Page 151 – Summer Festival Guide

Highfield 2018 – Full Review!

June 10, 2020August 22, 2018 by Sophie Bluestone

Highfield festival takes place yearly by the Strömthaler Lake near Leipzig, in East Germany. It’s small (35,000 guests) with two stages (Green and Blue). Most notably, Highfield has a beach that is open to guests throughout the day. There’s a DJ stage on the beach along with drinks stands, so the festival vibe is guaranteed

As with most German festivals, the area in front of the stage is divided into waves by barriers. Only a limited number of people can be in the first wave as a measure against injuries from overcrowding. There is a one-way system in place, in one side, out the other so that numbers can be monitored. While this can be frustrating if you miss out on a spot for your favourite band, it does make it easier to move within the crowd.

Another difference that sets this festival apart is the German culture of “Pfand” which is a deposit you pay on bottles, cans and, at festivals, cups. This means every plastic cup is worth 2 euros that you get back when you return the cup, which helps make Highfield a green festival.

Friday

Arriving on Friday, the weather was very hot and very dry. Across the campsite, heated matches of flunkyball (Germany’s second national sport) were in full swing. It’s a classic game of ‘do well, get drunk’. Two teams stand across from each other, each with cans of beer at their feet. A ball is thrown at a half full bottle of water in the centre. If you hit, your team drinks as long as it takes the opposing team to rectify the bottle. First team to finish their drinks, wins.

Once a camping spot was found there was only time for rudimentary peg work, just enough to mark our camping territory. Before we headed straight to the lake. A good swim provided a much needed cool down and relaxed us, ready for the weekend ahead.

The tent was fastened down properl, the “HighViech” – a fish-like creature – and festival mascot welcomed us to the main site.

Appearing for the third time at Highfield, Gogol Bordello kicked things off with their trademark gypsy punk. It was early evening and the crowd still small. However, what they lacked in volume they made up for in enthusiasm; dancing, jumping, jigging. Lead singer Eugene Hütz, sporting the classic punk look “shirtless with blazer”, directed the crowd with his energy. Mixing it up from the usual beer on stage, Hütz opted for a classier bottle of red wine. That didn’t stop him pouring it all over stage and crowd throughout his set. As the set went on, the New Yorker band drew a bigger and bigger crowd with their infectious tunes that you couldn’t help but dance to.

Infectious but in a different, more hip-hop way, the 257ers took the blue stage by storm. The queue for the first wave was mounting as fans were eager to get up close and personal in the mosh pits. The band, named after their home postcode, started off with a three horror clowns accompanied by whimsical circus music, setting the tone for the one-hour set. Notorious for their costume changes, the duo dressed as pirates, Dutch football shirts and Hawaiian shirts, each outfit referencing a different song in the set. They were also accompanied by at least three extras on stage, dressed up and firing up the crowd. Costume changes take time, so to keep the crowd entertained the DJ played everything from nursery rhymes to crazy frog. At one point he got the whole crowd to crouch down but instead of the anticipated beat drop, Whitney Houston’s I will always love you rang out, much to the amusement of everyone. Refreshments were kindly provided in the form of a giant tube pouring beer into the crowd and several foam cannons. The set was light-hearted and fun, asking the important in Warum (Why) including “why can’t we ride bears to work?” and an entire song about the benefits and uses of wood, which in German is entirely free of innuendo. After their performance last year got cut short due to extreme weather, they vowed that this time we would party to the absolute limit. And we did.

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As we headed to the Green Stage we were greeted with the complete opposite of the 257ers,with Clueso on the stage. As a much-needed calm after 257ers, the mix of pop, hip-hop and reggae got crowds singing and swaying. His performance of Zusammen (Together) was a surprise as it appears on the new album by Die Fantastischen Vier featuring Clueso. Considering that the former are due to play on Sunday I would have expected it in the headliners set. But Clueso made it a loving tribute by including verses from some of their best songs, and the crowd loved it.

A weather warning for the approaching storm had been in place from the start of the set. As the first notes of the final song –Verlierer (Loosers) – sounded, the stage and crowds were bathed in blue light, and the heavens opened.

The crowd, undeterred, turned into a sea of complementary, red ponchos and carried on. The Ferris wheel and giant wooden Jägermeister Stag with flaming antlers made an impressive backdrop for the Dropkick Murphys, made even more dramatic by the lightning storm in the background. Much in the vein of Gogol Bordello, the bands Celtic punk moved to crowds to dance the rain away.

In an ambitious attempt to pull off a semi-acoustic set at 22:30, Alligatoah invited us down into the sewers with him via an impressive stage design. Sporting the appropriate blue overalls, flatcap and yellow wellies and accompanied by an electric organ he worked his way through funky versions of his discography. His songs dripping in irony about society including beauty standards (Du bist schön (You are beautiful)), throw away culture (Lass liegen (Leave it)) and most ironic of all, the music industry Musik ist keine Lösung (Musik isn’t a solution). Being an acoustic set, he relied on the crowd to sing the electric guitar part of Willst du (Do you want to), and they were more than happy to comply. Help was again required for a verse of Trostpreis (Consolation Prize), sung by Timi Hendrix on the record, and the audience performed flawlessly.

Rounding off the first night, the Canadian Billy Talent took to the Green stage. A staple of the Festival circuit and currently touring their fifth studio album “Afraid of Heights”, the band returns to Highfield for a second year running as their set was cancelled due to heavy thunderstorms last year. Lead singer Benjamin Kowalewicz worked the crowd, who responded singing back at him. Finishing with Red Flag and Fallen leaves, the set was worth the one year wait for sure.

Saturday

The plan for Saturday morning was obvious. Get out of the boiling hot tent and go swim. By no means the first with the good idea, the beach was already filled at 9:30 in the morning. The air was a little cooler, but the water no less refreshing than yesterday. Some people were playing beach volleyball, some lying on beach towels playing cards. Crepes for breakfast (what else?) and we headed down to the main site.

We dipped into Swiss und die Anderen, heavy Antifa punk rap. Not our cup of tea, although the crowd was absolutely loving it. Mosh. Pits. Everywhere. Next up on our timetable was Sondaschule, the punk-ska band from the so called Ruhrgebiet, an area famous for its former coal industry. Whether it was the band itself or the following headliners was uncertain, but the crowd had definitely become more punk heavy. From colourful mohawks the leather jackets, the tone of the evening program of the Green stage was set. When the band dedicated a song to what they considered the most beautiful city in the world, the girls near the front holding a “Mühlheim Ruhr”, the home city of the band, sign got excited. But instead of the song of the same name, the chilled reggae beat of Amsterdam began to play. Showers of confetti exploded from the crowd. It’s quite common for German festival guests to bring bags of paper confetti. It makes for great atmosphere and is 100% biodegradable. A win – win. The band thanked everyone for the warm welcome for their first time here at Highfield. Towards the end of the set the band introduced a song from their new acoustic album, the song RIP Audio, which they recoded together with Ingo from the Donots, who had not arrived on site yet. Once again, the crowd stepped up and took over the guest vocals.

Lunchtime came around and it was finally time for the burger we had travelled over 700 miles for. The wild boar burger from the Hirsch&Eber stall. With onions cooked in port and a cranberry mayonnaise it is without a doubt one of the best burgers I have had to date. If you want to argue with me on that, you can come to Highfield next year and try one for yourself.

Bad Religion were meant to play Saturday afternoon but had to cancel at short notice due to a family emergency. Instead, German festival veterans the Donots stepped up and filled the slot. Undoubtedly leading to one of my personal highlights. The crowd welcomed them with open arms, chanting their name at every opportunity. Lead singer, Ingo Donot, told us they had struggled to get a bus in time and almost didn’t find a dog sitter in time leading to Wake the Dogs.

Highfield festival had been working with Viva con Agua, a charity providing clean water across the world, for many years. Besides a stand where you can donate there are also people around the site with bins where you can donate your cups and corresponding Pfand. The band got circle pits forming around the bins encouraged everyone to donate their cups while playing Do what you want, a cover to console the Bad Religion fans in the crowd.

Ingo is everybody’s hype-man, excitedly announcing all their friends who were still to play this weekend. This included Flogging Molly whose bassist, Nathen Maxwell, joined them on stage for Kein Problem (No Problem). Finishing the set with So long, the crowds chanted the chorus long after the song had finished, moving the band to tears. It’s fair to say that no one regretted the substitution.

