Live Reviews - GIGWISE.com

Thursday, 10/11/11 Bon Iver @ Leeds O2 Academy

Mon, 28 Nov 2011 08:21:06 GMT

The expansive nine-piece approach on display tonight blows the lonesome log cabin 'For Emma, Forever Ago' was famously conceived at into matchstick-size chunks...

If anyone's turned up for tonight's sold-out show expecting to be crooned at by an unlucky in love troubadour armed only with an acoustic guitar and a wounded heart, they're in for a shock scale surprise.

Bon Iver's most readily associated with the stark, wintry alt. folk laments of 2008's hugely celebrated 'break-up album' 'For Emma, Forever Ago'. Taking its cues from the richly detailed arrangements of this year's self-titled second album, which saw Bon Iver grow from Justin Vernon's solo trip into a bona fide band, the expansive nine-piece approach on display tonight blows the lonesome log cabin 'For Emma...' was famously conceived at into matchstick-size chunks.

Packing the most horns you can expect to see on stage this side of a brass band performance, the nine-piece Bon Iver orchestra have clearly been instructed to bring the noise. The overall tone of Bon Iver (the album) is that of Vernon reflecting on past and present bad turns whilst taking in a drizzly landscape through a tour bus window. The horn-bingeing, instrument-swapping ethos of reinvention that drives tonight's set switches the album's winningly melancholy, greyscale soundscapes into retina-scorching multicolour.

On record, the instrumental break of set opener 'Perth' resembles a mournful funeral march. Tonight, it blooms into a brass-empowered whirlwind of white-knuckled intensity. Most of 'For Emma...' material, meanwhile, is catapulted several miles from its sparse origins: a soul-flavoured take on 'Creature Fear' builds into a storming crescendo that verges on pure cacophony. It'd very easily collapse into an alienating heap of self-indulgent honking. Instead, Vernon and co. deliver an ecstatically received bravura performance that turns Bon Iver's trademark downbeat introspection into cathartic, unexpectedly robust anthems.

It takes some doing to turn solitary howl of sorrow ‘Skinny Love’ - probably Vernon's best-known song, due not least to Birdy's recent hit cover - into an upbeat communal choir moment, but that’s precisely what happens tonight. 'Minnesota, WI's weary refrain (”never going to change”) isn't exactly the rousing stuff of singalongs, but the audience chooses to belt it out spontaneously regardless, turning the original's resigned shrug into a defiant boast.

It’s not totally faultless. ‘Blood Bank’, the stage by now bathed in blood-red lights, verges worryingly close to standard-issue “epic” rock. Drawing from a relatively small pool of base materials, Vernon's songs deal in textures and moods rather than the kind of magnetic hooks that characterise truly memorable songwriting. If Vernon had tunes even half as immense as his astounding vocal prowess, Bon Iver would be unstoppable.

But as Vernon commands the capacity crowd's rapt attention with little more than his falsetto-frequenting, wounded wail of a voice on the evening's sole solo moment, a spellbinding take on 'Re: Stacks', any doubts fade into insignificance. The standing ovation the night finishes with is well-earned: on this form, Bon Iver are fit for converting the doubters and turning existing fans into foaming at the mouth evangelists

Wednesday 23/11/11 Amon Tobin @ The Forum, London

Fri, 25 Nov 2011 05:30:02 GMT

Amon Tobin has always been an artist determined to do his own thing following eight critically acclaimed albums alongside a career of scoring revolutionary video game and movie soundtracks. He has always refused to adhere to the classical style of transferring electronic music to a live medium complete with instruments, instead citing a compatibility of his sound with the traditional pair of turntables. In taking his latest critically acclaimed album 'ISAM' on the road, Amon has approached the performance from an angle that as of yet has been unseen in the music industry.

The live show is as much a visual experience as an auditory one, with a full two-story high installation constructed for the purpose of Amon's world tour. Made wholly out of panels the construct resembles something straight out of Minecraft or Tetris, with the infamous DJ encapsulated at the centre of the audio/visual marvel. Ultimately the experience of watching the show in action is relentlessly uncanny with projected visuals hitting the structure in a fashion that lends the audience an illusion of three dimensions.

With the literal and metaphorical scope of the project being so large, the effect of witnessing it stutter and boot up before building to a full on assault on the senses is nothing short of a marvel that has to be seen to be believed. It might seem to be easy to get caught up in hyperbole with a situation like this but there is literally no other way to describe the show other than a truly amazing benchmark set to redefine the very conventions of live performance.

As a whole the show works as a journey, beginning slowly with rhythmic flickers here and there before taking the audience on a ride evocative of a range of emotions from euphoria to anxiety. Coordinating the visuals with the sound suits the performance superbly with the gears and space age visuals suiting the mood and industrial edge of Amon's sound perfectly. It'd be nice to delve into the show further but to do so would be to ruin the experience, needless to say when the construct turns a glowing red as the proceedings ratchet up to 180 beats per minute, get ready for one hell of a ride.

All in all the experience (it can be described as nothing else) was akin to meditation in its power sending the crowd into an intermittently cheering trance. With a slew of bookings on the cards for next year it is a show that cannot be recommended enough, being transcendental to the worlds of art and music becoming a huge paradigm shift in the medium of live performance. Just try not to get in anyone's way while they're watching...

Wednesday 16/11/11 Skrillex @ KOKO, London

Fri, 18 Nov 2011 06:20:19 GMT

On this fateful Wednesday evening Skrillex supported by guest DJ Flux Pavillion came to none other than London's Koko - the first leg of a short stint of touring the UK. Needless to say Skrillex is a marmite DJ unlike any other, inspiring a tonne of vitriolic hate from all corners of the globe balanced out by praise from an army of fans and high profile support from the likes of Deadmau5. The best way to approach the gig was with a certain amount of ambivalence as it is hard to judge a new form of performance that relocated from the rave scene is a novel event within a gigging environment.

Proceedings didn't kick off in a good fashion with Flux Pavillion's set which was a flat DJ performance defined by an extremely lazy/boring mixing style consisting of smugly fading one tune into the other. Flux's production is hard to fault but he is a specific example of an army of DJs who have learned to produce yet failed to master any kind of skill behind the ones and twos before getting behind them. Remember as well that this isn't a Shoreditch dubstep night rather it is a mid week gig in Camden, only exacerbating how lack-lustre the whole thing really was.

Come Skrillex's time to grace the stage there was a palpable excitement within the venue as a throng of baying teenagers began to envelop the front of the stage - chanting his name. With the curtain fall and the introduction of 'My Name Is Skrillex' the full spectacle of the stage was revealed: a sculpture of the artist's hexagonal symbol complete with screen behind and the famous young producer in the middle shouting into the microphone to hype up the crowd.

As a show the audio/visual performance was extremely energetic as he blazed into a full on set that never stood still, whilst embracing all forms of bass music from krunk, to electro, to dubstep to drum and bass. When the BPM rachetted up to 180 with the visuals behind working in time to the music (it took 3 or 4 stage hands to run) it was impossible not to be impressed. It what was a flawless performance on the MPC's that embraced the glitchy side of the music only to elaborate on it.

The set and the night as a whole represented a bench mark in the evolution of live music, there was no band, just one guy and his AV show; yet the whole show was by all means a full performance complete with mosh-pit, crowd surfing and beers soaring into the air left right and centre. It might be a glimpse into the future but these people (who were of all ages) were rocking out to electronic music like it was a Papa Roach gig back in the day.

All in all an odd night, that proved inconsistent thanks to the contrast of Flux Pavillion's atrocious attempts to use a turntable with the full on audio assault of the Skrillex stage show. The whole performance whether you like it or not represents a step forward for a new generation of music lovers.

Tuesday 11/10/11 Woodkid @ Bush Hall, London

Wed, 12 Oct 2011 04:42:23 GMT

Yoann Lemoine, or Woodkid as he likes to be known, might not be a familiar name to many, but its very likely you've heard his music before. 'Iron', the title track from the French musician's debut EP of the same name is as grandiose as it comes, boasting a rousing brass section and pounding drum beats. The music video also features an understated performance from supermodel Agyness Deyn – or as understated as you can get considering it sees her being chased in a mock battle by a horse and a sword-wielding solider – and the song is currently being used in the trailer for Ubisoft's much-anticipated video game Assassin's Creed: Revelations.

If he still doesn't ring any bells, then you've probably experienced Woodkid in his other guise as a video director. Over the last two years he's directed the videos for Katy Perry's 'Teenage Dream' and, more recently, Taylor Swift's 'Back To December'.

It goes without saying then that Woodkid's biggest UK show to date, at London's Bush Hall, is not without expectation. While his music video filmography brinks on bubblegum pop, Woodkid's music is anything but. For starters, his songs are largely informed by the small, but bold brass and wind section that precede him on stage, and who throughout the performance add a certain cinematic gravitas to the music. During 'Brooklyn', for instance, they purr in the background like a warm breath on the back of your neck on a cold day, while 'Iron', which reaches an orchestral conclusion with crashing, rave-like drums, is a triumphant call to arms that for a few moments makes Bush Hall feel like the much bigger Royal Albert Hall.

You might expect that all the noise is a little over-powering for Woodkid's voice, yet somehow it manages to ride a wave above it all. It's uniqueness – somehow Lemoine's French accent still creeps through as he sings in English – means it's refreshingly hard to establish a precedent among his male peers. On occasions, there's a hint of Bon Iver or Damien Rice, but on tracks like 'The Golden Age', which Leomine promises the audience will appear on his forthcoming debut album, he sounds like nothing else. It's enchanting, rousing even; like music for the silver screen.

