The Summer Festival Guide is one of the UK's the leading festival reporting and review sites. We cover festivals across the UK, USA, Europe, Australia and more!
Sónar’s 20th anniversary reads like a who’s who of electronic music new and, well, more new. From Jurassic 5’s old school hip-hop and the eternally synth-pop Pet Shop Boys, to dance anthem pedlars like 2manydjs and the impossible grace of Natasha Khan aka Bat for Lashes, this was always going to be a big weekend.
The three day festival kicks off Thursday, leaving you Sunday to recover – or carry on the party. We catch Oddisee under the SonarDôme, slick rap between brassy jazz, while outside SónarVillage has exploded with the cheesy 70s hit ‘Love is in the air’. Fun is the aim of the game.
Gold Panda is another of those non-DJ DJs. In black denim and t-shirt, I picture him nursing a book alone in a café somewhere. Today, though, he hits us with playful and animalistic beats, eyes fixed on his fingertips as he bops along to perfectly haphazard breaks. The sound is of a runaway music box, and oddly relaxing.
Beer vendors wind through the crowd under a heavy Spanish sun. I worry for all the hipsters getting hot beneath their beards – at least they have their Wayfarers on. One such beardy man holds a kaleidoscope to his mobile phone to film the set (not the Beardyman, though he plays on Saturday). Lindstroøm and Todd Terje get us to nightfall. It’s the first time I’ve heard Terje’s ‘Inspector Norse’ and I understand immediately why it’s so popular. Have a listen.
There’s action aplenty with ‘off Sónar’ events across the city, but we save our feet for the first Sónar de Noche, held in a series of warehouses at the edge of town. Of course Bat for Lashes is wonderful, but we knew she would be. Bristolian DJ Eats Everything plays ahead of Two Door Cinema Club, a sentimental favourite who move seamlessly through their repertoire. “Maybe someday, you’ll be somewhere, talking to me, as if you knew me.”
It’s worth the rush to the outdoor SónarLab to see French DJs C2C perform ’Down the Road‘. They do a Run-DMC cover and manage to hold a sound-off in the crowd, a winner-by-applause deal without spoiling the mood. The 3D Kraftwerk set is all hype and Skrillex becomes the night’s surprise win (although I’d like my ears back, badly). I’m distracted by someone so famous wearing a shirt with his name on the back, but he’s forgiven with Benny Benassi’s ‘Cinema’. I don’t like dubstep; I just love that he’s got us all dancing.
Three hours sleep gets us by, and we’re back at Sónar de Dia for some synth-disco courtesy of US act Chromatics. I warm to their 80s edge and a convincing take on the Kate Bush classic ‘Running up that hill’. We watch AlunaGeorge from faux-grass decking, and catch TNGHT open with a cinematic rendition of Billie Holiday’s ‘Strange Fruit’. The stop-start set isn’t my thing, and I leave early to give my eardrums a break.
The closing night of Sónar is marked with a three-hour Ed Banger tribute. Justice scores easy points with his Simian Mobile Disco mashup ‘We are your friends’, and it’s good-time fare ‘til Laurent Garnier heralds the Sunday dawn. Even with a huge turnout, the warehouses have space to sit and take stock when needed. Revellers don’t seem to overdo it as much as back on the British Isles, and the international crowd adds to Sónar’s world-class festival credentials.
In 2014 Sónar hits five cities, so the next question is Barcelona, Tokyo or Mexico? Life’s tough.
Waking up and starting off Sunday at RockNess like many others – with a handful of after sun. Although, looking around most people could probably do with a few paracetamol and a pint of water.
Fatherson, a Scottish Alt Rock band kicked everything off on the main stage with a slightly smaller but committed crowd. Soothing vocals from Ross Leighton causing girls in the front row to fan girl (actual fanning movements of the hand were seen and squealing was heard). My personal attention was split between the music and the beards but the music eventually prevailed. If you’re interested, their music can be heard via their Bandcamp page here (without the distractions of well groomed beards) http://fathersonuk.bandcamp.com/album/fatherson my personal favourite is “43”but for a more upbeat feel give “Hometown” a listen.