Later, the Swedish garage rock band The Hives took to the Green Stage. The most strikingly dressed of the weekend, everything was black and white. The suits, the guitars, the backdrop. They also had a crew of ninjas doing all the cable management and guitar swaps. The securities in the pit did their best to keep the crowds cool, throwing and handing out water. Lead singer, Howlin’ Pelle Almqvist, went straight into the crowd, wasting no time to get acquainted. The music was fantastic, raw guitar riffs and hoarse vocals. Everything between became a little tedious. Coming across somewhat arrogant, Howlin’ Pelle constantly demanded the crowds cheer, even starting his own encore chant. At some point the audience had had enough, not really responding anymore. A shame, since everyone still had a great time with the music.

This year’s Saturday headliners, the Broilers, can in many ways be considered the descendants of last year’s Saturday headliners Die Toten Hosen. They started out as their support act, being mentored by them and signed to the DTHs own record label. They had big boots to fill, with many people questioning if they were ready for the headline slot. But once they got started, all doubts subsided, and they stepped up flawlessly. Their horn section giving them their trademark ska-punk sound, the crowd was loving it from the get go. When you have a horn section, clearly the natural thing to do is cover the Ghostbuster theme tune. The Broilers are a band where dancing and moshing are equally valid ways to celebrate their music. Small moshpits here and there, but also a paramedic on a break dancing with his girlfriend. It felt like everyone was welcomed into the Broiler family that night. The mood then got more serious with the more recent song Keine Hymnen Heute (No hymns today), a song describing the prohibition of a lot of art during the second world war. The backdrop showed videos of Nazi soldiers burning books as a grim warning against populism and rising right wing sentiments. The pyrotechnics sounding like gunshots. What followed was undeniably one of the most emotional parts of the festival. During Ihr da oben (You up there) the screen showed a collage of photos the band had asked fans to send in for the music video. It showed loved ones that had passed away. The range of photos was particularly striking, as it included young children and babies alongside grandparents. It really drove home the momentous amount of loss and grief contained in all those images.

The tempo picked up again with Held in unserer Mitte (Hero in our midst), with circle pits forming around the bands handpicked audience members. The show finished with fireworks and I think everyone agreed, the Broilers are headliner material.

As is tradition at German festivals there was a general protest against the far right and populism. Whether its moshing against (and on) Nazis, the antifascist charity “Kein Bock auf Nazis” or anti-nazi chants. Many bands had banners saying “Refugees Welcome”. As people were chanting “Nazis out”, the Donots quite rightly pointed out that people needed to go shout these things at counter demonstrations, not just here, where there were no neo-nazis.

Sunday

Sunday started the way all festival Sundays start, the long arduous trek back to the car, laden with bags. The weather was even hotter than the past few days, making this by far the worst part of the experience. Oh the price you pay for camping close to the site and far away from the car park. Once that was over we could get back to the good bit.

Sunday afternoon was Brit indie-pop time on the Blue Stage. Maximo Park’s Paul Smith overdressed, as always, in a blue suit, hat and shades. Dancing enthusiastically through a set spanning all six studio albums, the band started on Girls who play guitar and finished with Apply some pressure. The crowd favourite was definitely Books from boxes. Throughout the set Smith addressed the crowd in broken but endearing German, making sure everyone drank enough water and were having a good time.

A black backdrop with a hypnotising wombat with rainbow eyes marked the next band. The Wombats started out with the lively Cheetah Tongue. The audience had a surprising knowledge of all the songs, singing along and dancing. The award for most crowd confetti thrown definitely goes to The Wombats, with the stuff flying left right and centre. We learnt intimate details, like the argument score between lead singer, Matthew Murphy, and his wife stands at roughly zero to three million. The band also introduced Steve, “The hardest working squirrel in Europe”, who was a plush sitting on the drum kit. Naturally met with chants of “STEVE, STEVE, STEVE”. The next album will be consisting of elevator music, the demo of which promptly turned into Moving to New York. The set peaked with Let’s Dance to Joy Division, causing the biggest explosion of crowd confetti yet. It was a perfect summer afternoon dance party.

By the time Madsen came onto the Green stage, everything was bathed in golden light from the setting sun. Their backdrop a space shuttle from their new album “Lichtjahre (Light years)”, the band celebrated the bassists birthday and started the first ever ladies only circle pit I’ve seen.

By the side of the first wave, two little girls in giant fluorescent headphones were dancing away when a security guard called them over to give them each a carton of water. They repaid him with a handful of confetti. A fair trade I’d say.

Halfway through the Madsen set on the Green stage, the Editors took to the Blue stage. Seeing the meager crowd they were about to go on stage for almost made you feel sorry for them. The backdrop, taken from the cover from their latest album “Violence”, was a dark picture of contorted bodies. Although mildly distressing, it does fit the general vibe of the band. They walked on in silence and started to play their first song. Afterwards the lead singer Tim Smith said a shy “dankeschön, guten abend” and carried on. As the set progressed he seemed to warm up to the crowd, addressing them more freely and encouraging them to put their hands up for songs. His motions across the stage were creeping and primal, almost mesmerising. The crowd had gathered as the set went on, so by the time Papillon started, there was enough of a crowd to properly welcome their favourite. Jumping, singing and waving hands in a butterfly like fashion as the sun set on the final festival day.

Which of the two stages hosted the true headliner is up for debate. The Blue Stage, pioneers of German rap, Die Fantastischen Vier were scheduled to play right up until the point that one of the biggest German rappers right now, Materia, was to take to the Green stage and give the festival the finale it deserves. It was clear the crowds were torn. Get a good spot for Materia and miss out on the band without which he wouldn’t even exist? See the undisputed bedrock of the genre and miss out on a spot in the midst of what promised to be the craziest party of the weekend?

Enough people decided on the latter, the first wave being packed like never before. A huge banner of the new album, “Captain Fantastic”, covered the stage. As the first beats of Tunnel boomed across the grounds, the banner came down to reveal the band, already hyping the crowd. The crowd were with them from the first song with more energy than I’d seen for anyone else this weekend. The backdrop was a rectangle of screens with a fabric banner in the middle, an unusual set up. The hype kept up for about ten songs, the group behind me insisting to express their excitement through five-man moshpit. The set slowed down in the middle with Tag am Meer (Day at the Seaside) which was a shame following the energetic start. Normally, a calm song or two gives to audience a chance to catch their breath. In this case, people started leaving to go to the other stage. As the show went on, the tempo picked up again. Zusammen (Together) was performed for the second time this weekend, this time with Clueso singing his part via video on the screens on stage.

The band left the stage before the three-song encore, at which point they started hemorrhaging audience members. At this point they were clearly going to run over and into the set time of Materia. The proximity of the sets split the audience and to me that was the biggest failure of the organisers. The remaining crowd went mental for the encore, more than making up for their decreased numbers with their energy. The set finished, and everyone rushed to the Green stage to hear the last lines of Materia’s Endboss.

Even though only two songs had passed, the crowd was already warmed up and ready to riot. Bengalische Tiger (Bengal Tigers) caused red flares to erupt in the crowd and on stage, making for a spectacular view. The melancholic Tauchstation, which is an an idiom meaning secluding yourself, bringing everyone back down with its hypnotic, submarine-like sounds, followed by the ode to the Blue Marlin. The deep bass vibrating everything in reach.

At this point, Materia took a moment to thank Viva con Agua for their work and encouraged everyone to through their cups on stage on the count of three. This led to the bizzare spectacle of plastic cups flying through the crowd, rarely reaching the stage, instead being picked up and thrown further forwards. It looked like hundreds of tiny plastic dolphins, making their way to the stage. Given the value of 2 euros per cup it was likely 1000 euros worth of donations flying about. Talk about making it rain.

Materia is currently promoting his joint album with Casper, “1982”. Both were on site together earlier in the day giving autographs and taking selfies with fans. It therefore came as no surprise to suddenly see the two on stage together performing the first joint single Champion. None the less the crowd flipped, making it clear that this collaboration is hotly anticipated. The mood remained ecstatic as the duo performed their second single Supernova. As a crowning finale to the joint performance, they premiered their third song Adrenalin. On top of the first reveal, the two also announced they were filming the music video at the festival. Naturally, the crowd pulled out all the stops, no doubt providing a sensational backdrop.