Thursday 08/09/11 Bestival Festival @ Robin Hill Country Park, Isle Of Wight

Fri, 16 Sep 2011 11:27:12 GMT

For many the Rob Da Bank curated Bestival not only signals the final curtain call on Festival season but also on summer. This year in the build up to the opening day it fell victim to harsh weather warnings proclaiming the likely hood of the tail end of a hurricane arriving and for us attendees to expect high winds and harsh torrential rain, but on the Thursday people arrived by their boatload in a positive fun filled mood determined to make the most of these four days, no matter what does or does not happen.

As people were constantly shuttled onto site throughout the day, things did not begin till late in the evening inside the Big Top, a large tent that for the duration of the festival acted as the second stage and one where a lot of people flitted between this and the main.

Today’s musical highlights were not of the ripest variety but what was on offer swung from the hip upbeat alt pop of American songstress Santigold to the hip upbeat electro tinged alt pop of Hercules and Love Affair. Dancing was very much on tonight’s menu.

Friday was the day when the festival came fully alive and the first real kick came from the performance of Lemonheads inspired slacker pop group Yuck, though they may not be your typical mainstage folly there uplifting guitar powered tunes made a powerful connected with the audience.

There was a big jump in style when the undoubted hip hop legends Flavor Flav and Chuck D fronted hip hop group Public Enemy ran onto stage and played an upbeat set in which the chained clock face wearing Flavour Flav took the opportunity to reignite hip hops relationship with commerce by plugging his autobiography several times which coincidently was also being sold on a stall temporarily set up next to the stage

Later on the same stage the iconic Brian Wilson played a set that largely consisted of songs from his Beach Boys heyday, much time may have passed since these songs first received an airing but these classic well known songs such as the emphatic ‘God Only Knows’ had a good portion of the audience singing along proudly.

Mainstream friendly dubstep supergroup Magnetic Man helped usher in the night; the individual key components of Skream, Benga and Artwork being joined by a hype man to help gee up the audience for their hard hitting set that drew from their self titled debut.

Despite having had a number one album this year, many of the people in tonight’s audience would struggle to sing a chorus penned by headliners Pendulum there was a general sense that many enjoyed their at times hard hitting fast paced Prodify-lite dance rock.

On Saturday Sunday Best signed duo Dan Le Sac and Scroobius Pip have become staples of this festival and at times there politically charged lyrics found favour with the generally left leaning crowd in the Big Top. While later across on the mainstage, acclaimed solo artist Katy B with songs such as ‘Katy on a mission’ showed just why she had been tipped for success very early on this year with her fun filled easily digestible version of danceable pop.

Which was in stark contrast to Oh Land! who made an appearance on the Psychedelic Worm stage and showed with her brand of Electro tinged skewered pop that sometimes there is a need for music to be a little bit complicated and not so easily digestible. Crystal Castles play a condensed yet strong main stage set that would only have been improved if Robert Smith had joined them for set closer ‘Not in Love’. Singer Alice Glass spending a good portion of the time at the front security bar.

There was a general sense of excitement around the appearance of recent Mercury winning PJ Harvey and who’s first few songs drew from her politically charged and critically acclaimed album ‘Let England Shake’ but who was also happy to later dip into her back catalogue to give several songs from her rockier ‘Is This Desire?’ era an airing.
But the night was largely closed by a two and a half hour, 32 song long set by Goths The Cure who have a well defined habit of marry uplifting melodies with sourly depressing lyrics, on the eve of this performance Robert Smith declared that the group had considered calling it a day but tonight it served as a celebration of both their achievements and the way they have worked themselves into much admired legends.

The closing day of the festival once again saw the festival proceed along an eclectic path, one which saw the jittery indie rock hugging four piece The Drums and there studied New York cool give snappy songs from their recent sophomore album ‘Portamento’ a live work out.

If this wasn’t quite to the audiences taste, a short walk away saw The Midnight Beast deliver a comedic set of late eighties aping Beastie Boys style hip hop which included a re-working of Ke$ha’s ‘Tik Tok’, high on the comedy factor they showed that if the music career at any time goes sour, comedy would be a more than adequate replacement.

Those that avoided the aforementioned would have done well if they had later headed to the mainstage for Kelis’s set, as it was an ear friendly ‘best of’ set that was just what a lot of people needed to wake them from their Sunday afternoon slumber. Indie rock returned to the mainstage when The Maccabees fresh from finishing work on their as yet untitled third album found themselves in a comfortable place up onstage in front of several thousand people intent on passionately singing their songs back to them.

Zola Jesus suffered slightly on the otherhand as her haunting goth inspired pop had the misfortune to mostly clash with headliner Bjork and understandably the vast tent in which she was playing in was less than a quarter full – any other slot today and her set would have gone down a storm.

But it was left to Bjork to close the mainstage on Sunday: a unconventional headliner albeit one that curator Rob Da Bank has publicly declared has always been on his list of artists he would love to book – tonight his wish came true and he would not have been disappointed. An original artist whom that like Marmite has the ability to split people into two very different camps, the lovers and the haters. Tonight’s set wasn’t centred purely around recent album ‘Biophillia’ and instead wandered off to included high reaching songs such as ‘Joga’ and set closer ‘Declare independence’
Later while some were escaping the arena in the big top tent DJ Shadow was bringing to life a good portion of seminal nineties album ‘Entroducing’ he maintains to be a true trip hop legend and a splendid way in which to finally close the UK festival season.

With comedy stages, roller disco, spoken word dedicated tents, a wall of death and fairground rides on site: Bestival is more than just a music festival, Bestival is a necessity.

Tuesday 30/08/11 Jane's Addiction @ KOKO, London

Wed, 31 Aug 2011 12:21:30 GMT

Jane's Addiction and Koko seem made for each other. The venue's seedy and endearing theatricality is a perfect setting for this band. Eight years after their last album, and following their non-appearance at Reading due to singer Perry Farrell having a throat infection, there's an atmosphere of nervous anticipation inside the venue tonight.It's not often that these stadium fillers play a venue this small, and Camden High Street is littered with touts doing brisk business.

It is absolutely heaving - the nearest I can get to the front is the back, and it's insanely hot in here as well. The stage is covered with a huge black curtain, and as silhouettes move behind it, the PA plays 'Shine on you Crazy' Diamond by Pink Floyd, name-checked by Farrell as a major influence on their forthcoming album The Great Escape Artist, unbelievably only their fourth studio album in almost 25 years. The audience is a mix of people in faded T-shirts from previous Jane's gigs from back in the day, through to kids who wouldn't even have been born when the dogs started barking on Been Caught Stealing. There's one guy who is the spit of Gareth from the American Office - straight from work and ready to rock.

Pink Floyd and the lights fade out, the crowd surges forward, howling, the curtain drops and the band tear into a blistering version of Whores, all swagger, groove and presence. Perry Farrell's dressed in a grey striped suit, frock coat, with scarf, crucifix and bouffant Little Richard hair, like a southern gothic pimp undertaker, looking twenty years younger than his fifty two years. His delighted crazy grin and wave up to the balcony throughout the "motherf*cker" refrain in the chorus brings a roar from the crowd. This is not a man short of self-confidence.

There's no doubt that his voice isn't quite right, but the rest of the band more than compensate. By the second song, 'Ain't no Right', guitarist Dave Navarro's got his shirt off and is taking centre stage, chopping and weaving through guitar lines that would leave 99% of indie bands running home to cry. The boy can play. I can't believe there's just the four of them up there - the sound is immense. The crowd are going nuts to this, and just as we're at fever pitch, Navarro cranks up the opening riff of 'Just Because', and one thousand four hundred and ten people try and turn Koko upside down. There's crowd surfers, beer going everywhere, and at the eye of the storm Perry Farrell looking like a man possessed, twisting and turning around the stage, leading the band.

He's got a nice line in stage banter too, fixing one would-be stage invader with fuck-you eyes and telling him "get back son, you ain't family". He asks if Camden Market is still going, getting a cheer from the crowd, and then if Kensington Market is still open, getting a long drawn out "noooooo". That's a shame, he says, as they used to go there early in the morning to see what they could steal…..he let's it hang, and then, inevitably, the groove rock of 'Been Caught Stealing' throws the crowd into the air again. He can barely sing at all by this point but it doesn't really matter, as you can't hear him over the crowd anyhow.

There are a few down points. The gaps between the songs are pretty drawn-out, which kills the gigs momentum a bit, though there's clearly problems with the on-stage sound, as well as the problems with his voice. Personally I could have done without the drawn out "Ted, just admit it" as well, in favour of 'True Nature' or 'Pigs in Zen'.

After another pause so long that people are straining their eyes to see if the band are still on stage, Dave Navarro begins the staccato riff of Stop, the band go nuts, glitter cannons go off, Farrell's whirling round on stage, swigging from a bottle of red wine, and all you can see are strobes and golden glitter. Gareth from The Office is going f*cking mental. This is amazing.

Then before you know it, they're off again, waiting through five minutes of cheers and stamping of feet, to return to a different stage set up of bongos, steel drum and acoustic guitars. It can only mean one thing, and as Farrell, shirt off, skin and bone, pointy nose, starts a mass singalong of 'Jane Says', a triumphant smile on his face and red wine in his hand, I'm tempted to think he's had almost as much fun as me. Almost.

