roll call of this summer’s biggest acts, and though it runs awkwardly from Thursday to Saturday (it’s an industry conference, much like South by Southwest), there’s enough programmed outside of the working week to make decisions hard.
I’m sidled up by a buzzing espresso machine in Bold Street Coffee, as one half of the Collectors Club give their third performance of the day. On a Friday night in Liverpool, I’m aware this is a pocket of relative calm. “You say you don’t but you want to go out tonight.” Billed as indie-pop, it’s an acoustic set: two guitars, two mics, two men. Or boys, the median age of the room 21 at best.
Lead singer Joe Smithson says he’s pretending to be Justin Timberlake, by way of acknowledging a vague similarity between single ‘Wanna Be You’ and the pop royalty’s ‘What Goes Around… Comes Around’. A sense of humour seems to characterise the Middlesbrough band. “Don’t you want me, want me like I want you?” Understated songs about tears and longing suite the space, and music spills through an open door into the busy street. Outside, it’s as alluring as the smell of just-made coffee (or of garlic mayonnaise from various takeaway spots lining the road).
The café sings along to a pleasing cover of Fleetwood Mac’s ‘Everywhere’, and afterwards people clap, something I’ve noticed increasingly absent in live settings. We’ll cheer, yes, but people tend not to want to put down their drinks to applaud. The room erupts with good-time classic ‘Under Pressure’ at the end of the set. It’s a smooth transition with the kind of high production values that typify this festival.
Next up on Bold Street is Dan Croll, whose latest release ‘Compliment Your Soul’ aims to do just that. I hear Phoenix, but unlike Paul Simon, Burt Bacharach, and the Dirty Projectors, the French outfit are not among his known influences. The band play a few bars of ‘Wonderwall’ (Oasis, no other), as Croll quips “We’ve all had a bit to drink.”
Buttoned-up and bespectacled, the sometime Liverpudlian sings folkily from the heart – “Oh mother, it’s all thanks to you… I’m gonna miss you.” ‘Home’ gets me too. It’s plucking at heart strings, but Croll offsets any melancholy by instructing guests to take their shoes off at the door, “‘cause it’s impolite not to, you’ll be damaging my floor, ‘cause it’s my home.” This track smacks of Australian singer-songwriter Josh Pyke, but that’s mostly my homesickness talking.
Croll’s is a talent that makes you want to pick up an instrument and learn, goddammit! Fans shout for ‘Marion’ and he obliges. He’s interested to hear what other acts the audience has seen so far, and even gives the café’s breakfast menu his endorsement. It’s a mighty wholesome musician that references porridge mid-set. There’s a smile as he thanks the band – “Nobody introduces me, but that’s okay.”
A few streets over and pushing midnight, French natives Concrete Knives are working the Kazimier Gardens stage. Six-strong, they sound their full number with thick bass, edgy synth and ample reggae throwbacks. A cover of Ini Kamoze’s ‘Here Comes the Hotstepper’ rounds out their cool credentials, as do school yard echoes in tracks like ‘Brand New Start’ and ‘Greyhound Racing’.
Around the block, headliners Everything Everything can be heard long before they are seen. I spot the queue first of course, the warehouse that is Liverpool Academy of Arts already at capacity. Theirs is a complex sound borrowing from many genres, which goes someway to explaining a wide appeal. Dressed in trademark boiler suits, there’s something unignorably Coldplay about the group. It’s likely a comparison they hate, but it’s only praise.
Rapid-fire delivery from fontman Jonathan Higgs is also something of a signature, his voice not classically appealing but captivating all the same. “Yeah, so, um, wait a second!” The urgent pace of breakthrough single ‘Cough Cough’ is in sharp contrast with lilting piano on ‘The Peaks’, but each is entertaining.
My night ends with Temples fronting a packed-out second storey Leaf. It’s enjoyable enough, and a fan in the crowd tells me emphatically that their neo-psychedelic rock is melodramatic. “Melodramatic,” he yells over the reverb, “can you spell it?” Yes, I can, though I suspect he means theatrical. It’s hard to see the bands’ faces for hair.
As with any festival, the interest is as much in journeying between stages, friendships forged waiting for a toilet cubicle or at the bar, and the random exchange of hats, sunglasses and other sundry attire. The beauty of an in-city event might be that you can go somewhere else entirely during those inevitable programme gaps.