From there on, the set escalated from song to song. One hit after another, culminating in Feuer – Fire, obvious pyrotechnics included. Materia’s alter ego Marsimoto made an appearance for a verse. Cloaked in bright green smoke and wearing his metallic green mask his arrival caused a brief change of pace before returning to the high-octane finale of Feuer.

Finally, Materia teased every last ounce of energy out of the crowd with his Letzte 20 Sekunden (Last 20 seconds). The audience jumped, waved and threw shirts, moshed and tore the place apart. At one point the show master himself descended from the stage to party with his fans, right in the centre of the first wave. It seemed neither crowd nor band wanted it to be over. Materia dancing with his band on stage, waving a Rostock football flag and hugging everyone. It was a night that no one wanted to end.

The Highfield festival is too small to draw an array of big international names, maybe getting one per year. Personally, I think the appeal lies in the atmosphere. The beach makes it feel more like a holiday and the line-up is one you can dip in and out of without the notorious fear of missing out that plagues big festivals. If you’re into German music then you’re guaranteed to find something, including high caliber performance. It’s a niche for international visitors, but definitely worth checking out if you fancy a chilled weekend by a lake with mostly great weather.

BOA 2018 – NIGHTWISH: Reviewed!

June 10, 2020August 20, 2018 by Anna Hyams

The final night of Bloodstock 2018 is here, and there’s a distinct chill in the air, closing the main stage are symphonic metal heavyweights – Nightwish. From the moment they were announced last year, Nightwish have been a controversial pick for fans on the forums and social media, a band known as much for their ongoing drama as for their music. Indeed tonight’s showing will be the third lead vocalist BOA has seen with the band (Tarja Turunen; 2003, Anette Olzon; 2008) as Floor Jansen takes to the, ahem, floor.

A giant flip-clock on the stage video screen suddenly appears, and begins counting down from one minute, and as the timer hits zero the band burst on stage in a cloud of smoke, straight into ‘End of all Hope’. Jansen energetically jumps around in a leather jacket, but for some reason her mic seems to be criminally quiet for the first half of the song and gives the impression that she isn’t a strong vocalist.

Thankfully, as the backdrop changes to an icy waterfall reminiscent of those hilariously kitsch moving paintings you stare at whilst waiting for your Chinese food order, ‘Wish I had an Angel’ has Jansen’s mic issues fixed and we get our first real chance to compare and contrast. Let’s not pretend we aren’t all doing it, and of course Jansen isn’t hitting the notes of Tarja, but she brings a strong, raw quality to the song. It’s different that’s for sure.

In ‘Come Cover Me’, Tuomas appears to be well and truly locked in a love affair with his keyboards and there are a whole host of expertly choreographed pyrotechnics accompanying the entire show, makes a change from the seemingly random barrage of flames some other bands seem to employ. Jansen asks “…there’s so much energy here after 3 days and boozing I hope?…” and lets us know we’re in for a trip Floor headbands. Looks like she’s having a great time. Studded dress?

Wearing a studded dress that looks a bit like a portcullis, Floor is headbanging and wind-milling her hair for all she’s worth, and gives ‘Amaranth’ a decent effort, but if you’ve spent nearly a decade getting used to Annette Olzon’s high notes, it does feel a bit weird singing along.

‘Devil in the Deep Dark Ocean’ is beautiful, with Marco calling out “Dear citizens of UK… I bring you greetings from… Finland. You deserve something nice… a love song!”, but it’s the firm fan favourite ‘Nemo’ intro that garners the biggest crowd roar. With a white curtain of rain as the backdrop and visuals of the iconic Once album cover, it’s the epic pinnacle song we’ve all been waiting for – and their prowess as one of the slickest metal bands out there is clear.

Closing out with ‘The Greatest Show on Earth’ and ‘Ghost Love Score’ to a huge explosion of blood red fireworks above the stage and a billowing CGI Decades banner on screen, Nightwish leave with a wave and a quick plug for their UK tour dates. Notable omissions from the set included ‘The Phantom of the Opera’ and the huge ‘Wishmaster’ – but I suppose the point of the Decades tour is to play a lot of stuff that normally doesn’t see the stage. I get it, but at a festival – I think it’s fair to say, we appreciate the hits more than the obscurity.

BOA 2018 – GOJIRA: Reviewed!

June 10, 2020August 16, 2018 by Anna Hyams

Gojira have been long awaited as a headliner here at BOA, and it seems as though the entire population of the festival – some 18 thousand metalheads, have turned out for them tonight. The band waste no time in racing right into the heavy stuff with ‘Only Pain’ and ‘The Heaviest Matter of the Universe’ against a brooding mountain range backdrop, as giant plumes of smoke are blasted out from the front of the stage.

The intro for ‘Love’ has vocalist Joe Duplantier screaming out “Lemme see your fucking hands c’mon” as an added lyric, and the video backdrops depict a spinning cage whilst the band burn through those heavy Gojira riffs. Calling out “This is fucking beautiful thank you” in response to the sea of raised horns, Duplantier looks almost surprised as a streamer-cannon goes off next to him, followed by a burst of on-stage fireworks. Whilst ‘Flying Whales’ definitely is not a comedy track, hell, it kinda sounds like an Attenborough script, there is something really funny about the British need to kitsch everything up. There must be about 10 or so inflatable Orcas being bopped about in the crowd, ‘flying’ if you will.

If the band has noticed, they haven’t let on – “Bloodstock you know what we wanna see now… a giant fucking mosh pit… I’m sure you can make that hole a little bigger guys, come on, stand back”, and in response the place goes absolutely mental for ‘The Cell’. The lightning flash backdrop and accompanying strobe-effects hit a little close to home though as we’ve all been waiting in the pouring rain for the last hour, but guitarist Christian Andreu is paying the drizzle absolutely no mind, spinning around like a whirling dervish as he shreds.

For a confusing minute we get an up-close and personal as drummer Mario Duplantier ditches the kit in favour of a, um, spear. No clue why, but he’s brandishing it about the place and yelling “It’s an immense honour to headline bloodstock today… thanks for sticking out the rain”. Up next, ‘Silvera’ is stunningly beautiful, with it’s almost ambient mellow passages, and after a somewhat excessive drum solo we’re getting down to the wire with the heavy but melodic ‘The Shooting Star’, which is heralded with a rain of fireworks from the stage roof.

Pulling absolutely no punches, Gojira blast into encore/finale song ‘Vacuity’ supported by a barrage of on-stage pyrotechnics and a massive set of flaming red fireworks from behind the stage as they finish, calling out “Thank you so much bloodstock that’s all from us tonight. Stay safe, stay happy, stay healthy. Goodnight!”. It’s the perfect set and there’s no denying that Gojira are absolute masters of their craft, we have definitely been pulled right into the moment with them and sincerely hope we’ll be seeing them back at BOA soon.

BOA 2018 – Judas Priest: Reviewed!

June 10, 2020August 14, 2018 by Anna Hyams

It’s Friday night at Bloodstock and we’re gearing up for the mighty Judas Priest, the stage is set with giant ‘Devils tuning fork’ backdrops and standing props and smoke is billowing in from the sides. Entering to Sabbath’s ‘War Pigs’ and a barrage of stage lights, Rob Halford is still rocking the signature fringed leather and sunglasses look, despite the now dark skies. Kicking off with brand spanking new track ‘Firepower’ – a polished but ultimately traditional Priest sound, it’s clear we’re in for a treat.

Halford shouts out “C’mon Bloodstock the priest is back! Are you ready for some heavy metal?” to a roar of approval in reply and a sea of horns are raised across the arena. Busting through hits like ‘The Ripper’ and ‘Turbo Lover’, we’re getting nothing but pure old-school heavy metal – which is especially poignant since Halford is almost dressed in heavy metal himself, sporting what look to be silver chaps, a la Tinman from Oz.

A pride flag waves in the middle of the crowd, presumably as a tribute to Halford himself who publicly revealed his homosexuality during an MTV interview, and became an early advocate for LGBT presence in the metal community. Indeed, metal for everyone; inclusion and diversity, is always a line that Bloodstock has kept at the forefront of their festival ethos.