Friday 26/08/11 Reading Festival @ Richfield Avenue, Reading

Tue, 30 Aug 2011 10:37:17 GMT

A fixture of the summer since the 1970s, Reading festival is one of the heavyweights of the UK festival scene. With a sister site now also in Leeds the weekend's line-up featured headline acts My Chemical Romance, The Strokes, Pulp and Muse.

Delays in getting into the arena on the Friday meant missing Cherri Bomb, the first act on the Festival Republic stage, but second-on-the-bill Mini Mansions were a brilliant way to start the day. Their layered sound filled the small tent, with a set including a cover of Blondie's 'Heart of Glass' and 'Majik Marker' from their self-titled 2010 album. Stand out performances on the NME/Radio One stage were The Naked and Famous and The Vaccines who both put in
predictably fantastic showings. The Vaccines, who played a 50 minute set off the back of their much-hyped first album, sensibly cut this 5 minutes short, meaning that they maintained the energy that makes them a consistent delight to see live. Their set included crowd favourites 'Norgaard' and 'Wreckin' Bar', as well as new single 'Tiger Blood' penned with Albert Hammond Jr, which was reassuringly in line with previous material. They also got guitarist Freddie Cowan's older brother Tom Cowan of The Horrors on stage, “because blood is thicker than water”, for a well-chosen cover of The Standell's 'Sometimes Good Guys Don't Wear White'.

On the smaller stages Foster the People packed out their tent with a crowd who were mostly only interested in summer anthem 'Pumped Up Kicks', and Clock Opera played a short but enjoyabl set on the BBC introducing stage, which proved them worthy of a higher billing next summer.

On the main stage 30 Seconds to Mars and My Chemical Romance brought the day to a close, while a characteristically dour Liam Gallagher closed the NME/Radio One stage with band Beady Eye.

Day two boasted arguably the most 'buzz' band of the line-up, OFWGKTA. While admittedly entering the tent a complete sceptic, it was hard to remain unaffected by the frankly fevered excitement of the young crowd, and while I still can't help but feel that Odd Future aren't really offering anything new, they certainly know how to work both the media and the crowd.

Saturday was a strong day for the Festival Republic stage, and Camden's own Tribes set the bar high with a set of catchy pop and crowd singalongs, including single 'Sappho'. Mariachiel Bronx's contagious enthusiasm led to several spontaneous conga lines.

On this first listen their songs were almost indistinguishable, but they were incredibly enjoyable none-the-less. Cults managed far less rapport with the audience, possibly as a result of sound problems at the beginning of their set. Unfortunately this did detract from the performance, leaving you with the feeling that it could have been a lot better and, based on their debut album, it certainly should have been. In stark contrast Cloud Control's set was one of the best
performances of the day, the set reaching its peak during the intense, atmospheric crescendo of 'Ghost Story', including wildly appropriate lyric 'I felt the hair on the back of my neck stand up'.

Pulp and The Strokes shared a co-headline alot on the Saturday nigth. The Strokes may have been headlining at Reading, but Jarvis didn't miss out on the glory as the New York band brought him on stage for a cover of The Cars' 'Just What I Needed'.

The Strokes have clearly come a long way since headlining Reading in 2002, having only released 'Is This It?'. Thankfully they are now a clearly deserving headline act, and have a great deal more knowledge of the kind of show required for the job.

Sunday's line-up sported not one but two performances by Frank Turner, who took to the main stage in the early afternoon and then the Lock Up stage for a 'Special Guest' slot in the evening. Frank is one of few artists to have played every stage at the festival and was endearingly humbled by his main stage turn this year. He delivered a reliable performance of rousing singalongs, although when he asked the crowd at the Lock Up stage if they'd seen Hot Water Music, who'd given a brilliantly fast-paced but under-attended performance earlier in the day, you couldn't help but feel that he'd slightly misread the tastes of his fans.

Friendly Fires were a real highlight of the weekend; they handed out Hawaiian shirts at the beginning of their set, and singer Ed Macfarlane outdanced the crowd throughout. Headlining the BBC Introducing stage, with YouTube views of their number 8 single 'Down With The Trumpets' currently standing at 2.5 million, it was unsurprising that there was little room to breathe in the large crowd keen to see Brighton duo Rizzle Kicks, who put in a surprisingly slick performance.

Last on the line-up for the Lock Up stage, the Descendents delivered a high energy set of almost back-to-back hits.

Muse's two-hour set closed the festival in style, and judging by the amount of Muse merchandise knocking around all weekend, it was clear that they were greatly anticipated. As the band had promised, their stage décor was based on the Origin of Symmetry artwork and the set included the 2001 album played in full, an indulgence that might not have been tolerated had there not been such a predominance of Muse aficionados in the audience.

Muse always triumph at this kind of event, and they brought Reading festival 2011 to an appropriately grand conclusion with fireworks and 'Knights of Cydonia'.

The response of the audience to this years' line-up demonstrated how much live music has moved into the mainstream; while My Chemical Romance were bottled from the stage in 2006, and I can't imagine 30 Seconds to Mars would have been particularly well tolerated, these bands have now become the main attraction.

However, while the crowd at Reading is now much more mainstream than the metal-heads of the 1970s or the grunge-kids of the 1990s they are still a good bit more hardy than those at the summer's more boutique festivals, and a bit of rain and mud was nowhere near spoiling their fun. Reading Festival might not be the most quirky (see Secret Garden Party) or hipster (see Field Day) festival of the summer (warning: you can't take dance classes and there's no fancy dress theme) but arguably this leads to crowds who are actually there for the music, and the support they showed for the bands created a genuinely fantastic atmosphere.

Friday 12/08/11 Summer Sundae Weekender @ De Monfort Hall, Leicester

Tue, 16 Aug 2011 06:17:06 GMT

This weekend saw Leicester's Summer Sundae Weekender reach ten, a rarity in today's saturated festival market. Now a three day family event, it has progressed naturally, with both facilities and acts suited to a wide range of audiences, with music of numerous genres, comedy, food from around the world and areas for children, providing a chilled out atmosphere over the sun-blushed weekend.

With a choice of four stages of music going on, it was the main stage that brought most of Friday's highlights whilst the rain threatened but never followed through. America's new afro-beat five piece Givers brought fun and joy to the occasion as their upbeat tunes won the crowd over. You'd be forgiven for thinking you were watching Vampire Weekend at times but that is now bad thing and these were a real 'musical treat' like the festivals tag-line suggested was on offer. The samba style continued over at the Last.FM Rising Stage with Canadian group Born Ruffian's who ended the set with the fiery Hummingbird whilst the main-stage continued to host a variety of sounds thanks to The Bees and Graham Coxon before the headliners closed day one. The Maccabees have had a quiet twelve months, hidden away working, on their third album which they showcased a lot during their welcomed return in Leicester. The band opened with a newie, ended with one too and they delivered plenty more throughout which the crowd took-in. The new sound is slower with a build-up that highlights the bands progression and they were welcomed well but the crowd really got going when the band played old favourites, First Love, No Kind Words and Precious Time. This was a test for The Maccabees on their first ever festival headline slot and they passed it with ease.

Saturday morning started with sun shining and the day flowed with musical variety again, first was some more indie delights with Flashguns and The Heartbreaks in DeMontfort Hall, the plushness of the venue lost the festival atmosphere but that didn't affect the performances. Local 70's cheesy pop group, Showaddywaddy delighted the family crowd on the main stage, decked out in brightly coloured blazers and a set of old time classics that was uplifting. The Last.FM Rising Stage supported more overlooked talent including Little Comets and Pete and The Pirates but it was Chapel Club who stole the show back in DeMontfort Hall. The London five-piece covered the best from their debut, Palace as well as a couple of new tunes that showed a new direction and promise for the band. Main stage headliner Newton Faulkner proved to be a nice surprise as he took to playing drums and guitar whilst singing, his on-stage banter was well suited for the family crowd and his rendition of Queen's Bohemian Rhapsody went down a storm.

The Sunday crowd was much younger than the previous days as teenager girls giddily ran around the site full of excitement for the final headliners McFly but there was a lot more before that. The Last.FM Rising Stage hosted the brilliantly dark singer-songwriter Kyla La Grange whilst the ever-loveable quirkiness of The Young Knives shone in the sunshine on the main stage. Rowdy Londoner's Factory Floor didn't disappoint and Warpaint showed why they have many the highlight of many festival goers this summer and Everything Everything played their effortlessly catching material from last years debut album. On the main stage Example caused a sing-a-long during hits such as Kickstarts and Changed the Way You Kissed Me. McFly closed the festival with a set of top ten material from all eras in their lengthy career, they even stuck a Tinie Tempah cover in for the over excited crowd who went home happy.

At a time when festivals are coming and going at a frightening rate, it is obvious why this festival has kept afloat, the variety, friendliness and organisation made this a successful and enjoyable weekend.

Friday 12/08/11 Standon Calling Festival @ Standon, Hertfordshire

Tue, 16 Aug 2011 06:12:26 GMT

Standon Calling takes place under an hour outside of London, in the picturesque grounds of a country house. It's had a tough year; a general decline in UK festival attendance, the festival organiser being sent to prison, and one of their headliners (Spiritualized) pulling out at the last minute.

It was immediately obvious on arrival that there was a lot of space. Tickets didn't sell out, but the experience was all the better for it – no queues for the bar or the toilets, and no trouble walking between the stages. While it may not be good news for the festival organisers, it makes for a great sense of community, where you kept bumping into the people you'd met the night before (which obviously has pros and cons...).