Saturday brings bright skies and an excuse for a courtyard barbeque at Heebie Jeebies pub. Aussie act Deep Sea Arcade look and sound rock and roll, right down to bassist Nick Weaver’s finger gloves. ‘Girls’ is an easy favourite, and the all-male act display a knack for taking things to double-time, then back again with ease. The set ends quickly, a teaser for debut album ‘Outlands’ (although ‘If The Devil Won’t Take You’ sounds distinctly better live).
Finnish elctro-folk lady Sansa follows, and I’m amazed by what she can do with her voice (and feet). Lyrics trade primarily in matters of the heart, most overtly in the track ‘Boys’ – it goes “boys, boys, boys, boys, boys.” Her real talent is in recording live guitar and vocal samples, singing with two mics at times, and mixing these on-stage. Her jazzy scatting is equally impressive.
Night brings the frantic garage of local boys Broken English, who look as slick as they sound. The audience knows every word, too. I so often worry for drummers – do they get the recognition they deserve? This drummer looks disarmingly young, but he’s skilled and owns the role. The Kazimier plays host to London-based Mind Enterprises, appearing here as a duo. These guys could play a much later set, their chest-thumping, bassy electronic chords reminiscent of an abstract, more melodic Totally Enormous Extinct Dinosaurs.
Popular indie act French Films are on form in requisite leather and denim jackets, so it’s a shock when singer Johannes Leppänen confesses he feels sick. “I actually threw-up on the way here.” How very rock and roll. Along with the festival’s second Justin Timberlake reference, Thomas J. Speight offers one of Sound City’s most memorable moments when he takes his set off-stage and into the audience for lovesong ‘Joni’. He offers to play a “quiet or a fast one” to close his spot, and two lads at the front shout “Both!” in perfect unison.
Toward the end of Liverpool Sound City Delphic’s set is fittingly showy, three minute singles drawn-out to six and seven minute long tracks. I stay long enough to hear ‘Red Lights’ and ‘This Momentary’, where jack-knifing beats build to the refrain “Let’s do something real.” Mount Kimbie are playing across the street, lauded as one of the festival’s best. It’s the first time I’ve heard them, and their eclectic electronica demands a second sitting (and a third, and fourth – you get the gist).
Transforming familiar urban spaces with those things about festivals we love best, Liverpool Sound City is an emphatic win. Leave your cares at home, and enjoy.
Live at Leeds, now in it’s 7th year is a city center festival featuring over 100 bands local and international. A wristband entitles you (subject to capacity) to visit any of the featured venues, including The O2 Academy, Leeds University, The Cockpit, Milos and The Nation of Shopkeepers. Due to the distance between some of the venues and wanting to cram in seeing as many bands as possible, we predominately stayed in the Leeds Met/Uni area, so had to give a visit to our favourite Brudenell a miss which would have meant a long walk or taxi ride.
There were early teething problems with a long queue snaking round the musuem for the wristband exchange but due to the beautiful weather, people were in high spirits and did not seem to mind the wait in the sunshine too much. The Cockpit had long queues from opening so we also gave it a miss.
The first venue I visited is Nation Of Shopkeepers. It’s already 1 in 1 out at the small pub venue when I arrive, and The 4 piece Night Engine are thrilling the packed crowd with their set of intelligent energetic pop. Reminiscent of Pulp and Richard Hawley with a nice take on 80s synth pop thrown in mid set. They’re definitely one I would catch again.
I spent most of the day The University where there are 3 stages, the largest of which is The Refectory which holds 2000, and also houses the smaller 500 capacity Stylus and even smaller The Mine in the basement which featured heavier rock and punky bands during the day.
Katie the photographer headed over to a rammed 02 Academy to catch The Pigeon Detectives usual sing-along raucus set in a surprisingly early afternoon slot. Disappointingly the pit was so narrow and so many photographers present, they were only allowed one song was allowed to photograph the band, which for a band who’s songs are in the 2-3 minute region was sadly too short. Not really her cup of tea musically, their set was fun to watch though from the calm of balcony though.
When I arrive at the University Department M are just about to take the stage in The Stylus. Their name makes them sound like an 80s synth duo, which indeed they are, but with the addition of a very tribal sounding drummer. The male singer looks like a Doctor Who era David Tennant in a lab coat, but bizarrely sounds like Alison Moyet! Halfway through they ramp the speed up and drop some sequences into the mix, it becomes quite danceable.