The stage screen backdrops change to scrolling newspapers and an image of Big Ben for ‘The Ripper’ and there’s a distinct possibility of permanent retinal damage with the insane amount of strobe light use during ‘Saints In Hell’. Yelling “Thank you so much! Heavy metal is forever right?” the metal certainly does just keep on coming. Now dressed in an extraordinarily sparkly trench coat reminiscent of a giant disco ball, and wielding a blue lightsabre for no clear reason at all, we get right into the good stuff. ‘You’ve got another thing coming’ has everyone headbanging along with the band as a Black Country flag flutters on the screens – particularly relevant here in the Midlands. As is traditional, Halford rides his motorcycle on stage wearing yet another fringed jacket and leather baker-boy cap for ‘Hellbent for Leather’, which frankly is something to aspire to. If you ever get the chance to include a motorcycle as part of your essential stage kit – well you’ve definitely made it.

The encore sees guitarist Glenn Tipton join the band on stage, who has recently revealed that Parkinson’s disease would require him to step down from performing. Despite this, Tipton absolutely smashes Priest super-hit ‘Breaking The Law’ to crowd-wide chants for him, it’s a really powerful moment. Halford calls out “Thank you so much. Thank you for having us back home, this is where we’re from, the home of metal” and indeed this sort of homecoming for the band, with almost 50 years under their belts, must feel all the more special. Closing out with new record ‘No Surrender’ and finally ‘Living After Midnight’, this really has been one of the best Judas Priest gigs we’ve had the pleasure of attending, and we’re sincerely hoping it’s not the last. As Halford crows; “We'll be back, we are Judas fucking Priest!”.

Bedford Park Concerts 2018!

June 10, 2020August 13, 2018 by Kimberley-Anne Simmons

The first weekend of August 2018 saw the return of the brilliant Bedford Park Concerts. I had an absolute blast last year, so I was excited to attend
again. For those of you who are not already award, this is a three day event that begins on the Friday evening and comes to a close on the Sunday. The
organisers have never failed to provide a fantastic line up. Previously they have given us performances from Jason Donavon, Tom Jones, UB40, Dizzee
Rascal, Kaiser Chiefs and more. Once more for 2018, ticketholders were able to make memories with friends and family whilst watching yet another
handful of brilliant acts.

Upon entering the site at Bedford Park, I could see a wide variety of food vendors, ranging from fish and chips and pizza to vegan street food and
sweets. Also there was an abundance of bathroom facilities and access to a couple of different bars serving everyones favourite beverages. Also importantly, the teams from the brilliant St Johns Ambulance were placed in their own gazebo at the back of the park and also stationed on patrol at various locations around the site. As previous
years the event was sponsored by BMW Barons Bedford, so there was also an array of automotive beauties on display and test drive booking options.

Friday

Friday 3rd August i had the weekend kicking off to a great start. The entier evening was filled with chilled reggae and soulful vibes. At times I even
felt like I was being transported to a beautiful beach covered in white sand with crystal clear waters in my mind. It was one of the most chilled out gigs I have ever been to.
Which was really quite nice and very enjoyable. During this relaxed segment of the evening we got to see performances from British Reggae band ASWAD,
who are best known for their infectious hit singles ‘Don’t Turn Around’ and ‘Shine’. To which were the final two songs of their set.

Also Friday evening brought us a brilliant segment from The Christians, the band had celebrated the achievement of 30 years together just last year. The band from
Liverpool have also seen huge success in their debut album which sold over a million copies. Their set included their first single ‘Forgotten Town’
which turned out to be quite apt as they had to ask the audience exactly where they were performing which was quite amusing. We also got to see them
perform their cover of ‘Here Comes The Sun’ which was originally performed by The Beatles after the song was written by George Harrison.

The next act certainly took it up a notch as she ramped up the energy while she dominated the stage.That lady was the sensational Jaki Graham. She
stood out in her eyecatching fringed attire while wowing us with her vocals. It was clear to see she could not wait for her turn to be on the stage.
Graham appeared to be so genuinely happy to perform, she even stated “I came out feeling like Jaki no mates,but here you all are, I love you” which was
followed by plenty of air kisses to the crowds of people before her. From Jaki, we heard hits including ‘Could It Be Im Falling In Love?’, ‘Ain’t
Nobody’ and even new music including the title track of her new album, ‘When A Woman Loves‘.

Of course, this night belonged to one man, the legend that is Mr Billy Ocean. The Trinidadian-English recording artist is well known for his catchy
R&B pop hits, predomintally in the 1970s and 1980s. I was born in the late 1980s but even I can appreciate his amazing talent and infamous hits.
People of all ages were so excited to see this man perform live. Billy’s set was clean cut while he showcased his smooth moves as he dazzled in a
brilliant white suit. Billy Ocean may not be as young as he once was, but this performance proved that age certainly is just a number. His
performance was one of nostalgia and high emotion as he serenaded us with singles including ‘Caribbean Queen’, ‘When The Going Gets Tough, The Tough
Gets Going’, ‘Suddenly’ and the huge ‘Love Really Hurts Without You’.

Saturday

On Saturday 4th August, we got to see a very different line up compared to the previous evening. The evening was filled with pop and dance tunes. We
saw performances from up and coming solo act Hannah Jane Lewis, DJ sets in between main acts, male solo artist Sam Willis, who was sat for most of his
set behind a keyboard playing beautiful music and gracing us with vocals that could closely be likened to international pop star Bruno Mars. So if
you’re looking for musical “Treasure” be sure to check out Sam’s music. Also there was a very lively set from the band that gave birth to Harry Styles’
music career. White Eskimo. The quartet rock-pop band were all smartly dressed in fitted black suits and slim ties around their necks as they gave us
quite the show. They certainly knew how to work their magic on the audience, especially impressionable girls within their teenage years. Although,
some did try to cause a stir by chanting “Harry!, Harry!, Harry!”, the lads remained focused and professional as they were seen laughing off the little
stunt and carried on with a brilliant display of musical genuis. The down to earth band members clearly loved to play up to the cameras and also took
time out after their set for a meet and greet with their fans at the VW Campervan style photobooth on site.

What impressed me most about these performances weren’t actually anything to do with the acts at all. I can’t continue with this review without mentioning some of the best talent that I saw all weekend. Just to the leftof the stage as the acts were live, also live were some people communicating in British Sign Language. These talented people were performing songs along with the acts on stage. What a phenominal idea! I’ve been to a lot of gigs and festivals since becoming a writer for such events and never once had I seen this at any other event before. Bedford Park Concerts are one of the small handful of events that actually include this thoughtful feature to their line up.

Shortly after 8pm, hundreds of people were seen moving as close to the front of the stage as they could possibly get, as something exciting was about
to take place in the park. All over the site I could hear chanting demanding “We want Jess!, We Want Jess!” Everyone was stood waiting in ancitipation
for female solo artist Jess Glynne. The music scene first intriduced us to the female soloist back in 2014 upon the UK release of Clean Bandit’s
mammoth single ‘Rather Be’. Jess‘ vocals shone on the track.

Although a little later than expected, Jess walked out onto the stage, gave everyone a quick “hello” and got straight down to business to perform the
first song of her set, ‘Ain’t Got Far To Go’. The chart topper also included her well known string of hits such as ‘Right Here’, ‘Don’t Be So Hard On
Yourself’ and ‘Hold My Hand’ before then slowing things down to what I can only state was a very emotional segment of her time on stage at Bedford
Park. Glynne stood quietly at the front of the stage to introduce her next song of the evening and then dedicated it to a young girl and her mother.
She continued to say “before I came on stage tonight, I got to meet a very special young girl, she’s so special and deserves some love”. The singer
then continued to sing her balled ‘Home’. Many sang along as they swayed their hands gently through the air. It was rather difficult to hold back the
tears during this stage to be honest. It wasa beautiful and heartfelt few moments. Jess Glynne is well known for her upbeat pop
tracks, so the pace was picked up once again, getting everyone into the party mood they came to experience. This performance brought so much to the
weekend’s event. Fun, emotion and pure pop brilliance!

To close saturday night, the organisers of the concerts had the perfect plan. To end the night on a huge party! Woo Hoo! Bring on Felix Buxton and
Simon Ratcliffe, aka Basement Jaxx! The duo hit the stage and took their place behind a huge DJ deck as they pumped out some ravetastic tunes. As they
played remixed of their own hits including the mighty ‘Red Alert‘, crowds of people were jumping around like hyper school children without a care in
the world. All under a fantastic laser light show. What a way to end the night!