Having been nominated for the BBC’s “sound of 2012” poll and her debut album awarded “iTunes Album of The Year 2012”, Lianne La Havas has been very busy since she came on to the commercial music scene in 2011, and it’s no wonder why. Lianne has such a captivating, gentle voice she was able to tame a tent full of rowdy drunken Scots. When performing she seems to loose herself in the lyrics which only draws the crowd in more. With thought provoking lyrics, spine tingling vocals and a quirky wardrobe, Lianne La Havas is definitely one to keep your eye on this year.
Walking in to the tent Ben Howard was playing in, I was positive I had walked in to a tent of hyperventilating One Direction fans. Filled to the brim of teary eyed, fidgeting females of all ages, actions that were magnified when he came on stage. Ben Howard had a haunting stage set up, hiding amongst shadows on stage, showing everyone he can hold a show with his voice alone and doesn’t need a fancy light show or backing dancers.
Coming out of the tent of Ben Howard and wandering around the main arena the crowd has almost tripled in size since Friday and I have a rough idea as to why. I’ve seen Madness live before and they put on a better show to artists to half their age and yes, there is the whole “experience over age” argument but WHERE do they get their energy from? They know exactly how to please a crowd, using the whole stage, not only interacting with the crowd but interacting with one another for the crowds amusement. They definitely haven’t lost anything over the years (they even still have hairlines to be proud of!). The perfect band for a sunny day at a festival, providing sing along opportunities with their hits such as “Our House” and “Baggy Trousers” suitable for all ages present at the festival, Madness were a joy to photograph and watch live.
It’s now where I get rather emotional and start to evaluate my life choices. At the age of 19 and only a mere month younger than me Madeon took to the stage, blew everyone away while mixing AND controlling his own light show. Having played at major music festivals in New York, California and Miami, playing at Radio 1’s Big Weekend AND supporting Swedish House Mafia, I feel like I need to get off my bum and join him in world domination. Now don’t think because of his age you should expect less from his live sets than other DJ’s on the scene at the moment, if anything, he’s exceeding a lot of them.
The headlining act and final act of Sunday was Plan B, someone I wouldn’t personally go see live in concert but someone I definitely would pay money to see again. The soulful voice you hear on his songs is just as good as live but sang with so much more character. Plan B put so much energy in to his performance, shifting his voice from soft and soothing to painfully aggressive, he brings something to his live music which I haven’t seen in any of the other acts over the weekend. I was so surprised with this live performance, nothing was half hearted, the band, vocals, lights, the entire energy of the show has definitely left an impression on me. Plan B unquestionably finished RockNess 2013 with a bang.
Buy your tickets for RockNess 2014 now and don’t miss out on the most beautiful festival in the world.
The lead-up to this year’s Parklife Weekender came with much trepidation, and not just over what to wear (high-waisted and dangerously short shorts, “obvs”). The move to Heaton Park from a venue much nearer Manchester’s festival-ready student population was a curious one, no doubt intended to minimise disruption to the regular flow of the city.
Officially the event was a success, but I wonder who else left frustrated by some fundamental oversights. Happy or naïve, we arrive at the park mid-afternoon on a picture perfect Saturday. Ambling amid flowered fields and deliciously shady groves, you can’t shake the feeling of summer – least of all when it’s shaking you; a heavy bassline through the trees.
We miss Aussie boys The Temper Trap, on too early. It’s the same story for Alunageorge. You’d be annoyed if you forked out for a programme since the printed set-times have changed. There’s probably a good explanation, and en masse no one seems bothered, but it’s a blow for fans negotiating crowds in pursuit of their favourite acts.
Jessie Ware lends her sexy breed of soul to the main stage, dedicating ‘Sweet Talk’ to the legendary Sir Alex Ferguson: “Sir Alex, I love you!” she coos. People groove along to the summery track but conversations carry on. Over at Sounds of the Near Future (for the uninitiated, that’s another stage name), Baauer throws a towel over his head to soak up the sweat. Or shut out the lights. He’s allowed since he nails his set.