In the Refectory hipster Charlie Boyer & The Voyeurs have certainly upped their game, and all the songs are much more catchy than when I last saw them. I can see why they’ve been snapped up by a major label. I can also see their skuzzy guitar pop being a big festival hit in the summer.
Katie made the short walk to Leeds Met to catch Leeds based Middleman who played an absolutely blinding set, and was her hi-light her the day. Their mix of intelligent hip hop lyrics, rock and Prodigy style beats had the crowd dancing away and trying to catch one of the many CDs thrown into the crowd. Singer Andy topped their energetic set off by launching himself into the crowd superman style (and then proceeded to lose his phone)
Post War Glamour Girls are named after a John Cooper-Clarke poem which gets them off to a good start. They’re dark, doomy and catchy and have me tapping along from the start. When the dual male and female vocals come in together its heavenly. “Service Station Blues” is a dark indie blues song and
Back in The Mine Castrovalva is wishing someone “happy birthday you motherfucker”. There’s lots of pelvic thrusting from the larger than life rapper over a hard metal rhythm. There’s also synth samples in there too. Bonkers is the only word for it!
Once again I head over to The Stylus to catch Deep Sea Arcade, who start off as shambling indie but by the third number have progressed into the most wonderful shoegaze pop noise. There’s even a bit of happy Monday’s vibe going on, they’re totally glorious by the end, another one I’ll catch again
Over in The Refectory, Australians Splashh make a huge pop sonic wall of sound that deserves more of an audience than turn up for their early evening spot. They have dual vocals over groovy fuzzy pop. Pretty good.
Katie tthen made the fairly long walk across the city centre to Milos to witness a magnificently shambolic punk set from Kleine Schweine, whose sub two minute songs all appear to be about Eastern European former communist countries and dictators. It was a bit cramped in Milos to say the least, with the band literally in the crowd’s faces and a brief mid set break to down some shots!
Savages are soundchecking in The Stylus, and it’s loud. As they come on the temperature rises as their disturbing intro tape plays. the dry ice rises and the band kick in to their first number, but the volume has already dropped, but we have our first moshpit of the day to the throbbing bass and hypnotic drums. Unfortunately there’s something wrong with the lead vocal mic, after 2 songs, the band jam quietly in the background while its fixed, later in the set the band launch into a jam of “Don’t Let The Fuckers Get You Down”, which consists of the title of the song repeated over and over for 5 minutes, its brilliantly incendiary and mesmerizing under the monochrome lighting. They’re the best band of the day for me.
Dutch Uncles wow the crowd in The Stylus with their spiky pop music, they’re massive over the Pennines and it can’t be too long until the rest of the country wakes up to them. One fan has even got his own Dutch Uncles flag, on a Dutch flag, obviously. They are the only band I’ve ever seen with a lead xylophone part in their songs. They end a stunning set with an unbelievably good cover of Grace Jones’s “Slave To The Rhythm” which the crowd lap up.
Katie saw veterans of the Leeds music scene, Hawk Eyes at last year’s Beacons Festival and liked them so much live she caught them again at Leeds University Mine. Not quite as energetic as their set at Beacons, which may have something to do with singer Paul having his leg strapped up, they nevertheless put on a great 30 minute set of riff laden hardcore rock/ punk.
The Walkmen in the Stylus play a geat set to a packed crowd who love it. The band have been celebrating the last date of their tour today by playing darts in The Fenton. The singer is quite drunk, which may explain why he sang half a song from the moshpit which he appeared to fall into, but drunk or not, what a voice!
Live at leeds 2013 was great festival, exhausting and very heavy on the legs after 12 hours on the feet walking from venue to venue. It had a brilliant vibe, everybody we chatted to was so friendly from the teenagers to the 50+’s, and every genre of music covered. I can’t believe two natives of Manchester have never made the short trip over the pennines to the festival before, and will definitely be returning in future years.
Seeing someone perform inside a soundproofed box isn’t the usual thing you’d expect when attending a gig. It was actually quite a surreal experience when you weren’t wearing the headphones given to you at the door. Normally silent discos are played by DJ’s, so you don’t really expect to be able to hear the music, however when confronted with a band that you can’t hear it’s a completely different story. Once I put on the headphones given to me at the gate however, I was engulfed by the crisp, electro pop sounds of Little Boots as if she was performing at a normal gig.