Sunday

As with previous years, the final day of frivolities at Bedford Park brought the most pompous yet patriotic day of my festival season calendar. The
Bedford Park Proms. Proms day has always been known to feature performances showcasing a variety of renditions of songs from musicals and film
soundtracks. Before attending the event that day, I had said to my partner (to quote myself) “I guaruntee that we will hear music probably the biggest
film sountrack of the last year, The Greatest Showman”. Yes,I was pleasantly 100% right! It’s a soundtrack that I personally love to listen to very
regularly, so I was excited to witness the children of the Pilgrims School Choir sing ‘A Million Dreams’ followed by the Bedford Girls School Choir
singing their version of ‘The Greatest Show’ – which had a brilliant foot tapping routine to go with it. Parents, teachers and pupils from both school choirs should
feel incredibly proud of their efforts during their performances.

What was fresh to see was a a brilliant set from the very talented Joe Bygraves. It was like watching a protege of Ed Sheeran’s standing on stage with
an acoustic guitar and soft vocals. He and his music were definitely a bighighlight of the day in my opinion. Not only did he perform his own
versions of songs including Ed Sheeran’s ‘Galway Girl’ and Wheatus’ ‘Teenage Dirtbag’, he also had a great range of original songs to offer too, including ‘Childhood Sweetheart‘ and another, which was inspired by the fiesty fictitious character Daenarys Targaryen from the popular TV series Game Of Thrones. Joe’s music can currently be found on both Spotify and itunes. I highly recommend you check him out – especially if you’re a big fan of a certain red headed guitar playing male
solo artist.

The official start to the Proms begins now! The Bedford Town Band kicked things off with a pretty impressive feature. All of their music was taken
from the 1996 film ‘Brassed Off’ which starred Ewan McGregor.

Of course, the Bedford Park Proms wouldn’t be the same without the return of the mesmerising talents that make up the London Gala Orchestra. I’m no
classical music buff, but I didn’t need to be to appreciate just how magical their symphonies can be. They even had me singing rather loudly “Just One
Cornetto!” (Some of you will know what I am referring to there) haha. During some performances the orchestra were also joined by other guests including
the Bedford Choral Society and of course the evening’s operatic soloists. Tenor Jeff Stewart and the nation’s musical sweetheart Lesley Garrett. Both
were intruguing and enchanting to watch as they performed both alone and together. The pair even at one point sang a beautiful duet while drinking a
glass of tipple and dancing as if they were ready for the wow at the ballroom.

Lastly in true proms style to end the evening and the weekend long event, the site was filled with sea of red, white and blue flags and costumes during
a very british and patriotic segment before the big finale! A very spectacular firework display that filled the air with colour and sparkle and
contentment in our hearts.

There is no doubt about it that the organisers of this annual event deserve a huge round of applause and a pat on the back for yet another job well
done and a successful 2018 weekend event. I loved every minute of last year, I had so much fun this year, and preparations for next year’s weekend are
already underway. I only hope I will be lucky enough to attend as a reviewer for a third time in 2019.

For more photos click below

Friday Saturday Sunday

All photos by Kane Howie www.kanehowiephotography.co.uk

Roll up! Roll up! It’s the GIANT BESTIVAL REVIEW – 2018!

November 8, 2018August 13, 2018 by Anna Hyams

Roll up, roll up! It’s the most colourful show on earth! We’re back at Lulworth Castle for Bestival’s second year in it’s new location and it’s 15^th Anniversary year, the UK is hotter than Mordor right now and we’ve packed enough glitter to ice an entire season of Drag Race.

THURSDAY

Ok, first things first. Getting in. After a miscommunication about certain carparks being full (they weren’t) and half our group being sent miles across site, we finally a few hours later manage to pitch up in Rainbow Rave camp. The first thing we notice after grabbing ourselves a lanyard (sans tote bag and programme, we really miss those!) and setting up the tents, is that there appears to be precisely ONE block of portaloos for the entirety of Rainbow camp. Seriously. It’s by far the largest campsite too. That is so not going to be fun in the morning…

Heading into the arena for a first look around, we also notice that there are absolutely no food vendors in Rainbow either… meaning we can say goodbye to a nice morning stroll for breakfast before getting ready to go out for the day. Unimpressed is an understatement – it was considerably better on both food and toilet fronts last year, two things that can really make or break your camping experience.

However, one new development which we wholeheartedly approve of, is the new “integrated site” layout (which is actually just a return to Bestival’s of old) whereby there’s no discernable divide between campsite and arena. This crucially means that there are no bottle-neck lengthy security queues and you can take your camping alcohol along with you – anywhere!

It’s also great to note that since last year’s unfortunate drug-related death at the event, Bestival has immediately stepped up their game. There are police officers and dogs on the campsite gates, as well as ‘The Loop’ – a drug testing service on site and lots of very noticeable ‘Chill Welfare’ helpers dotted around the place, as well as an Amnesty bin. Drugs are always going to make it into events, no matter what precautions are put in place, so it’s great to see Bestival addressing the problem from multiple angles.

Anyway as we walk through the site we immediately spot some differences from last years’ debut – The Temple is now nestled at the bottom of a giant hill halfway between camping and the main arena, it looks absolutely stunning and now offers a place to sit back and take it all in, if you don’t feel like getting in the middle of it. Previously it was at the top of a slope instead but we think this orientation is going to work out so much better, it looks like a beautiful secret club in the woods, with a hillside covered in fluttering silk flags. HMS Bestival has also moved to less of a thoroughfare spot, but it is still disappointingly tiny compared to it’s original iteration as ‘The Port’.

We also spy a frankly MASSIVE trapeze set up on the hill and a high-wire fenced off in the centre of ‘Cuckoo Clump’. This whole area has changed completely, it’s considerably more open and inviting than last year’s higgledy piggledy maze of vendors and spaces. We spy Stacey’s and House of Vans on our way past but we’re heading straight for the Castle and The Feast Collective for some top notch grub. As we head through the lawn we pop over to say hello to DJ BBQ, who is enjoying a beer whilst standing in his own paddling pool. So jealous right now. He reliably informs us that he’ll be slinging more meat on tomorrow, as well as giving us frequent air guitar shows on his own miniature stage.

Now I’ve raved about The Feast Collective every single year, the variety and quality are unparalleled at any other festival in the UK, but oh my gosh. It’s hotter than hell in the tent but we are all overwhelmed by the smells and sounds, the long picnic tables down the centre and pretty fairy lights. My first festival meal has to be Shrimpy’s – a tray of battered prawns, hand cut proper chips and a heap of samphire. It’s effing decadent festival dining let me tell you. Following it up we give the edible cocktails a try, Blue Lagoon is horrific, but Espresso Martini is a delight, even if you do feel like you’re joining the ill-advised tide pod craze.

After a quick look at the Castle field we head into the Old Mout Kiwi Camp for a singalong, it’s always karaoke time in there and the tent is rammed, so we settle ourselves into a massive hammock thing and add our drunken voices to an absolutely dire rendition of Fugees ‘Killing Me Softly’. After a few more songs and a couple of ciders we decide to check out Bollywood, where some guys unwisely decided to try and teach us (the perpetually uncoordinated) to ‘tut’. Needless to say we were poor, and left laughing.

Over in my personal favourite space at Bestival; Caravanserai, we are mesmerized by Cirque Bijou’s trapeze, silk and rope artists, spinning and dropping above us in sparkly outfits. The whole place is absolutely alive with wonder and awe – something I’ve come to really appreciate about Bestival. It’s not often that adults allow themselves to be utterly swept away in the moment and give in to childlike feelings of amazement, I think that’s what feels so special about it.

We also catch a little of The Roustabout Collection on the carousel stage, who are exactly as rowdy and fun as the name suggests, grab ourselves an Elderflower Gin Fizz from one of the little bars and have a sit down in one of the old waltzers. Everyone is chatting, laughing, dancing and sparkling here – I feel so at home. After filling up our souls in Caravanserai, we begin the walk back to our campsite and decide to go via The Temple which is truly even more beautiful at night, bathed in the pink light of the lasers. There’s a sea of sweaty, uninhibited bodies jumping to the rhythm of beat, it’s almost hypnotic. Half of me wants to rush in and join them but the other half of me has spotted another festival staple – Anna Mae’s Mac n Cheese. It wins out and soon we’re digging our way through mac whilst trekking up the big hill home.