Despite massive headliners, the draw card of the new venue is a host of carnival attractions that have sprung up for the weekend. The ferris wheel, log flume and bungee jump are daunting, and at £20 a pop are out of this reporter’s meagre budget. We’re suckered in by the dodgem cars instead, & at only £4 the saving warrants another trip to the bar. A shout out here to all the bartenders we encountered, and not just in the lush VIP section. In absence of the friendly volunteers of say Glastonbury, they acted as a much-needed, vibrant face of the festival.
Londoners Gorgeous George make for an irreverent change in pace. Playing the smallest stage in the festival, we figure this is Parklife’s equivalent of the reggae tent. You know, the spot people seem to end up when everything else is winding down. It’s surprising and fresh. The very look of the band cuts through the day’s niggling sameness. The lead singer has that proper cockney edge, sporting an unlikely Adidas jumper.
Ever seen a trumpeter in skinny jeans? That’s not a euphemism either. Just, well, have you? It’s all very fun. The frontman asks that any booze (or worse) that wants sharing be passed to the front. When we leave we wish we’d stayed, or left much earlier. Getting out is a shambles. We’re told to follow the crowd and the rest is guess work. Fearing more of this, I’m less enthusiastic come round two on Sunday.
We race to catch festival royalty Mark Ronson in some kind of DJ battle with equally big-time A-Trak. A note to festival organisers – please, pick a name for each stage and stick with it? Sure, it’s a stand-alone festival on both days. Yes, you’ll be raking it in with sponsors. But it’s sunny, and we’re drinking. Don’t be difficult.
Under the Big Top, British duo Simian Mobile Disco are making something of a comeback. Theirs is an energetic, rhythmic set, competing against the alluring bass of the nearby Red Bull sponsored DJs. Yet again, we’re stuck at the edge of a tent trying desperately to be involved. We keep at it for a while, then allow ourselves a break to sit with burgers in the fading sun.
Everything Everything is sadly undersubscribed, possibly due to competition over at the Warehouse Project tent. I’ve seen them before, and as the action seems elsewhere we move on quickly. It’s not their fault. It’s TEED for the win you see, and after throwing ourselves about to ‘Household Goods’ we’re satisfied with the weekend’s efforts.
I won’t go running back to Parklife next year, but with a little bit of love and the right attitude it could certainly be more.
I would be cocky and say I told you so but I think I'm suffering from heat stroke. Having to take refuge under the canopy of every second food van (the sun seems like a better excuse than my ever growing appetite) and only coming out of hiding for DJ Yoda was a sensible move. I now have more freckles and a more rosy complexion than I did on Friday but it was worth it.
I saw DJ Yoda at T In The Park a few years ago and after an impressive set then, I knew his set today was a must. He mixes every genre of music from Reggae, Big Band Swing, Country, Hip Hop and Drum 'n' Bass with small clips of well known films/programmes and video games to create tongue n' cheek dance music. Combined with the comical visuals behind him as he's scratching, DJ Yoda's live sets have the ultimate feel good vibe, perfect for any festival. Q Magazine have declared him "one of the ten DJs to see before you die" so if DJ Yoda is ever playing near you or at a festival, make the effort to go and see him, you will not be disappointed!
Having been around for many years and constantly travelling the world playing shows Fat Boy Slim is still at the top of his game, ever growing and his live set today didn't disappoint. His biggest hits such as "Rockafeller Skank", "Praise You" and "Weapon Of Choice" were mixed with a heavier bass and unpredictable samples to create a compelling live set from the famous DJ.
Since the sun had made such an appearance, it would have been rude to ignore the Ice Cream vans and Slush Puppy stalls located around the main arena. Sitting on the grass, ice cream in hand looking down at the main stage with the Loch Ness shimmering in the background is just something you can't get at other festivals. I can now see why RockNess is known as "the most beautiful festival in the world".
I have never been so excited to be in a crowd before. Free cake and champagne for everyone! Well, that is if you don't mind it being thrown/sprayed on you. Probably the most interactive set so far, Steve Aoki managed to DJ, jump around, throw numerous cakes at people, spray countless bottles of champagne and bring out an inflatable mattress for people to crowd surf on. Amazing. (Although I'm biased after I got a face full of champagne). The crowd responded well to all of Steve Aoki's antics and demonstrating why Scottish crowds are always praised on their energy and enthusiasm. An amazing set from Steve Aoki, I hope after today he makes a more frequent appearance in the UK and even Scotland because we like cake.