Having never seen Little Boots before I couldn’t wait to hear what she had in store for this one-of-a-kind show. Alongside her crowd pleasing classics such as ‘Stuck On Repeat’ and ‘Remedy’ she played a number of new, as of yet unreleased tracks that went down a storm with the crowd of all ages. Towards the end of her hour-long set time Little Boots fittingly played ‘Headphones’ which added to the slightly comedic performance. Being perfectly honest, I wasn’t really sure what to expect from Little Boots, however her live performance completely blew me away and fitted perfectly with the first signs of spring sun.
Before Little Boot’s final few songs we were all told that we could take our headphones off as the 400 strong crowd had been tweeting about the show so much we’d ‘unleashed the music’, and Little Boots finished her performance in style with a couple more new songs. Once Little Boots’ show was over Russ Jones, AKA Hackney Globetrotter, took to the decks and took the party into the night with an eclectic set of chart toppers and funky house beats. The Red Gallery Car Park proved to be the perfect venue for a relaxed evening of free drinks and great tunes hidden away in the heart of Shoreditch, with plenty of sofas and benches to soak up the evening sun on.
Now in it's 7th year, Live at Leeds returns to Leeds City Centre over the May bank holiday. For those who dislike muddy fields and need their creature comforts and a nice bed not cold, muddy tent at the end of a busy day watching music, city centre festivals such as Live at Leeds are ideal.
The weekend kicks off on Friday 3rd with the free Unconvention event comprising of talks debates, discussions with respected people from all aspects of the music industry. The weekend comes to a close on Monday with he annual inter-band 5 aside football tournament.
Saturday is the main event which sees over 100 bands descend on the city centre area. Venues include the 2,500 capacity Leeds Academy, Leeds Met, the Cockpit club next to the train station and ace pub the Faversham. Our personal favourite is the Brudenell Social Club, which is a Phoenix Nights type social club, but in an indie way, with amazingly cheap beer.
If your goal is to see as many different bands as possible throughout the day, we suggest you concentrate your attention around the Universities / Academy / Nation Of Shopkeepers area with several venues a few minutes walk away. That way if one band isn't your thing you can quickly move catch another band just down the road.
At the time of writing the full venue timings have not yet been published, but we hope to catch the twangy guitar sounds of The Walkmen, the quirky Darwin Deez, Manchester’s Everything Everything, the post-rock, the Gothy sounds of Savages, the off-kilter spiky pop of Dutch Uncles, and Birmingham's Peace who are currently gaining good NME and 6 music exposure. If you prefer your music noisier and rockier, Leeds' Hawk Eyes put on a good, energetic gig.
Other bands playing include local boys and headliners The Pigeon Detectives, electro Swimming Pools, wierd noiseniks Maybeshewill, folk sisters The Staves, hottly tipped Londoners Charlie Boyer and the Voyeurs, Manchester's the 1975, Sheffield's The Crookes, and the grungey, feedback laden Splashh. The real joy of these city centre type festivals is wandering into one of the smaller venues and catching a band you've never heard of and coming away with a new favourite band.
With a little forward planning, it should be easy to catch 5-10 bands over the 12 hour period which makes the £22.50 a bargain by festival standards.
Taking place in one of the most iconic venues in London The Hard Rock Café, Hard Rock Rising: the global battle of the bands 2013 was an event not to be missed! Over 3 nights, 9 bands voted for by the general public battled it out each night to be chosen the winners of their heat. After some fierce rock and roll, only 3 bands will make it through to the live final on Wednesday 27th March to battle it out once more for a unbelievable prize of a record contract that will seal the bands bright future and a whole heap of travelling to go with it. But with all this amazing talent, who will remain to be the last band standing!
Monday night went off with an almighty bang, with the history of rock and roll plastered all over the walls; it was hard not to be amazed by the venue, its warm and cosy atmosphere. The 3 bands that were taking to the stage were Alexa De Strange, Crystal x and Snap Out.