FRIDAY

Oh dear lord it’s HOT. Wriggling into our first spangly outfits of the weekend (yes, we have brought theme-appropriate clothing for all three days) we head out as quickly as possible as we’re all starving. Breakfast is smashed avo on toast (basic bitch alert) followed by several average attempts at the Mitchum Ball Pool, in which you have to collect golden balls which spell out the brand name. Definitely aren’t going to be winners but they are pushing mini sample deodorant on us which we sincerely appreciate in this heat. Next door we grab ourselves free iced lattes from Nescafe Aezera and then truck up the hill to have a look at Gorilla Circus.

Little did we realise that you can just rock up and HAVE A GO. The trapeze is a giant hulking metal contraption that from the outside sort of resembles a bear trap, and is honestly no less terrifying. Some of my crew sign themselves up for a go and are pretty quickly let loose on skills like a leg-hold, back tuck and even a catch! It’s amazing and insane that this is just freely available to do at a festival, every time you think you know Bestival – they come up with something else absolutely shockingly brilliant to add to the lineup.

After the heights of the Trapeze and being out in the sun for hours, we traipse over to the Castle field for an icy slushie and some shade to watch Oh My God! It’s The Church. Having caught them last year in the Big Top, we knew they were not to be missed. The Reverend Birmingham Alabama in his gold suit is certifiably crackers, the band and vocalists are all incredible and we LOVE their rendition of Fatboy Slim’s ‘Praise You’. If we weren’t trying to fend off sunstroke, we’d have been front and centre, but we take a precautionary manoeuvre and head up through Ambientland (the forest) in search of Slow Motion.

After a quick toot on the mushroom sound pipes (not a drug reference, one of the forest’s art installations) we wind our way out into a grassy field with a tent where ‘Bubble Meditation’ is going on. Relaxing music, everyone lying down in a meditative state and um… small children walking around with bubble-guns. It’s odd to say the least but hey, whatever floats your… bubble I guess.

We take a look inside The Frozen Mole, but can’t spy any actual frozen moles in the ceiling, and then settle into some deck chairs in the shade of a small tree, as a peacock walks by and some other people are getting themselves a rejuvenating IV drip at the tent next to us. You really couldn’t make it up, everything is weird and wonderful here.

Over on the main stage Idles are going absolutely berserk, yelling “This is a song about how much I love immigrants” and wearing the Choose Love refugee tshirts. I’ll be honest, it’s not my sort of thing – but I do appreciate the cute little circle pit that has sprung up in front of the stage. At The Feast Collective we’re lured into the tent by a lady with fried jackfruit samples, which entice us to buy truly one of the best burgers we’ve ever eaten at a festival – and all vegan too.

Refueled we head back out to see our Bestival faves, The Cuban Brothers. If you’ve never experienced the CB’s, you really need to. They’re comedy kings, with a side of hip hop funk, crazy dance moves and fringed leotards. What’s not to love? Bursting on stage Miguel notes that the CB’s are “…the only band to play all 15 years at Bestival” and they indeed Bestival personified. Kenny (The Bastard) and Archerio bust out some duo disco moves “Together they are… Double Penetration!” and Miguel notes that Arch is “…sweating like a pregnant nun for you tonight” – as a mum on the front row quickly clamps her hands over her young son’s ears.

We’re treated to Kenny’s artistic Whitney Houston ‘I wanna dance with somebody’ rendition, warm up our hip circles with Miguel and marvel at Juan Erection’s flips and breaking during ‘Ante Up’. Oh and a slew of families quickly escape the arena when Miguel takes all his clothes off except some very tiny pants, and starts banging the mic with his penis. Standard.

As the sun begins to set on this incredible first full day at Bestival, people are flooding into the arena in a host of sparkly costumes and accessories with glitter and smiles plastered all over their faces. We’re scouting out our perfect dancing spot for tonight’s headliner – Silk City.

READ OUR FULL SILK CITY REVIEW HERE!

After an incredible Bestival debut full of hard-hitting mixes, neon and raucous dancing, we really should be partied out… but at Bestival, the night is never really over. We head from the arena to The Temple to catch a bit of Kiwi, and drink in the image of all the gorgeous wild and free souls under the stars of Lulworth, there’s nothing quite like it.

SATURDAY

After choking awake in our furnaces/tents we dress in appropriately Circus-themed outfits (ringmaster plus circus animals and props) and head into the arena for Kojey Radical, who is busting up the Castle stage in sparkly red converse, he deserves a much bigger crowd than there is down the front – but there are pools of people crammed into every available patch of shade, hiding from the heat. We grab ourselves a slushie and watch Rodrigo Pérez, aka The Human Cannonball blast himself 25 metres through the air onto a giant inflatable crash-mat. It’s exactly as mad as it sounds, even LoveBot looks concerned.

Stefflon Don is reportedly stuck in traffic and isn’t going to make it so we head off in search of energetic delights in the form of The World’s Biggest Bouncy Castle. It truly is humungous (taller than the Great Wall of China and roughly three times the size or the Berlin Wall, filled with 1143 cubic metres of air, in case you were wondering) and we are all giddy like five year olds hopped up on Birthday cake just looking at it. What we didn’t realise, as we gleefully ditched our shoes and socks is that it would be HOTTER THAN HADES on that thing, the rainbow canvas scorching our feet as we attempt to bounce ourselves right out of it. Great photos, loved it anyway – a must do Bestival experience.

Over in The Big Top, Black Honey are the perfect blend of indie rock and sparkle with vocalist Izzy Phillips owning the stage in a rainbow sequin dress, the band are great and really kindly come out after their set to hand out free EP’s and patches, even signing stuff and posing for selfies – they’ve definitely gained more than a few new fans on the back of this performance, a great pick from the Bestival team.

Up next are the funky and fun Superfood; we’d been pre-gaming with their stuff on the Bestival playlist and they certainly did not disappoint. We loved ‘Unstoppable’ and their eponymous song ‘Superfood’ has a very Radiohead-esque riff that we’re into but it’s you know… happier. We also have a quick catch up with the man Rob Da Bank himself, who just seems to be hopping around the site checking up on people and saying hello. Rob tells us that he hasn’t had a go on the trapeze himself yet and SFG accuse him of being a fraidy-cat.

Over on the main stage we are blown away by the stunningly talented First Aid Kit, playing in the blazing sunshine in coordinated zebra-print outfits. The Söderberg sisters’ vocals are unparalleled and they don’t hesitate to bring a political message along for the ride, yelling “…That was our protest punk song… for women… we’re really sick of being fucking afraid” and waxing lyrical about how rape crime is rife with victim blaming propaganda. The crowd roars in agreement as they gutsily shout “The blame and the shame always belong to the perpetrator, no more fucking excuses!”.

We couldn’t rave more about their Kate Bush ‘Running Up That Hill’ cover but our absolute favourite is the dark and brooding ‘Wolf Mother’ backed by cyclical wolf visuals on the big screen. The ambience is only slightly marred by the sight of two people wielding actual first-aid-kits attached to tent poles down the front; it did make us giggle. Finishing up with a crowd-wide crooning for Emmylou, their “little love song” and finally the outstanding ‘Silver Lining’ set against a galaxy backdrop as the sun begins to set gold over the whole arena. It is the perfect show.

We recharge with an insanely rich salted caramel brownie with ice-cream from The Green Brownie before bowling headlong into madness with the weird and wonderful, Grace Jones. Stalking on stage in a billowing black sheet and golden skull mask, she’s dramatically striking in appearance with vocals to match. We have to laugh when she disparages her trip to Bestival; “I had to take a helicopter… helicopter… but I wasn’t gonna miss it if I had to take some wings and fly myself…” and dons a metal feather mane whilst writhing on the floor of the stage. ‘My Jamaican Guy’ sees her casually whipping her extraordinarily beautiful pole-dancing man – who is covered in matching body paint, before she cracks out a massive pony-headdress and hops on the shoulders of a roadie to parade the pit area high-fiving fans on the front-line for ‘Pull Up to the Bumper’. The confetti cannon sprays the crowd with rainbow ticker tape as Jones comes back to the stage shouting “Who's camping out? My God… let’s go before they pull the plug on me” and we’re all going crazy for ‘Slave to the Rhythm’ and a good 15 minutes of solid hula-hooping whilst singing. The woman is a machine.

As Grace Jones exits the stage we all turn around to face Lulworth Castle and are met with an audio-visual anniversary spectacular played out on the castle itself – Bestival themes over the last 15 years, a bombardment of amazing fireworks and a lot of oohing and aahing. ‘Somewhere Beyond The Sea’ plays and the final message reads “Sail safe shipmates” – is this a clue to next year’s Bestival theme we wonder?