The line-up featured a host of lower-key buzz and post-buzz acts, and there were some real gems. Dananananakroyd may have a gimmicky name, but in a live festival setting they're perfect – tearing up the intimate Twisted Licks tent on Friday afternoon, clambering over speaker stacks and jumping over the barrier to get right up in people's faces. Friday's headliners Battles may have lost a vocalist, but it hasn't held them back – with the guests from their new album appearing on a video screen behind them, they hammer the guitars and smash cymbals (placed just beyond arm's reach), leaving the crowd a sweaty mess.

On Saturday, performance poet John Cooper Clarke took the stage to soothe everyone's hangovers with a healthy dose of swearing – and won over a whole new generation of fans. The Raghu Dixit project carried on blowing out the cobwebs with some of the sunniest tunes of the weekend, and Saul Williams scared everybody with an angry rant that suffered a little from poor sound quality, meaning you couldn't quite make out what he was so angry about. Lamb proved to be a relatively subdued headline act, playing to a small crowd of the converted - while Hercules & Love Affair tore up the smaller tent with their own brand of disco.

Sunday saw a reduced crowd, but boasted arguably the best line-up, with Hempolics, Egyptian Hip-Hop, Trophy Wife, Hypnotic Brass Ensemble, Beans on Toast and The Africa Express Sound System all keeping the crowd going through the final evening.

However, almost eclipsing the music, Standon Calling has an awful lot of other entertainment going on. For the whole weekend, the crowd is decked out in an assortment of fancy dress outfits (the cabin crew flying their way around the site were a personal highlight). Who knew that a crew of London rioters (and their natural enemy - a gang of girls with their riot clean-up brooms) would enjoy Raghu Dixit so much?

Forming a kind of festival centrepiece, a sculpture known locally as the “Underwhelming Oblong” loomed over the main stage. This was a large, dark coloured rectangle, and on the Saturday night, a crowd gathered round to watch a bit of smoke come out of it, and a man yelling something from the top. Something must have gone wrong – it's hard to imagine that was all that was planned. Maybe some fireworks didn't go off? It was a pretty surreal experience all round – but one that seemed to unite the crowd in their confusion.

After the main stage acts finished, the Twisted Licks tent is where the party atmosphere was to be found – with Friday hosting electro-swing, and Saturday hosting Tayo's pyjama party. Electro-swing may not be everyone's cup of tea, but that guy from the Correspondents can't half dance. Finally, the cow-shed keeps playing music until beyond 5am, so if you're dead against the idea of bedtime, there was plenty to keep you going...

Late nights aside, Standon's a really family-friendly festival. You see a lot of parents with young children, and there's plenty about for the kids to get up to. It's such a relaxed atmosphere that the kids can just potter about, and neither Jesus nor Michael Jackson bats an eyelid as they nurse their hangovers by the swimming pool.

It'll be interesting to see what happens next year, with the reduced crowd attendance, and the general state of the UK festival industry. Let's hope Standon Calling keeps going – because this festival's got a lot of soul. You can definitely find worse ways to spend a weekend.

Saturday 06/08/11 Field Day @ Victoria Park, London

Mon, 08 Aug 2011 07:57:26 GMT

Since its inception in 2007 Field Day has been besieged with problems with everything from sound issues to availability of toilets angering the festival goers. This year promised one of the strongest line ups of the summer season with the best in forward thinking, exciting music on a bill positively bloated with stellar names. Only one nagging doubt stood out ahead of the impressive bill however: What will go wrong this year?

The answer was obvious upon arrival with the sheer volume of people on site having been increased to uncomfortable level, as a tent packed the the brim for Ariel Pinks Haunted Graffiti early afternoon set testified. Though peeped from a distance, 'Before Today' cuts such as the inimitable 'Round & Round' impress and show there is more to Ariel's talents than sort of inventing chillwave. Similarly impressive were Louisiana newcomers Givers. Their perky brand of indie pop got a tiny tent bouncing especially to song of the Summer contender 'Up Up Up'. Zola Jesus was the first of many to suffer at the hands of playing a tent with barely the capacity of a portaloo however, packing out the Bloggers Delight stage from front to back and then some. Whether Nika Danilova needs a cavernous stage to match her bellowing vocals remains to be seen, but this up close and personal look into her forthcoming second album was patchy, despite being genuinely impressive in parts.

The over crowding inevitably led to a slow trudge between stages and the eternal albatross around Field Day's neck of long queues for amenities. However, none of the issues were more frustrating than a flaccid set from Jamie Woon who could not even get feet tapping during the normally excellent 'Night Air'. Far better came from James Blake however, who, after batting technical faults, delivered a floor shaking set including the heartbreak wobble of 'I Never Learnt To Share' and 'CMYK'.

Warpaint provided the soundtrack to the sun setting over Victoria Park, wowing with hypnotic renditions of their psychedelic pop. Often indulgent in their own live shows, the time restrictions of a festival slot prune the excess from the bands set, leaving nothing but golden perfection. The Horrors and Wild Beasts headlined their respective stages with the latter providing a warmth and heart that the former can't quite match. More technical problems dogged The Horrors set but, ever the fighters, they come out swinging with new album highlight 'I Can See Through You' dominating. It is Wild Beasts who end the day with a kiss though, slowly seducing their audience with a set comprising their three brilliantly individual albums. This years 'Smother' is pillaged for the slinky 'Bed Of Nails' and the yearning croon of 'Lions Share'.

Crowding and queueing can be frustrating but as we watch a band of four misfits from the Lake District headline a major festival with songs as weird and wonderful as 'Devil's Crayon' and 'Hooting and Howling' we can't help feel that Field Day is edging ever closer to the moan-free success it desires.

Field Day Festival 2011 - Photos

Friday 29/07/11 Camp Bestival Festival @ Lulworth Castle, Dorset

Wed, 03 Aug 2011 07:01:17 GMT

Located on the grounds of Lulworth Castle, Camp Bestival is a family friendly spin on Rob Da Bank’s successful Bestival Brand. Having been awarded ‘Best Family Festival’ consecutively since 2007, I was certainly in for a completely new experience.

Glastonbury has kid fields but I have not experienced a festival that is fully family inclined. Spread across three days, Camp Bestival prides itself in being unique as it allows children and adults entertainment to be mixed seamlessly. It also gives a chance to somewhat unknown bands to show off their wares to the ‘Dad dancing’ circuit, which can’t be a bad thing. On the Saturday, Gentlemans Dub Club pulled of one of the highlights of the day, who after being introduced by Dick & Dom put on a riotous performance that had the audience on their feet and dancing by the end, with ‘Fire’ being a definite crowd pleaser. The Correspondents repeated this crowd success on the Sunday by putting on one of the best shows of the festival as eccentric dancing and crowd warming skills brightened up the afternoon.

This mix did backfire at times as some bands found themselves playing to empty tents. The quality Mirrors found themselves playing after DJ Yoda and clashing with Jaguar Skills and Groove Armada, both of whom put on fantastic sets. This meant that Mirrors were left with only a handful of punters watching them, a fact they seemed rather annoyed by.

The headliners pulled no punches as Rob Da Bank invested in the trio of Blondie, Groove Armada and Primal Scream to make sure those tickets were bought. Mark Ronson also pulled off a fantastic set, dedicating it to the late Amy Winehouse whilst making sure that the crowd found out how flexible he is as a producer and as a musician by playing a fantastic ‘Bang Bang’ melody.

Like Glastonbury, not everything is based around the stages as certain variety areas allowed you to try you hand at dancing and even sword making, wooden ones at that, just in time for the Medieval themed fancy dress Saturday.

If you are a parent you fancy introducing your kids to a festival that is the same amount of fun for them as it is for you, then Camp Bestival is the ticket. It fully deserves its award winning accreditation's.

Saturday 23/07/11 Ben & Jerry's Summer Sundae Festival @ Clapham Common, London

Thu, 28 Jul 2011 05:23:41 GMT

It's safe to say that Sundae On The Common is quite different to many other festivals that are happening throughout the summer in the UK. Instead of a straight up music festival it rather pitches itself as a good old style family day out, by giving the attendee the chance to compete in toe wrestling, banana jousting or alternatively spend time visiting the on-site city farm, yet there was a decent sized portion of people who were enticed by the sponsors offering attendees as much free ice cream as one can bear to eat within eight hours.

The soundtrack to these events pumped out from the solemn stage, followed the festivals tradition of offering a mixture of fast rising names and long established greats; while the former was represented by the anthemic rock of Brighton five piece Munich, the latter was more formally stacked as Saturday had a slightly post Brit pop, pre 21st century feel to it that would remind your everyday late twenties or early thirties semi professional of their now long lost youth.

With the sun shining and a relaxed friendly atmosphere permeating around the site, the Huey lead Fun Lovin Criminals played a set that included the much known 'Scooby snacks', while later Ash embarked on a thrilling display of punk spirited ear friendly guitar pop that proved they still firmly know how to deliver a crowd pleasing set.

Yet the day was closed by headliners Ocean Colour Scene, a mod touched group that were once the house band of The Chris Evans fronted TFI Friday and a programme most would have instantly been reminded of when their most known hit 'The Riverboat song' was giving an airing.

Early Sunday afternoon once again saw a return to the new, as it saw the jazzy grooves emitted by Sound of Rum's rhythm section being peppered by rapping poet Kate Tempests much admired lyrical flow.