Alexa De Strange totally rocked the stage and immediately captured everyone’s attention. They played a 3 song set each one louder than the previous and with an amazing operatic lead female singer, it was clear they’d earned their spot on stage. Their image resembled that of a true rock and roll and they had the audience (and myself) head banging almost immediately. When it came to the judges Absolute Radio’s James Curran, Jemma Dowley from Live Nation and James Walsh from Star sailor, it was clear how awesome their performance was. Described as “an amazing way to kick-start the night” and reminiscent of the Rocky Horror Picture Show, they certainly made a lasting impression on everyone in that room
After a 5 minute changeover where the drinks and conversation were flowing, we welcomed the 2nd band of the night Crystal X. Somewhat younger, with the age of all their members totally just 19 years, they soon showed me age matters not and rocked the house in true style. With a lot more audience interaction and variation of emotions in their set, they raised the energy and definitely hotted up the competition. With the judges agreeing that they showcased a more serious side with a youthful image that would be highly marketable, they played their best to score a place in the final. The last band of the night was the only all male trio Snap out. Described as the “Wild Card” of the evening, they were fast, furious and rocking the audience with their electric guitar solos and on stage banter made them stand out from the crowd. The judges declared them “the most fully formed band of the night” and they showed a genuine, natural relationship on stage that shined through.
Then it was the tense results moment, with such unique talent, I don’t know how the judges decided but the crowd went crazy when Alexa De Strange was named Winner of Heat 1! They will be back for the live final, one step closer to the amazing prize!
Come Tuesday night, I was ready and excited for Round 2 and the night did not disappoint. The 3 next bands to take to the stage were The Carnabys, Echo Park and The Nevertones. It was another night full of great music and a great atmosphere.
The Carnabys took to the stage with a 5 piece boy band image; their music was a mixture of rock, soul and funk that went down amazingly. From London, they displayed a large amount of energy and charisma, with different moods attached to each song; they proved popular to everyone present. Compared as “the best boy band since the Who”, they certainly played well and showcased a unique form of rock and roll.
Echo Park, the second 5 piece rock band from Surrey had a more rock mixed with pop vibe and reminded me of a younger Westlife. They definitely knew how to play their instruments with an amazing drummer and awesome singing they captured my attention. Their lyrics somewhat more emotional than others had true feeling and they showed a soft tender side to rock and roll.
Lastly, we had The Nevertones. A chaotic rock band formed in July 2012 that mix indie, rock and punk to create some unforgettable songs such as Do The Monkfish. They created a blues vibe that differed from the others and with an excellent guitarist, and bucket loads of energy they did a great set. I would describe them as soft rock and roll but nevertheless, they showed their talents to fight off the competition.
Yet more nervous for these 3 bands, The Carnabys were crowned the winners of Heat 2 and will join Alexa De Strange in the live final on the 27th March. Wednesday night, there was a touch of sadness in the air with it being the last fighting round. The Kut, Tequila Mockingbird and Wild Honey were the last bands to battle it out. It was a night full of excitement, anticipation and full on rocking . The last results revealed that Tequila Mockingbird were the third and final band to make it through.
So Hard Rock Rising 2013, the battles have been done and the heats have taken place. The three finalists Alexa De Strange, The Carnabys and Tequila Mockingbird will return at the Hard Rock Cafe, London on Wednesday 27th March for the live final but who has what it takes to be crowned winner of Hard Rock Rising : Battle of the Bands 2013!
Swap the wellies for high heels and replace the poncho's for shirts and you have the launch night of T in the Park. With artificial grass, wooden picnic tables and fairy lights the venue had been turned in to T in the Park, with a roof. The opening act was Fatherson (http://www.facebook.com/fathersonband ) who have played at T in the Park the last two years and opened for the likes of Panic! at the Disco, Feeder and Twin Atlantic. Ross Leighton, vocals of the band has a soft controlled voice that captures the room and with songs that don't contain awful cliché lyrics like a lot of bands, it was a pleasant breath of fresh air.
The next band on the stage were Vigo Thieves who were gracefully in sync with one another and had such an effortless presence that demanded your attention. After listening to some of their songs on their Facebook page (http://www.facebook.com/vigothieves) I would say their recorded tracks do their live performance no justice. After selling out one of their dates for their ep launch in King Tuts Glasgow I can tell they'll definitely have a warm welcome from their fan base at this years T in the Park.
Geoff Ellis, one of the founders of T in the Park explained that last year when many UK festivals were shut down due to bad weather conditions, that T in the Park was never at such a risk thanks to the hard work and determination of all staff sorting out the grounds. It's possible for this reason, among the amazing line ups and crowds that gather year after year that T in the Park for crowned "International festival of the year" at the Pollstar Awards in LA earlier this month. With 2013 being T in the Park's 20th anniversary you can expect it to be even bigger than last, but will you be there? Tickets go on sale on Friday 22nd of February at 9am. Make sure you don't miss out.