Strangely after this ‘firework finale’ which in previous years would mark the very end of the festival, we still have London Grammar to go on the main stage. It’s a bit of an emotional whiplash going from the party vibe of Grace Jones and the excitement of the fireworks into the soft, ambient vacuum of London Grammar, but they are stunningly beautiful.

READ OUR FULL LONDON GRAMMAR REVIEW HERE!

As the Castle stage closes, we head out for the nightclubs of Bestival and oh we are spoiled for choice – Stacey’s and House of Vans are jumping, Caravanserai looks like a glittering chandelier and HMS Bestival’s lights pierce the darkness. Carpe PM!

SUNDAY

Sunday morning at Bestival always feels slower. The toilet queue is visibly hungover and big sunglasses are a must. Luckily it’s marginally cooler today because in the harsh light of day it’s pretty clear a lot of little lobsters have been neglecting their sun-cream this weekend. We take a fortifying hike up to Slow Motion for a little life affirming Bollywood yoga and a wonky-veg slushie (which was a lot tastier than it looked, which is good because it looked like gators might live in it). Over on the Castle stage the soothing sounds of Songhoy Blues ring out over the site and bring us back to life, as we peep into The Frozen Mole where a tshirt design workshop is in full swing.

We tiptoe past aerial-yoga, where people appear to be fighting brightly coloured silks on A-frames in attempt to achieve inner peace, and head to the main arena for Gentleman’s Dub Club for a boogie – albeit a gentle one whilst we’re in recovery. Next up, with absolutely no remorse for our fragile states is the batshit crazy Dubioza Kolektiv, who appear to be dressed as crash-test dummies with boundless energy. Brandishing signs reading ‘make’, ‘some’ and ‘noise’ they yell “Find a person in the crowd to hug” and this being Bestival, that is exactly what happens – strangers hugging strangers, increasing the peace. We are in fits of laughter at their song ‘Free.mp3’ otherwise known as ‘The Pirate Bay Song’ with it’s repetitive message “Our music is for free, you can download mp3, keep it playing on repeat, if you hate it press delete” and their unashamed Pirate Bay flags – it’s going straight on our illegal playlists.

Hauling on stage a group of jump-ropers, they attempt to “teach the crowd some Bosnian lyrics” whilst skipping; “…jumping the rope is traditional Bosnian dance… we do this for 2 thousand years”. They’re mental, we love it.

Up next the arena is packed for Chaka Khan, who arrives on stage to backdrops of her signature, wearing a sparkly top also featuring her signature. You could say it’s a signature look… ha. Despite an initial kerfuffle with her mic being off, she launches into the good solid disco music we’ve all been waiting for, in the sunshine. It seems the sun-facing stage is a bit much for Chaka though as she gripes “How you doin… damn I hate this shit, I hate the sun in my face… I’m brown enough!”. The set is decent but in truth we’ve all been waiting for ‘I’m Every Woman’ which is exactly as fun as we’d hoped (there’s a man wearing fluffy fringing who looks like he’s been positively dipped in glitter, having the most fabulous time atop his friends’ shoulders) and ‘Ain’t Nobody’ is explosive with the addition of a confetti blast from the cannon. Magical.

Afterwards, the sad news about the passing of Barry Chuckle – a Bestival veteran, is screened on the main stage as sad “to me, to you” lines are spoken around the site, The Chuckle Brothers have been a big part of this festival for years, and indeed, most of our childhoods.

Plan B attacks the main stage with ‘Grateful’ wearing a curious outfit, half Peaky Blinders, half military tactical jacket, with a strange white chin-strap thing. It kind of looks like he’s sprained his beard. I don’t get it. As the tall tramway lights flicker, Drew asks “Can I get some vodka please?” and busts out fan favourite ‘Prayin’ and ‘She Said’ with the entire crowd singing along. It’s amazing how many people actually know the entire rap section actually. Calling out “Who’s drunk? No that’s not enough… who's drunk?” Plan B can’t hear this amusing response from the crowd; “You’re drunk! You put your highlighter on wrong son, blend honey!” but we’re all giggling as he heads into ‘Welcome to Hell’.

After all that dancing we’re desperate for nourishment and absolutely spoilt for choices still. Tonight it’s grilled steak and chips from The South West Food Collective, whose proceeds go to charity and who are collecting leftover food from Bestival vendors and campsite hubs tomorrow to be distributed to a local food bank. Not only that, the steak is crazy good, restaurant good. It’s things like this that Bestival draws in that really make the difference. The entire vibe of this festival is centered on its motto ‘Increase The Peace’ and rather than just say it, this is the festival that actually strives to model it.

Up next is the part artist, part activist, musically explosive M.I.A. smashing up The Castle Stage for the finale of Bestival 2018. She’s a force to be reckoned with, emerging from her temple doorway under yellow billowing curtains;

CHECK OUT OUR FULL M.I.A. REVIEW HERE!

After M.I.A. we scurry over to the Cuckoo Clump for the grand finale, which begins with an incredible violinist in a glowing dress, surrounded by neon lit umbrellas dancing in unison at her feet. Above a perilous high wire, sans any form of safety net or harness sways ominously in the light breeze. We are utterly amazed by the three tightrope walkers from Cirque Bijou, who proceed to walk, lie-down, headstand and even climb over each other, but then they just continue to up the ante. There’s a guy walking on the top wire – even higher than the original wire… then they set it on fire… then he rides a bike across… then a girl attached to a harness sails along it with a balloon and danger dances with the man who has no harness… It’s nail-biting stuff. The accompanying fireworks exploding from three different locations, lighting up the helter-skelter are the cherry on top of the most fantastic layer-cake of this finale. I’ve seen some mad incredible things in my time at Bestival but I really think this has been one of the most incredible. I don’t know of any other experience on this earth that is as chaotic, mysterious, bizarre and awe inspiring. With that, we are off to Caravanserai to hide out in a camper, drink cocktails and dance like we don’t have to go home tomorrow. Rudimental are DJ’ing The Temple soon, and there are at least a few more heady hours of glorious freedom to be had. See you next year Bestival, you have well and truly got your mojo back.

Bestival 2018: M.I.A. – Reviewed!

November 8, 2018August 9, 2018 by Anna Hyams

It’s day three of Bestival, we’re all sunburnt, knackered and happy – but we’re back in the Castle Field eagerly awaiting London bad-gal rapper, artist, political activist and all round boss babe – M.I.A. The main stage is set with billowing yellow drapes reminiscent of a Disney princess dress and a neon archway which looks like you could descend to Moria through it. If you know, you know. The arena is packed out and everyone is looking forward to one last night of debauchery before having to head home to the real world.

Red shell-suited dancers attack the stage with a vengeance, and M.I.A. herself emerges from the temple doorway wearing an all-white ensemble apart from one very loud, tiger print um… chap? Half of chaps. Can I call it chap singular? Anyway, the energy is up, she’s wrapped in a floral headdress and already smashing through the likes of ‘Bamboo Banga’ and ‘Y.A.L.A.’. She is pure power in these first few songs, keeping up with her Tamil dance crew and winding in her shredded shorts, before jumping down to high five people in the crowd.

For all of Maya’s raw musical talent, the political activist in her is still very much present and integrated into her work, backdrop visuals of Syrian refugees accompany her swift lyrics while her DJ seems to vie for attention yelling out “M.I.A.” and “Bestival”. Returning to the stage after a brief pause, Maya is now rocking a massive shiny boxing style robe and we’re treated to a heavy hitting “Live Fast Die Young” which is honestly the highlight of the set – especially because it comes dance moves. Hey, it’s no Macarena but having been a child of the 90’s I know how to Miyagi wax-on-wax-off with the best of them.

Confusingly M.I.A. yells “Where the boys at?” hold on… equality always… I guess it’s time for the boys… maybe we should get some boys on stage…” and none appear to materialize. No-one cares though, both factions of her female dancer troupe are absolutely killing it. One funny/soul destroying moment, is Maya calling out “Hey Bestival, now we need your help… we want you to sing with us, are you ready for it” and asking for people to get their lights out. It’s a sea of phone torches instead of lighters these days, I’m nostalgic for the warm glow of real fire in this blanket of LED. I feel old.