While latter in the day, the previously Mercury nominated artist Stephen Fretwell reliant on vocals and guitar proved that these two instruments combined does not always add up to being an inferior Billy Bragg.

There was a positive upsurge of excitement when Gary Numan graced the stage and played a hit strewn set of dark electronic touched hits, ranging from Are Friends Electric? to the vastly popular Cars.

The day and festival was closed by north-eastern indie band Maximo Park who informed us that this was their only appearance in the capital this year saw fit to mix things up by playing a energetic set that drew from their 2005 debut A Certain Trigger, as much as it did from both of their latter releases, as well as some material which is yet to be released.

Ben And Jerry's Summer Sundae 2011 - photos

Saturday 16/07/11 Lovebox Festival, Day Two @ Victoria Park, London

Wed, 20 Jul 2011 12:05:34 GMT

Saturday was by far the best day, as far as the line-up was concerned, at this year’s Lovebox festival. With Victoria Park jam packed, the likes of High Contrast, De La Soul, Young Knives, Ziggy Marley, and Katy B reigned supreme on a day that was predominantly owned by the spitfire rain hammering down at sporadic, and more annoyingly, unknown moments. With that said, the masses didn’t seem to mind too much. With many female festival-goers dressed in short skirts, sandals, and at times bikinis, their unfortunate attire choice didn’t seem to bother them – it gave them a chance to network with those fortunate enough to pack an umbrella.

With festivities going on all day, which included sumo suit fighting, waltzers, and of course live entertainment, it was a tough decision as to where to go. The tented stage seemed to be a hot spot whilst the rain was at its worst, not because there was shelter – which there wasn’t, but because the non-stop house, dance, trance, and electro beats seemed to put the audience in to a state of calm. Or was it hypnotic? Who knows? All that was clear was that Groove Armada Presents: Redlight and Seth Troxler did the business.

Missing Katy B due to a bit of early stage confusion - wondering where on earth the main stage was because of the sheer size of Victoria Park, the first major act this scribe was lucky enough to get a good spot for was North Wales trio The Joy Formidable. Taking a bit of time to do sound check, which comes after the band’s front woman, Ritzy Bryan, and her potty mouth, explained that British Airwaves is a bit of a joke after only just arriving back in to the Country, the band start with ‘A Heavy Abacus’. Having a real stage presence is something these guys don’t need to worry about, and this particular number proved it. Playing well known songs such as ‘Whirring’ and ‘Austere’, the on-stage antics, which included some gong bashing, creepy facial expressions, and at the end of the set some guitar throwing and drum set kicking, as well as a replica owl being beaten to death to the point where the RSPCA might have needed a quick call, the critically acclaimed band show that their stage shows have a real classic rock feel to them.

Darting across the muddy fields to the Main Stage in time to catch a few songs by Santigold, the sun had decided to make an appearance. With the Brooklyn-ite claiming to be the reason for this sudden change in temperature, her backing dancers hit the stage in Little Bo Peep outfits with umbrellas, which are of course no longer needed but a very artistic touch to an already lively act. Singing through songs ‘I’m A Lady’ and ‘Lights Out’, it’s when she drops her input from Jay-Z’s New York anthem ‘Brooklyn We Go Hard’ that the 40,000 strong crowd get that bit more hyped up. Putting on a really entertaining stage show, Santigold found a new home at Victoria Park.

Up next was the incredibly attractive, and mysteriously alluring, Lykke Li. Kitted out in what appeared to be a black cloak of sorts, with black leotard and black tights underneath, showing off her petite figure, her show consisted of smoke, gyrating hips, and an army of band members. Quite an extensive set, songs such as ‘I Follow Rivers’ and ‘I’m Good, I’m Gone’, as good as they are, were just fillers in performance terms in between the incredible ‘Dance Dance Dance’, which saw Lykke Li and her member heavy band hitting everything in site to form the ear-gasmic percussion riff that forms the backdrop of the original record, and the magnificent ‘Little Bit’. One of the most addictive instrumentals of the past 10 years, hearing it live is a beautiful thing. For an artist who has to perform the record a million times over on tour, on TV, and anywhere else she is required to, she still put 110% in to doing it for the Lovebox crowd, and it was by far the greatest moment of Lovebox 2011.

U.S. indie band The Drums close out this particular stage’s festivities for the day. It’s obvious, judging by those in attendance – Kelly Osborne and Nick Grimshaw, that these guys are doing something right if they’re able to bring the celebs out. The night’s show was exciting in a fast-paced type of way. The ridiculous amount of guitar changes – kudos to the re-stringer for his speedy delivery throughout the set, as well as Jacob’s over-the-top artistic composer moments, as if he were a possessed conductor, were a delight to see from all angles. Playing ‘Me and the Moon’, ‘The Future’, and ‘Skippin’ Town’ to a packed crowd, front man Jonny Pierce, complete with tight jeans, obscure ‘toy shop’ button down shirt, and basin haircut, wowed them with his passionate wailing, purposely robotic movements, and incredible work ethic. Introducing new track ‘Money’, which seems to be picking up a lot of steam courtesy of plenty of airplay, The Drums made it feel like the song was a part of a long standing back catalogue of smashes dating back a few years. Sounding fresh yet interestingly vintage, the catchy nature of the record had members of the audience singing along in no time. Closing with ‘Let’s Go Surfing’, after ‘Down By The Water’, the only slow joint of the night, fans really didn’t want the boys from New York to leave, but as with everything; it’s got to the end at some point. Exciting, dance-worthy, and of a high tempo, life as a Drums fan couldn’t have gotten any better.

Following the rush of people over to the main stage, seeing and coordinating in the dark, whilst traipsing through runny mud, wasn’t the easiest of tasks. Passing huts, hip-hop tents, and a few drunken individuals refusing to get up despite the desperate cries of their friends, Snoop Dogg’s arrival on stage was heard throughout the entire park and the surrounding areas. Bringing Daz Dillinger, Kurupt, Lady of Rage, RBX, and Warren G along for the ride, closing out Lovebox’s Saturday was definitely a rap affair. Running through tracks such as ‘Who Am I (What’s My Name)?, his verse from 50 Cent’s ‘P.I.M.P.’ remix, and ‘Murder Was The Case’, the sing-a-long value was priceless. Using video interludes to keep the crowd interested in between changes was an inspired idea. With Snoop being one of the most recognizable musicians in the world, relating to his audience in video form allowed the all round entertainer to put his full artistry out there for all to see. With tales from his pimp chronicles, comic skits, and having to kill or be killed, what more was there for this superstar to do? How about a brief Nate Dogg tribute? With lighters and cell phones up all over the park in remembrance of the singer who Snoop tattooed on his arm earlier this year, it was followed by the classic ‘Ain’t No Fun’. Immediately after, Warren G spit lyrics to his infamous Nate Dogg collabo ‘Regulate’. With Snoop helping fill in the blanks, the audience was happy enough to sing along to every word. Originally advertised as Snoop Dogg performing ‘Doggystyle’, for fans of the legendary hip-hop album disappointment crept in. Not performing cuts like ‘Lodi Dodi’ or ‘Pump Pump’, but instead choosing to entertain the commercial masses with current single ‘Wet’ and the annoyingly repetitive ‘I Wanna Fuck You’, originally with Akon, the only commercial enjoyment early Snoop fans could enjoy, besides the ‘Doggystyle’ cuts, was the banger ‘Drop It Like It’s Hot’. Not a single person was seen stood still.

Overall, Lovebox 2011 seemed to be a well-oiled machine. Perhaps too much going on at times, due to Victoria Park being so big, so a few acts were missed. However, the sound systems, choice of performers, food, drinks, and company was a London festival to be proud of.

Lovebox 2011 - Photos

Sunday 17/07/2011 Latitude Festival, Day Three @ Henham Park, Suffolk

Wed, 20 Jul 2011 03:49:02 GMT

Day three of Latitude 2011 got under in a rather subdued fashion as Mercury Prize nominated songstress opened the Obelisk Arena. Perhaps it was the overcast, gray weather, or more likely Gigwise’s stinking hangover but Calvi’s performance, for whatever reason, didn’t appear to inspire the rest of the day’s proceedings in the way in which Villagers had the previous day.

Former Libertine and indie boy also ran Carl Barat then took to the Word Arena and attempted to convince us all that there was longevity in his burgeoning solo career- something he didn’t entirely achieve. It wasn’t until Barat played The Man Who Would Be King from the Libertines (despite admitting that “it may be a bit early for this”) that he got a response, albeit muted, from the onlookers. Barat chain smoked throughout performance perhaps to detract from some of the rather cringe worthy lyrics of material from his recent solo release (something about carving his name on lovers’ livers), however it would be unfair to remain to negative as Barat’s oft-overlooked vocal quality was allowed to shine through due to the subtlety of his band’s (complete with cellist) backing.

New Zealand darlings The Naked and Famous produced the type of performance which has made them on of the most talked about live acts of the last year. Having caught them on top live form earlier in the year at Dot to Dot festival, the band’s Latitude performance proved that the band retain an impressive live following, understandably given the evidence. The set concluded with a vivacious rendition of fan favourite single Young Blood, once again raising the Word Arena’s performance bar to all a new high.