Ahoy shipmates! Bestival has only gone and ruddy done it again, a stellar line-up announcement in the middle of the dreary sludge ridden grey early days of the year, just to remind you that there’s a couple of days in September that will make everything ok. Don’t forget the theme is HMS Bestival, interpret it as you wish…
Despite some e-whingery from non-Bestivalites that the headliners aren’t to their exacting (and often hipster ‘I only like bands that no-one’s heard about) tastes, you can’t deny the pure musical royalty of the acts they’ve managed to grab. Glitter-bombing, Willy-Wonka sunglasses wearing, mad croon machine, Rocket Man Sir Elton John is to be the festival’s Sunday showcase – the absolute essence of everything Bestival, flashy, sing-along and a little bit cheesy.
Sippin’ Gin and Juice, Saturday will welcome hip hop heavyweight The D-O-double-G or Snoop Lion as he prefers to be holla’d at these days… (It’s the whole Puff Daddy, Puffy, P.Diddy crap all over again right?). Not an obvious choice to run alongside Elton, but that is probably the most perfect reason and call curator Rob Da Bank and crew could have made. That is completely the point of Bestival, and if you don’t get it, you’re wrong. However, Snoop does have a tendency to cancel shows so we’ll keep our fingers crossed.
Let us not forget that the bill isn’t headliner central at Bestival, oh no, the line up is rife with talent both retro and blossoming. Where else can you kick a bit of kung-fu to the Wu-Tang Clan, then pop off for a smackerel of Sinead O’Connor? Truly, I kid thee not. Joined by the likes of M.I.A., Franz Ferdinand, The Flaming Lips (hopefully with their crowd-walking zorbing ball which looks far too fun for one man to have), Bombay Bicycle Club and Bastille, there’s enough here to keep pretty much anyone happy. Even a hardcore black metal find would find a smile in there somewhere.
Bestival stalwarts and purveyors of inappropriateness The Cuban Brothers, will be there to help you seaworthy scallywags to ‘release the kraken’ and Belle & Sebastian’s soft tones will provide the mellow side. Comically, there will also be Fleetwood Bac and a Daft Punk tribute night, for anyone who kept an eye on the festival rumours this year you’ll know why that’s giggleworthy. With DJ’s Carl Cox, Seth Troxler and DJ Yoda, as well as Scroobius Pip bringing the Satin Lizard Lounge, and a whole host of other Bestival site things to see and do, from cinemas, to roller disco, to crafts, there is always far too much to do. Head over to the Bestival website to check it all out, ya scurvy dogs! Arrr!
Across a deep deep sea, in a deep deep valley, some animals are arriving at Robin Hill Park…
The Isle of Wight once again plays host to a family of freaks and fiends, this time dressed in a frightening array of leopard print, fur, wings and extra legs. There are beetles and Beatles, spiders and birds, butterflies, dragons, whales and squirrels… fantastic foxes, wise owls and long necked giraffes as well as a few Bill Oddie looking gentlemen and fierce looking hunters with a wild look in their eye.
Thursday’s campsite frenzy is as comedic as ever, particularly in the case of a very heated debate over ‘space-saving’ which eventually warranted the input of security guards after a threat of tent-burning was made. Despite a few tiffs here and there, everyone seems to already be in the festival spirit as the fizz and crack of cans opening can be heard all around and the suspicious smells of herb waft past.
Thursday is no longer just a hang around the camp night – Gary Numan’s ‘Cars’ lights up the crowd and Alabama Shakes play to a packed out tent, but Bestival favourites Hot Chip headline the Big Top to what seems like all forty thousand of today’s arrivals. Unfortunately the sound quality outside of the bursting at the seams tent doesn’t inspire much more than a wish to lounge around with a burrito, it’s not exactly the Hot Chip electronic spectacular we were hoping for. The real action is to be found at Arcadia, with enough fire and lasers to make your eyes burn and rave kids absolutely living it up on the first night. Just around the corner in the Healing Field (????) is the pod café, where you can laze in a padded pod swinging above your own little swamp (no, we don’t have a clue why…) and eat food from pretty much any cuisine you can think of, the halloumi wraps were exceptional.
Friday hails an Indian Summer, the number one wish of all Bestivalites, and the sun shines hard enough to cook campers right out of their tents. After a breakfast of turbo’ed Strongbow (with Jack Daniels, yes we’re exactly that classy) it’s off for a look around the enormous site. There’s way more to see and do at Bestival than anyone can fit in, but we attempt a go at as much as we can. Mainstage goodies include First Aid Kit and Adam Ant, the latter wearing his signature Napoleonic costumery and looking as mental as ever as he plays ‘Stand and Deliver’ to a sun lazy crowd. ‘Get It On’ gains applause and ‘Prince Charming’ sees a surprising amount of youngsters getting into the dance moves, it’s clear we have Adam Ant to thank for the likes of the ‘Macarena’ and ‘Saturday Night’.