Rolling into ‘Boyz’, Maya is back down the front throwing flower petals from a basket into the front row and standing up on the barrier holding hands with fans, a security guard holding onto the seat of her pants for safety. She calls out “Bestival if you’ve still got fucking energy let me hear you” before exclaiming that she only has 7 minutes left. Given the 15 minute late start, this makes for a pretty clipped set, but luckily she is allowed to go on a little longer. After handing the mic to a person in the crowd who decided to use the platform to wax lyrical about going out there and being an astronaut if you want to – bit weird… she finishes up with super-hit ‘Paper Planes’ and amusing bird-hand motions.

Just to cap off the political slant to the whole set, Maya exits the stage with a stinging jibe “The British government got some apologies to make around the world” and with that, the Castle stage is officially closed for 2018. I know M.I.A. isn’t everyone’s cup of tea, but you can’t deny her fierce energy and I applaud her use of her platform to speak on issues she is passionate about. She’s everything Bestival stands for and pulled off a solid headline set.

Bestival 2018: LONDON GRAMMAR – Reviewed!

November 8, 2018August 9, 2018 by Anna Hyams

After a stonking warm up of the always incredible (and insane) Grace Jones, and the most spectacular 15^th Anniversary fireworks and AV show on Lulworth Castle, we’ve been expecting big things from London Grammar tonight. The sky is cloudless and cool, a welcome relief from the scorching days and the stage is set, well… incredibly minimally.

As the band take to the stage after an inordinately lengthy intro, visuals of the moon and stars set the scene, and lead vocalist Hannah Reid launches effortlessly into ‘Hey Now’. ‘Wasting My Young Years’ is beautiful, but honestly, it’s all a bit of a come-down after the raucousness of the previous acts. It feels a bit like giving a kid a lolly before bedtime and then expecting them to lie down for the lullaby – yes Bestival is eclectic and has always been known for having a bill with something for everyone, but the people are voting with their feet and the arena is already looking sparse as people seek rowdier pastures at HMS Bestival, Bollywood and The Temple.

As the band head into a cover of Kavinsky’s ‘Nightcall’ I can’t help but think that the original with it’s soft but strong beat would have gone down better, but ‘Rooting For You’ is undeniably stunning. I just so wish they’d been framed by a similar act, something to get us into the right mood for this. It’s clear they’ve got plenty of die-hard fans at the front, but there’s no denying that the turn-out is considerably thinner than for Grace Jones.

For an awkward pause of about ten minutes, someone decides to scale one of the trees in front of the stage… out of boredom or love – we’ll never know but it shuts down the proceedings while security attempt an extraction. Reid calls out “So we’re being told that there’s a guy in a tree… I don’t know which tree… but basically, we can’t carry on – we're gonna be shut down until he gets out of the tree. So I’m actually not allowed to start singing until he’s out of the tree.” Which comedically elicits a range of both boos and cheers, further supporting the divide tonight.

Finally the stunt is over and Reid quips “He’s out of the tree! He's naughty…” before resuming with ‘Strong’. Finishing up with ‘Big Picture’ before the one song encore of ‘Metal & Dust’ against a pink-rain of stars backdrop, it really is beautifully ambient. Calling out to the crowd one last time, Reid muses “Robbie had us for one of our first ever shows here, in a tent and it was one of the best gigs we've ever done. It’s crazy to think that was 6, 7 years ago. Thank you!”.

For me this was a tough one. Yes I think London Grammar are fantastic, but do I think they had that site-wide appeal a headliner should garner? Ultimately, no. Whilst it’s true everyone has different tastes, upbeat bands are always going to win when it comes to headliners, especially at Bestival where people are here to set themselves wild and free. Sorry London Grammar, you just didn’t grab me this time.

Bestival 2018: SILK CITY – Reviewed!

November 8, 2018August 9, 2018 by Anna Hyams

Tonight, for a marvelous treat – Bestival are giving us the second ever live show of the brand spanking new Diplo and Mark Ronson collab; Silk City. As the castle field fills up and an NYC back-alley set design is rolled onto the stage, the sunburnt masses are gearing up for a night of big beats and laser filled dreams.

Debut hit ‘Only Can Get Better’ proves a banging opener, supported by a barrage of lights and Diplo’s yells of “Bestival are you ready? Let’s go!”. The stage set-up is something outside of the usual DJ realm and makes for a much more visual and interesting show than just two guys pressing buttons, as they work their way through remixes of current and old hits. Projected neon street signs blink on the grey walls and faux Silk City band posters are pasted in hypnotising repetition across the big screens. Hung from the centre of the stage is an enormous disco ball, spraying flecks of light across the jumping crowd – it’s honestly one of rowdiest Bestival crowds I’ve ever seen, whether that’s down to mass sunstroke, first day drinks, or a genuine love for the music, is yet to be determined.

Shouting “We made some remixes for you tonight, just for you Bestival, hope you like them” Silk City show off with a plethora of interesting and big mixes, there’s truly something for everyone in there. A little Tori Amos anyone? A little of Kelis’ ‘Milkshake’ does indeed bring all the boys to the yard (and yes, we Brits are still largely terrible at twerking) but it’s the Dua Lipa ‘New Rules’ remix that everyone goes absolutely berserk for.

With their embroidered Silk City denim jackets (where can I get one please?), Diplo and Ronson just flow seamlessly through hit after hit, shouting such classic DJ tropes as “We’re called Silk City, are you ready to party tonight?” and “Let’s go!”. Ok, so it is a bit cheesy but that’s kind of what we’re looking for – something we can get wild to.

A little bit of Route 94, someone spinning glow poi in the crowd and “This is the first night of Bestival 2018, thanks for partying with us tonight! This is only our second gig as Silk City!” has the duo firmly established as a Bestival success, and for a bit of personal joy as 30-something, I loved the inclusion of Wamdue Project’s ‘King of my Castle’. C’mon, what a jam, am I right?

A little bit of Diplo’s own ‘Be Right There’ flows surprisingly well into Missy Elliott’s ‘Work It’ and a remix of Major Lazer’s ‘Lean On’ gives us the feels from Bestivals’ past. Further into the surprisingly funky and retro set, we’re asking each other what we’re gonna do with all the junk in our trunks (again with the poor twerking situation) followed by my new favourite version of Amy Winhouse’s ‘Valerie’.

Closing out with a second round of ‘Only Can Get Better’, Diplo calls out “Thank you for taking a chance on us tonight Bestival… we know how important it is” as the giant confetti cannon covers the arena in flickering light.

Now I know this collaboration in its infancy, obviously doesn’t have a back-catalogue of their own hits to roll through, but they have wisely created a set-list that punches hard at the absolute core point of Bestival – fun. I think they did a cracking job of it, despite some protests that it was nothing more than a glorified school disco. I have but one gripe – why where they scheduled at the same time as Bicep?

Truck Festival 2018 Photo Blog

June 10, 2020July 30, 2018 by Kimberley-Anne Simmons

Truck Festival the Godfather of the small festival scene is back for 2018. The four day sold out event was mostly bathed in glorious British sunshine, a huge improvement on the torrential downpours and mud baths from last year. In my opinion it has been one of the best yet. With an fantastic lineup on offer, it was one I couldn't miss. For the first time and fresh for 2018 the organisers introduced an early Thursday entry ticket which meant you could be one of the first to see the site and grab the best camping pitches. It also meant that that ticket holders for this date would be able to view some additional acts.

2018 saw a more compact layout for the site, compared to previous years, which actually worked out great for myself as it meant it was much easier and quicker to move from stage to stage. There were a wide selection of food vendors around the site, including a food tent which was run by the Faringdon District and Rotary Club with all proceeds going straight to charity. The Rotary Club is a great addition to the festival as it includes people from the local community.

The festival was headlined by Peace, Friendly Fires, George Ezra and The Courteeners.

The weekend was quite the scorcher with high temperatures and the sun beaming down on us all. Although Friday evening brought a short downpour of rain, it certainly didn't dampen anyone's spirits. People wanted to party!

There were a huge number of bands and artists performing over the weekend on different stages. The Apple Tree was new this year which was hosted by Magners, in which there were acts playing on their stage and DJ sets by bands too.

Also on the site there were kids activities, water stations, fairground rides, food vendors, bars and a selection of stalls selling clothes, glasses, hats and more.

Our photographer Kane Howie was there to document the weekend. Check out some of his work below.

Anteros on Truck Stage