After darting across the site to the Sunrise Arena The Heartbreaks took to the stage. Hailing from Morecambe the four piece admitted that it was like being at home playing the festival due to the volatile meteorological conditions, however, despite a spirited display their brand of rather generic indie guitar rock is nothing to write home about.
Sam Beam’s Iron and Wine provided an intriguing display back on the Obelisk Arena. Complemented by a band consisting of additional brass and percussion sections, Beam’s sumptuous vocals, most evident when reciting material from most recent release Kiss Each Other Clean, enthralled us all. Whether the main stage was a suitable location for the subtle beauty of Iron and Wine’s material is perhaps debatable, but there was no doubting the eminence of the show.

OMD’s Andy McCluskey generated simultaneously one of the most impressive and energetic performances of the weekend, whilst also displaying perhaps the worst stage moves in the history of Latitude, nay music festivals in general. To McCluskey’s credit he was well aware of the fact and joked how he “couldn’t dance in my 20s so I’m fucked at 52”. Bad dancing aside OMD produced a feast of nostalgia as synth laden hit followed synth laden hit. OMD may not be the coolest live spectacle but in terms of vigour and commitment, as well effortlessly infectious 80s hits, the band, on the basis of their Latitude performance, appear unsurpassable in many ways.

In true Hollywood style the best of Latitude 2011 was saved until the last performance by Mark Everett aka Eels. Following Swede Lykke Li’s stint before him which proved as hypnotic and beguiling as ever, Eels took to the stage complete with two piece brass section and two additional guitarist E’s originally lo-fi alternative musings were transformed into full on raucous party anthems. With barely a pause for breath between songs (just a “Yeah” holler from E) the band rattled through a euphoric set which saw numbers such as Novacaine for the Sole and Prizefighter which was lapped up by the audience. Humorous band introductions followed included drummer Knuckles’ song written about himself (tongue in cheek of course), but, despite the light hearted atmosphere, what really shone through was the calibre of musicianship which was on stage at the Word Arena that evening.

It was a suitably impressive end to what an event which is quickly establishing itself as one of the hottest tickets in the festival calendar.

Latitude Festival - Day Three In Photos

Saturday 16/07/2011 Latitude Festival, Day Two @ Henham Park, Suffolk

Wed, 20 Jul 2011 03:46:51 GMT

Saturday of Latitude 2011 saw an unwelcome guest rear its ugly head in Suffolk; rain, and lots of it. Despite this, the quality of line-up set promised day of art of the very highest order, something the weather could do nothing to change.

Conor O’Brien and his band of Villagers kicked off the second day of music at Latitude with what proved to be the perfect antidote to the rainy day blues that many on site were no doubt battling. For some the promise of shelter in the Word Arena proved to be as much an inviting prospect as O’Brien’s gothic acoustic musings on love, life and loss which would explain the packed venue. Working their way through Becoming a Jackal the Irish quintet’s swooping melodies and intricate arrangements combined to spellbinding effect (Pieces with its extended apocalyptic coda was particularly impressive), with a new song Grateful Song thrown in for good measure.

It was then up to The Walkmen to add some uber cool New York chic to the day’s proceedings; frontman Hamilton Leithauser decked out in all white suit proving to be a particularly eye-catching spectacle as his irrepressible vocals single-handedly ripped through the tent. British Sea Power have being wowing audiences across the world with chaotically calamitous live shows for the best part of 10 years and their Latitude set which followed the Walkmen was no exception. Rabble rousing crowd favourite Remember Me was effortlessly belted out as were numbers which spanned the band’s back catalogue including Waving Flags and No Lucifer. The riotous set was capped off in true BSP style when, much to the chagrin of the security, guitarist Noble decided to meet the acquaintance of the band’s dedicated posse of foliage wielding followers by jumping headlong into the crowd. It wouldn’t be a British Sea Power gig if he hadn’t.

The award for most unlikely cameo appearance of the weekend goes to Seasick Steve’s guest legendary Led Zeppelin stalwart John Paul James who played bass, amongst other things, throughout Wold’s set. It was very much business as usual for Wold, who, as ever, played a set which utilised a vast array of customised instruments. It was the lucky day of one girl in the front row who was plucked out by Wold and sat on stage opposite the grizzled 70 year old as he recited Walking Man before launching into the title track of most recent long player “You Can’t Teach an Old Dog New Tricks”.
Alternative Manchester cult veterans I am Kloot added a touch of Northern gentlemanly charm to the Word Arena as Guy Garvey’s favourites raised a glass of Guinness to the large gathering which greeted them as they walked on to stage. Frontman John Bramwell went onto explain how the band had left Manchester at 2am, where it was “pissing down” to travel down to Suffolk and duly apologised for bringing the dire whether with them, before launching into 50 minute set in which tracks from acclaimed most recent album Sky at Night featured heavily.

At the main stage (to the bewilderment of the masses of teenage girls that had prematurely gathered in preparation for Paulo Nutini) bearded Kentucky natives My Morning Jacket treated the few music fans who were actually in attendance to a blistering display of rock and roll in its most primitive but simultaneously alluring form. Jim James and co produced one of the performances of the weekend laden with guitar solos and head banging which will no doubt leave with teenage mainstage audience with tinnitus well into their thirties. Highlights included the sublime Wordless Chorus and Off the Record from the seminal Z, as well as the classic One Big Holiday which closed their show.

Indie dance darlings Foals brought the curtain down on day 2 with a performance which was as energetic as front man’s Yannis Philippakis’s garish multi-coloured shirt was horrendous. Featuring staples such as Cassius, Foals rose to the occasion to close the Word Arena in style. The onstage energy reverberated around the tent was reciprocated by all those in attendance the massive crowd became enraptured by the Oxford five piece’s performance. It was yet another startling performance from a band that appears to go from strength to strength and not even Philippakis’s proclamation that it was to be there last show for ages, “perhaps ever” could put a dampener on the evening... the rain incessant rain had already literally done that.

Latitude Festival 2011 - Day Two In Photos

Friday 15/07/2011 Latitude Festival, Day One @ Henham Park, Suffolk

Tue, 19 Jul 2011 03:48:13 GMT

It was until arriving at Latitude that all of the following facts were taken for granted when pitching up to spend a weekend under the stars at a music festival: a campsite so packed that it would make tinned sardines feel claustrophobic, toilets that look make Victorian sanitation standards positively luxurious and fields upon fields of scenester kids more intent on comparing straw hats and Jack Wills hoodies than witnessing the musical spectacle that is unfolding right in front of them. It quickly became clear that in terms of festivals Latitude is the exception that proves the rule.

Latitude, situated in the heart of the Suffolk countryside, benefits from certain uniqueness of atmosphere that would make even the most cynical festival goers swoon, including a much-lauded literary bend, picturesque site and eclectic line-up picked from across the musical spectrum. Often referred to as Glastonbury’s “little brother”, Latitude’s inimitably comes from its atmospheric ambience, something that makes it, in many ways, incomparable.

Day one of 2011 kicked off with Avi Zahner-Isenberg of Avi Buffalo’s virtuous guitar noodlings. Barely out of high school it’s easier to see why the four piece have caused such a stir on both sides of the pond since the release of their debut album last year. By his own admission Zahner-Isenberg is “stoked” to be playing Latitude before going on to clarify that the experience is “gnarly... as they say in California”. Working through the highlights of their eponymous debut including single What’s In It For, the only disappointment was that the band wasn’t afforded a longer slot to further mesmerise the onlookers.

The Duke and the King followed Avi Buffalo on the Word Arena/Stage as they opened with the sumptuous Americana of “Summer Morning Rain”. Simone Felice et al traded harmonies and instruments with consummate ease as the band’s unique brand of country gospel folk melted all those in attendance. A triumphant cover of Neil Young’s Helpless ended the forty minute set and ensured that the bar was raised extremely high for the rest of the weekend.

A quick dash over the Obelisk Arena (main stage) saw effervescent 73 year-old songstress Wanda Jackson play an eclectic mix of material, from Elvis Pressley and Amy Winehouse covers (Heartbreak Hotel and You Know I’m No Good) to tracks from her most recent Jack White produced album the 'Party Ain’t Over Yet'. Perhaps Jackson’s status as an American music institution was lost on a few hundred people gathered in a soggy field in Suffolk, but nonetheless , her lively set certainly belied her advancing years to provide a thoroughly entertaining spectacle.

Having briefly encountered the statue-esque Isobel Campbell and Mark Lanegan it was back over to the Word Arena to see everyone’s favourite Atlantan experimental purveyors of shoegaze Deerhunter in action. Front man Bradford Cox may have appeared somewhat awkward and aloof throughout the band’s set, but when one witnessed the monolithic sound resonating around the arena it was clear as to why Cox was content to let Deerhunter’s majestic compositions speak for themselves.

The North American alternative theme continued with Caribou (aka Dan Snaith) at the Word Arena. In terms of atmosphere and audience participation Caribou’s set will long be considered one of Latitude 2011’s many triumph as one electronica pop gem followed another and delighted the sizable feral, fanatical audience in the process.
“Hello tree people!” Jonathon Rice greets the Sunrise Arena with as he takes to the stage with current beau and power pop partner in crime Jenny Lewis under the moniker of Jenny and Johnny. Fresh from appearing with Bright Eyes on the main stage earlier the duo looked the picture of domestic bliss as they rattled through highlights from their album I’m Having Fun Now regularly sharing the mic in the process. Particular highlights included the exceptional Committed and Lewis lead vocal of My Pet Snakes. Appearing more content with the quirkiness of Latitude than they did being crow-barred into an early slot on the the Park Stage at Glastonbury, Jenny and Jonny proved the perfect artists for the perfect evening down in the woods.