Gallows draw a fair sized crowd but it’s cutesy Emeli Sandé who turns up the volume with ‘Heaven’ and ‘My Kind of Love’ as well as a quick rendition of Bob Marley & The Wailers ‘One Love/No Woman No Cry’. The XX’s main stage show certainly goes down well but stand out performance of the day goes to Scroobius Pip (plus his excellent live band) performing the last set of album tour ‘Distraction Pieces’. The Replay tent is wall to wall writhing bodies as Pip explodes onto the stage yelling ‘Let’s Get Rowdy’ and has a fight with the microphone. Wearing his signature trucker cap and hightops, (as well as a Sharpe tshirt and shark backpack, a nod to the wildlife theme maybe?) Pip burns through ‘Let Em Come’ and ‘Domestic Silence’ as well as the hugely popular, and rather funny ‘The Struggle’. After inciting a circle pit around the central pillar of the tent, the wiley Pip decides to go for a crowd surf around which ends in him hurriedly escaping back over the barrier when excited hands accidentally dropped him, stopping on the way to take a photo or two with some ecstatic animals.
Headline act Florence & The Machine take their new romanticism to a new level, as Flo’ swirls around the stage with her red hair streaming behind her looking every bit the fairy queen her music embodies. Hits ‘Rabbit Heart’ and ‘Drumming song’ get euphoric applause from the huge arena but closing ‘Dog Days’ is the all out karaoke song of the night with every voice in the crowd turned up to eleven trying to join in.
As any Besti-goer knows, the close of the main stage is never the close of the night and this is no more apparent than at the Big Top where 2ManyDJ’s are blasting out a series of hits and mashups, or Jamie XX blowing up the Roller Disco. If that’s not really your cup of chai, the Ambient Forest is full of exciting nooks and crannies, a band here, a DJ there, even late night films at the Amphitheatre.
Saturday early birds catch Mr. Motivator’s, ahem… worm? The man is a Besti-legend, and still has way more energy than he ought to. Dressed in his lycra onesie and headset microphone he gets the crowd up and jumping ready for the day ahead. Soulful Delilah rocks a Tiger print jumpsuit and performs new single ‘Shades of Grey’ protesting “It’s got nothing to do with the book”, and vocal behemoths Sister Sledge give everyone a good retro hit of ‘He’s The Greatest Dancer’ whilst pulling a variety of wildlife up on stage with them. After a quick Katsu Curry at the new and extremely popular Wagamama lounge, it’s off to Beardyman at the Big Top, who samples himself complaining that “They always want a set list… I haven’t got a set list”.
In the streaming heat, Archerio, Kengo-san and a hibiscus adorned throne lifted by 4 burly stage hands, carrying Miguel of The Cuban Brothers, bring a touch of naughtiness to proceedings with their instance that everyone “touch each other”. Apparently Miguel can’t walk as he’s broken his banjo string, and instead brandishes his crutches as they “make love to [our] ear tunnels” with renditions of funk and hip hop classics. Archerio and Kengo delight with head spinning, rollerskates, break dancing and general smuttery, Bestival wouldn’t be the same without them. After they’ve given us our fill of ‘Mind bumming’ and a fun cover of Motorhead’s ‘The Ace of Spades’ we get to experience one of The Cuban’s idols – De La Soul. The hip hop trio pull out all the stops and give a classy performace, mirrored by some very poor attempts at Fresh Prince style dance moves in the crowd.
A bit of a rest in the Lost Picture Show for Jaws is a lesson in Bestival love, the giant mattress covered floor is strewn with limp bodies until famous quote ‘We’re going to need a bigger boat’ is uttered, gaining cheers all round. Headliner New Order come over a little dull in comparison to some of the previous energetic acts of the day, but they put on a solid enough performance, with a few Joy Division tracks mixed in. Back out in Arcadia, Kissy Sellout is burning up the open air dancefloor with heavy dirty beats and some truly brilliant samples, followed by the Arcadia cabaret and a lunatic performing acrobatic feats 100 feet in the air without a harness. Amazing.