It was then up to main stage headliners and alternative American cult favourites The National to round off day one of Latitude. Matt Berninger’s slightly dodgy microphone failed to detract from a performance which was as epic as it was effortlessly magnificent. Passing the microphone from audience member to audience member the curtain was brought down on day one with an appropriately communal rendition of Mr November which summed up the collective aesthetic of both the day and the festival in a way that few other artists would have been able to.

Latitude Festival - Day One In Photos

Saturday 02/07/11 The Flaming Lips @ Jodrell Bank, Cheshire

Wed, 13 Jul 2011 07:06:46 GMT

From the moment the gates open it is apparent that the day is going to be one of those epic and life affirming moments for the 5,000 privileged few. The Lovell Telescope stands symbolic of the extent of man’s achievements and the magnitude of the event; a colossal sculpture of scientific majesty, leering over the stage at its foot before the sloped grass verge that will serve as the setting for first live Transmission at Jodrell Bank. The day has a festival atmosphere, with the sun radiating down overhead (we will be informed later that that light takes eight minutes to reach Earth) and there are rumours amongst the cluster of spectators pocked along the slopes that today’s event will be broadcast live into space.

Alice Gold takes to the stage ahead of schedule with a soulful opening, initiating the day’s proceedings and setting the tone for the day. Alice’s second single, Runaway Love, steps the performance up a notch with her stunning vocals. The short set is a great start to the event, with Alice’s vocal majestic tones peaking throughout. Alice and her band close with the appropriately titled debut single Orbiter and beneath the looming shadow of the Lovell, the words “Search for me Satellite…” leave an anticipatory hum amongst the crowd.

Art rock from Liverpool in Wave Machines next, with a somewhat mellower sound. The music is tight, if somewhat less energetic than their predecessors, with the performance of the single Punk Spirit standing out as the pinnacle of the display. Altogether an enjoyable spectacle that keeps the atmosphere going.

A brief “How you doing, Manchester” from Damian Kulash of Chicago based OK Go before the band launch into an energetic and pounding rendition of Do What You Want that immediately dials up the anticipation and vigour of today’s event. The band are confident and animated in unleashing their driving rhythms upon the tightening audience. Kulash takes a moment to address the significance of this event. He informs us that we are going to have our “brains removed” when The Flaming Lips take to the stage and that the music of today is being beamed out into space via the Lovell. Taking a moment on this reflection, the band offer “music created by God” for the transmission and perform a moving rendition of What To Do before the band return to their energetic style, driving through their set. They close with a triumphant This Too Shall Pass which leaves the audience in exactly the right frame of mind for the forthcoming experience.
Dr Tim O’Brien only adds to the sense of wonder and the significance of the occasion as he regales the captivated audience with science facts and sampled radio waves emitted from distant stars, encouraging an exuberant response from the crowd.

The shrill tones of an air-raid siren played with War time Britain period music signify the last of the preliminary acts tonight before Brighton based British Sea Power take confidently to the stage and launch into their set. It is clear from the response of the spectators that British Sea Power are the larger of the supporting bands today. They play a tight set with crowd pleasing renditions of Who’s In Control and We Are Sound, with Yan and Hamilton alternating on vocals. Excellent visuals and atmospherics carry the music somewhat but sing-along Easy ignites the audiences enthusiasm, with most of the now alcohol fuelled crowd chanting along. The band end on a high note, clearly enjoying themselves, and leave the audience buzzing.

Frontman Wayne Coyne precedes The Flaming Lips to the stage for a brief conversation with the audience, a warning of their powerful strobe lighting and the use of his signature “Space Bubble”. The anticipation in the audience is immense. The day has been memorable, with the sun’s warmth watching, much like the Lovell, over the event and its witnesses. But now dusk has begun to approach and the thrum of expectation ripples through the failing daylight.
The Flaming Lips’ legendary stage visuals ignite the dusk and the atmosphere is positively electrifying. Each member of the band steps out through a giant projected eye and Coyne climbs into his Space Ball for a spell of audience hamster-balling. His return to the stage and the explosions of confetti from signify the commencement of the band’s set; with Coyne crooning his distinctly melodic vocals through a megaphone.

They step the performance up further with a captivating performance of She Don’t Use Jelly before sweeping right into the Ya Ya Ya Song that sends a spark of enthusiasm throughout the 5,000 spectators. The display is mesmerising, with the band’s reputed science fiction space-rock sound and psychedelic stage visuals all the more symbolic beneath the shadow of the Lovell, utilised for the event as a colossal projection screen. Coyne takes a moment of reflection following an enchanting execution of Yoshimi Battles The Pink Robots to express the magnitude of the telescope and the accomplishments of science and to express his delight at the opportunity of being able to explore the control centre of the colossus. The moody and atmospheric opening to What Is The Light? signifies the prelude to the event’s crescendo.

The stage plunges into darkness in wait for the encore; a hugely symbolic and heartfelt performance of Do You Realise that gently brings to end what has ultimately been a spectacular and epic event, replete with giant hands firing lasers into a disco ball and an iPhone App utilised as a musical instrument. It remains clear to all why The Flaming Lips have such reputation for their live performances and stage displays as the Coyne’s charismatic tones softly ease to a close an epic and truly memorable event.

The Flaming Lips - live at Jodrell Bank

Thursday 07/07/11 Death Cab For Cutie @ O2 Academy Brixton, London

Wed, 13 Jul 2011 05:15:12 GMT

A sold out crowd for Death Cab For Cutie’s performance at the O2 Academy Brixton is a great thing to see. Having already toured their latest album, ‘Codes and Keys’, to the rest of the UK, this evening is the last on their schedule before a well deserved break. With folks of all ages making their presence known, whether by queuing hours early to be assured of a front row spot, or by helping to shift hundreds of T-shirts at the merchandise desk, it’s obvious that tonight is going to be a special performance.

Starting things off slowly, the support act, Seattle-based The Head And The Heart, give the audience something a little different than the main act. At first coming across as a strangely peculiar collective with a wide knowledge of instrumental experimentation, after a few songs and a bit more confidence, the group come across as a Mumford & Sons meets Noah & The Whale with an extra helping of Laura Marling. Quite literally getting more and more applause as their set goes on, the folk group have definitely won some new fans tonight. If their lead singer Josiah Johnson can grow a little more in confidence, and if Jonathan Russell, the band’s other singer, gets a hold of his eccentric stage movements, the gorgeous Charity Rose Thielen (violin, vocals) and the rest of the band could start a siege for the top of the charts just like Mumford.

Opening in darkness to a tasty instrumental, Death Cab For Cutie are seen amongst the shadows strumming, drumming, and strolling across the stage. When ready the band opens to ‘I Will Posses Your Heart’. With a hypnotic bass line that seems to go on and on and on, early crowd participating in the form of continuous on beat clapping soon forms. Full of energy, Ben Gibbard plays to a packed house with an excitement in his voice like the type heard in a 16-year-old’s on leaver’s days, or the type heard in a jackpot lottery winner’s voice when their numbers come up. It seems as if the forthcoming break might be a welcomed one, and with a wife like Zooey Deschanel to go home to who would blame him?

With not much room to breathe in between songs, the quick switch between each track, speedy dimming of the house lights, and the incessant guitar change between songs - in an almost machine gun clip reload motion, gives the show a theatre feel to it. With not much in the way of communication with the crowd, Ben’s constant Status Quo-esque jerking back and forth, and of course delivery of the band’s back catalogue, is enough on this particular evening. Going through their hits ‘Grapevine Fires’, ‘Meet Me On The Equinox’ – from the Twilight: New Moon’ soundtrack, and new tracks ‘Underneath The Sycamore’ and ‘Doors Unlocked And Open’, Death Cab fans cannot say they didn’t get a full show.

Show highlights include the heartwarming ‘I Will Follow You Into The Dark’, sung solely by Ben Gibbard to an adoring audience who hung off of each of the front man’s words, and the performance of the band’s latest single ‘You Are A Tourist’ – to which all of the audience knew the words. All in all the show was full of non-stop musical fun and frolics. For years Death Cab For Cutie have sustained medium popularity this side of the pond, their new album ‘Codes and Keys’ should be reason enough for that popularity to rise considerably, and if it isn’t, tonight’s performance definitely will be.

Sunday 26/06/11 Glastonbury Festival, Day Three @ Worthy Farm, Somerset

Tue, 28 Jun 2011 07:05:47 GMT

Day 3 of Glastonbury 2011 began at 11 on the Oxylens stage as Brighton quartet Mirrors were all skinny suites and straight ties as they took to the stage. A partially populated tented was treated an array of New Order/ OMD inspired tracks from the band’s debut album Lights and Offerings. Having previously supported Delphic the comparisons with their electronica contemporaries are clear, although it remains unclear as to whether Mirrors, on the basis of this sparsely attended performance will command the same level of media attention and success, proving that there is no justice.

Esben and the Witch proved a curious concept as they took to the same stage less than half an hour after Mirrors had departed. On one hand it was clear to see that the three piece were trying their best to be experimental (no drummer, swapping bass playing responsibilities, innovative use of effects pedals) but all that appeared to reach the audience was one indistinguishable, melody less drone after another. Perhaps this is unfair; the sound setup at Oxylens didn’t necessarily lend itself to guitar based music, however there was without doubt a feeling of disenchantment following their performance.

Laura Marling’s career, like her songwriting, goes from strength to strength. Her performance on the Pyramid stage proved further that 21 year old is one of the few genuine crossover talents to emerge from the nu-folk scene that emerged from London three years ago. Marling’s song and stage craft were evident in abundance, along with her backing she worked through her latest album I Speak Because I Can (Hope In the Air and Blackberry Stone) as well as a selection from her debut Alas I Cannot Swim including a breathtaking Ghosts. Marling stated how she’s been looking forward for this kind of moment all of her life and she can rest safe in the knowledge that she couldn’t have played it any cooler.

Paul Simon played material from his latest album So Beautiful or So What was he took to the Pyramid Stage at 1630. With the newer tunes perhaps not getting the rapturous reception they deserve quite yet (due to the fact they’ve only be available on is latest record for a few weeks) Simon was at one stage in danger of losing the audience’s interest in the baking heat. It was then he pulled out the ace from up his sleeve; unsurprisingly the biggest cheers were reserved for material off Graceland. Diamonds on the Soles of Her Shoes was a genuinely magical moment as was Gumboots and the encore of You Can Call Me Al which sent the on looking masses into ecstasy.

It’s hard to imagine another festival where an artist as revered as Paul Simon could be followed one such as divisive Plan B, but that’s simultaneously the most brilliant and frustrating thing about Glastonbury. Ben Drew took the stage in three piece suit and explained how 11 years ago he’s been stood where we were, but now look at him. Playing material from his break through record The Defamation of Strickland Banks Drew delighted the crowd although it remains unlikely that his performance will have one him any new fans.

A quick dash over to the Other Stage for Eels ensured Gigwise was witness to one of the finest performances of the weekend from Mark Everett and his band of bearded merry men. With riffs that Josh Homme would have been proud off the band (including a two man brass section- both with beards naturally) worked through a career-spanning set. Older numbers such as Novocaine for the Soul worked well in juxtaposition to more recent ones including a suite from 2009 El Hombre Lobo (including the Bowie-esque Prizefighter). A humorous band introduction was also thrown in for good measure (“Let me introduce you to our drummer... I used to be a drummer before I was a musician”) as Everett proved that despite being at large for a while now, he is nonetheless as performer at the top of his game.

What is there left to be said about Beyonce’s performance on the Pyramid stage of Sunday night that’s not already been said? No, a headliner of her ilk may not be everybody’s taste, no she didn’t bring Jay-Z on for Crazy in Love, but she certainly put on a show, and yes she won us all over. Arriving 15 minutes late on stage (just in case the anticipation levels weren’t at fever pitch already) she opened with Crazy in Love followed by All the Single Ladies. What followed was a pop/r’n’b masterclass which lasted for well over an hour. There were covers (The Eurythmics’ Sweet Dreams, Kings of Leon Sex on Fire), Destiny’s Child numbers (Survivor, Bootylicious) and fireworks as Beyonce told us “you are all witnessing my dreams”. The finale of Halo brought down the curtain on another epic, unforgettable, inimitable weekend at Worthy Farm.

After the recent death of their bassist Gerard Smith, TV On The Radio made a triumphant return on the Sunday afternoon. As the sun blazed, the band proved to be one of the gems of the day with tracks 'Young Liars', 'The Wrong Way' and 'Will Do'.

Up against Beyonce's headline slot might rattle most men but not Mike Skinner. The Streets my have had Beyonce and Queens Of The Stone Age to compete with but packing out the John Peel tent they pulled it out of the bag. As their last ever Glastonbury performance The Streets gave it all with tracks 'Don't Mug Yourself', 'Dry Your Eyes' and 'Blinded By The Lights'. The mud have have made it near to impossible to move but egged on by Skinner the audience seemed to have found that last spurt of energy from the weekend. Moved by the warm reaction The Streets ended their set with 'Fit But You Know It' which saw Skinner jump into the ecstatic crowd.

Glastonbury Festival 2011 - Photos From Day Three

Saturday 25/06/11 Glastonbury Festival, Day Two @ Worthy Farm, Somerset

Tue, 28 Jun 2011 07:04:22 GMT

The Saturday of Glastonbury 2011 started slowly. Stornoway took the Pyramid Stage at 11 but failed to shake off the collective U2/Primal hangover which was currently plaguing many of those at Worthy Farm as their pleasant, but far from inspirational, folk influenced repertoire failed to really connect. Guitarist and lead vocalist Brian Briggs didn’t help as his awkward Maths teacher chic anecdotes (“we’d just like to thank U2 for supporting us”) appeared to fall on deaf ears.

Tame Impala followed Stornoway which also seemed like a relatively odd choice for a main stage slot as, although, their brand of psychedelic shoegaze was a joy to behold, it couldn’t be any further removed from anthemic choruses of say the Gaslight Anthem (who played a similar slot on the Sunday) which are more akin to the Pyramid. Nonetheless the Australian quartet’s extended instrumental jams, and the highlights of last year’s InnerSpeaker where vividly hypnotic as the hour long set seemed to pass in the blink of an eye.

The John Peel Stage was playing host to Yuck, one of 2011’s bands of the moments and one who provided a one of the performances of the weekend as their distorted, yet melodic, brand of pop-grunge more than justified the buzz currently surrounding them.

It was then up to the Park Stage for the young Swedish all-girl ensemble Those Dancing Days whose spirited take on 60s inspired soul and chamber pop was welcome diversion from the more conventional artists seen on the same stage over the weekend. Frontwoman Linnea Jonasson provided an eye-catching spectacle as, along with the rest of the group, her lively “everybody must dance performance” the perfect antidote of an overcast Saturday afternoon.
Let’s cut straight to the point- Noah and the Whale produced a performance on Saturday night that I doubt the band themselves, or anyone else on the John Peels Stage will ever better. Ok so perhaps that a slight exaggeration but Charlie Fink’s boys pulled out all the stops for a performance which magnificently mixed the old (an electric version of the ubiquitous Five Years Time) with the new (a sing along so epic it was of biblical proportions of L.I.F.E.G.O.E.S.O.N.). Tracks of latest album Last Night On Earth have already commented themselves as festival anthems and musically the band has grown since their nu-folk of their early performances 3 years ago, an on this performance the future remains bright for this band.

Following Noah and the Whale Gigwise was subject to all out sonic assault on the senses courtesy of New York three piece Battles. A relentless 55 minute included an awe-inspiring rendition of Ice Cream. Throughout new tracks from latest record Gloss Drop provided the perfect vehicle for mercurial drummer John Stanier to showpiece his talents whilst multi-instrumentalists Ian Williams and Dave Konopka played as if possessed by some satanic Math-rock demon. Once the band left the stage all those at the John Peel Stage remained, motionless, agog, failing to believe what had just been witnessed.

It fell to Glasvegas to attempt to top the above performance. And attempt they did, even if they didn’t quite manage to surpass it. Enigmatic frontman James Allan, dressed in all white (the rest of the band donned all black), struck an imposing figure as grabbled with the illuminated microphone lead and frequently found himself lying crouched, as if in pain, or horizontally on stage, seemingly lost in the grandiose nature of the Glaswegan’s tunes. Allan remained guitar-less all night, deciding to prowl the stage assuming full time vocal responsibilities. The Glasvegas sound didn’t suffer for this but it became clear that tracks of latest album EUPHORIC /// HEARTBREAK \\\ were greeted with a more muted reception than those of their eponymous debut. However, by the time the band climaxed with epic Daddy’s Gone any qualms fans may have had with the new material were forgotten as they departing chanting the song’s chorus on into the Somerset night sky.

If you haven't heard of Jessie J over the past year where have you been? This rising London singer has taken the charts by storm but also proving on her live shows that she has the voice to match. Despite a broken foot, Jessie J ends up to being one of the surprise highlights of the weekend. Sat on her throne, the audience goes wild for 'Price Tag' and 'Do It Like A Dude' telling the audience: ''I had this mutual thing, my fans - I don't let them down. I'm sitting down with you all dancing around - there's a little bit of me that thinks this is all boring."

If sex could be music it would appear in the form of The Kills' Alison Mosshart. Taking to the Other Stage at 4pm, The Kills rock through a killer set. Despite their regular place in the UK tabloids for their personal lifestyles, Jamie Hince and Alison Mosshart are still one of the finest acts around. After nearly ten years together the pair know how to work an audience, with tracks from new album 'Blood Pressures'.

Back over to the Park Stage for the second secret slot of the weekend. Already confirmed earlier in the day Pulp are set to make their reunion return to Glastonbury 2011. Over 30,000 people overflowed the area (the biggest crowed ever for the parklife) to witness Jarvis Cocker and co back to their best. The band delighted fans with hits including ‘Disco 2000’, ‘Misshapes’ and ‘Common People’. Joking with the audience the Jarvis Cocker-fronted group took the audience back to their first ever Glastonbury performance with 'Sorted For E’s and Whizz’. Pulp back on form.

Coldplay draw a huge crowd over at the Pyramid stage. The rain has held off all day providing an equal sense of excitement throughout the audience including other headline act Beyonce and husband Jay-Z. Chris Martin fills a big stage, along with an impressive light set Coldplay provide a spectacular headline set. Introducing new tracks, Martin thanked the audience “Thank you for having us and thanks for coming to see us. Hope we exceed your expectations and sorry for playing some new songs - some day they will be your favourites. 'Violent Hill' had the whole audience in a frenzy, a song that seems to mean so much to so many. Rounding off their set with 'Fix You' and new single 'Every Teardrop Is A Waterfall' Coldplay fixed themselves as one of the performances of the festival weekend.

Glastonbury Festival 2011 - Photos From Day Two