Sunday is a gruelling get up after the excesses of the night before, but a breakfast burrito, corn on the cob or a lovely rotisserie chicken is all you need to revitalise. If you’re a little more precious about your morning routine, a wristband for the spa (saunas, Jacuzzis, massage etc.) might be more your thing, but the morning is a bit grey and windy so it’s off to warm up with a trip around the site. Pop into the Insect Circus Museum, see the Wall of Death riders, or get a saucy tickle at Time for Tease, or perhaps learn to breakdance in Club Dada, ride the big wheel or create your own nipple tassels this crafternoon. The drag show at The Grand Palace of Entertainment is the naughty front to a secret debauched club in the back, and the Dressing Up Tent is full of everything sparkly, furry and fierce you could want. Oh and don’t forget your pint of Bestivale from the Wonderland Inn before you slump at the Bandstand.
The main stage sees dynamic duo Rizzle Kicks, perform their high energy hits ‘Down With The Trumpets’ and ‘When I was Younger’ wearing Tiger and Red Panda onesies. During ‘Mama Do The Hump’ many an animal tail is given the Beyonce treatment, and comedy musical snippets of James Bond, Harry Potter and a cover of Justin Timberlake’s ‘Like I Love You’ get the crowd giggling along with the jokers. Unfortunately the first rain of the whole weekend trickles down to an unfortunate renaming… Drizzle Kicks.
Bat for Lashes put a downer on the excitement with a less than interesting set. It’s not that they’re bad per se, but it’s hard to get on board with something so sombre and soft when you’ve just had the upbeat Kicks in your ears. New single ‘Laura’ is better received but it’s still not enough to make a mark. Following on in the melancholy style is Iceland’s Sigur Rós, whose ethereal and somewhat pretentious style doesn’t really travel further than their current fanbase. There’s something a bit weird about band based on wailing unintelligibly into the microphone and using violin bows to play non-violin instruments. A quick look around the front row belies the truth, everyone is bored stupid. Yes yes, we know you’re supposed to like Sigur Rós because they’re all experimental and weird and that makes you ‘cool’, but this is Bestival, home of all out wildness and fun times. It’s not all bad, when the band get going and it becomes more orchestral, it can be great, but it’s permeated by way too much self-indulgence.
Luckily Stevie Wonder comes along to save the day with his soulful voice and plethora of anthems. Though his mic dips out here and there and the roar of the crowd sometimes drowns him out, this is a musical tour de force through the likes of ‘Master Blaster (Jammin’)’, ‘Signed Sealed Delivered’ and ‘I Just Called To Say I Love You’ as well as a couple of Marvin Gaye covers for good measure. The legendary musician stuns all hopping off his piano stool to belt out ‘Superstition’ and goes out with a bang singing the truly funny ‘Happy Birthday’. As the fireworks light up the Magic Meadow over the giant I (heart) Bestival sign, the oohs and ahhs come thick and fast from the mesmerised crowd. There are so many people here we must be creating a hot spot visable from space. As the arena clears, the exodus to the campsites and carparks of those getting on late night/early morning ferries is huge, but for those of us who can keep our eyes open, there’s lots more fun to be had this night. Deep in the dark woods, a cheer goes up for the Mulholland Drive lesbian erotica scene in the Amphitheatre and we settle in with a bag of free toffee popcorn for a bit of Blue Velvet, amongst the creepily blue lit trees.
Over at the Swamp Shack, although the outdoor stage is shut for the night, through the misty bayou into the back room is a sweaty dancefloor filled with bodies for B. Dolan’s Church of Love and Ruin. American rapper B. Dolan flaps out in purple papal robes to deliver a punch of political remedies, yelling “Who’s skint? After four days of drinking five pound beers?” and dropping into ‘Earth Movers’, ‘Which Side Are You On’ and ‘Film The Police’ and a rapped over sample of Marvin Gaye’s ‘Heard it Through the Grapevine’.
Bestival may be over for another year, but as sleepy little tigers and turtles creep for the last time into their tents, grins plastered over their chops, it’s clear that the memories of this one will keep them going through their winter hibernation. With important developments (like adding more camping space, and more exciting stuff to do) it seems Bestival went and got even better. On the precipice of becoming too big and losing a bit of the fraternity of it’s past last year, it seems Rob and co. have managed to pull it back from the brink and preserve the distinct feeling of home here on the IOW. It’s all over, and we already can’t wait for next year.