The last act of the day I saw was Example, an act I wasn't looking forward to as I saw him at T In The Park last year and thought his vocals were absolutely dreadful but he has improved drastically. He encouraged the crowd to scream louder, jump higher and dance harder by doing all three himself with endless energy. His stage set up was probably one of the most impressive I've seen, including colourful lasers that created wave patterns in the night sky creating a picturesque image in front of Loch Ness. A perfect end to the Saturday!
Having never been to Rockness, I didn’t have any idea of what to expect, putting aside the fact I’m positive I drove through The Shire on the way here and the 2 hour wait just to pick up my parking ticket from the box office (handsome boy but only capable of serving one customer every 20 minutes) you walk through the entrance to a beautiful landscape. It’s magical, breathtaking, no other words can describe it. You have the main stage lit up with lights and lasers from every direction, an explosion of light and in the background sits the Loch Ness, still, untouched by the noise and a complete contrast to the foreground (I’m now talking about the couple that walked in front of me groping one another and slowly destroying any innocence I once had).
Ellie Goulding, she has such control over her voice it doesn’t differ that much from her recordings. Although something you don’t get to see listening to her songs on the radio/television etc is this awkward bopping thing she does, with a foot stomp here and there. It gives us mere mortal girls a hope that maybe, if we too embrace our inner awkward we can roll about a bed with Calvin Harris like she does in her latest video for “I Need Your Love”.
I’ve never been a huge fan of the Vaccines, I’ve never really given much time to listen to their music but their live performance did sway me, or maybe it was the drunken Loch Ness monster jumping up and down with his cider next to me that changed my mind, I really don’t know BUT I did enjoy their performance thoroughly.
My main highlight of Friday has to be Basement Jaxx, although slightly envious that I will never be able to pull off such colourful hair as the two women who joined them on stage to sing or the fact I’ll never be able to dance like them (I did attempt. Unfortunate to all standing behind me.) I could easily say after seeing Basement Jaxx live I would much rather pay to see one of their concerts than ANY big DJ at the moment. Nobody has the groove that these guys have. I said groove, my Mum doesn’t even say groove. I apologise. I can’t even find an appropriate word I’m still in such a trance. Please go see these guys live and you’ll understand.
The atmosphere at Rockness goes from chilled out (or passed out if you’re next to the Jagermeister van), to people climbing on sweaty, soggy shoulders and screaming as loud as they possibly can. There are people of all different ages, older couples lounging on the grass hill with their Ice Cream taking in the breathtaking view of the Loch Ness then groups of young friends bouncing around and singing with sheer joy. The site isn’t too large, so you can’t loose anyone for more than five minutes but it’s big enough you can go to one stage without the other stage’s music interfering. This festival has the perfect balance. If the thought of coming to Rockness, tomorrow (Saturday 8th) or Sunday has crossed your mind then you need to stop thinking and GET HERE NOW! The weather forecast for the next two days is meant to be phenomenal. See the link.
Although only having a fraction of the Slam Dunk South line up, Slam Dunk Scotland was a huge success. I don't think I've been that excited (or sweaty) at a gig in a long time. Not one band disappointed, every member of every band had explosive energy, jumping around the stage which only had a rub off effect on the audience who were simply brutal. I lost count of how many people were dragged over the barriers by security, even once over the barriers security were struggling to control them, resulting in a few of the security landing flat out on the ground (much to my amusement).
The stand out bands for me were definitely Woe Is Me, Memphis May Fire, Pierce The Veil and Four Year Strong. Having not listened to Woe Is Me or Pierce The Veil their live performances definitely converted me in to a fan. If you get a chance you should definitely YouTube Woe Is Me, my words will do nothing for their music. Their songs contain everything you could possibly ever want, from gorgeous clean vocals from Hance Alligood to some heavy bass from Brain Medley.
As for Pierce The Veil, if their stage set up wasn't impressive enough (have a look through the Slam Dunk Scotland photos) their interaction with the crowd was something that needs to be seen, they have such a strong fan base over here in Scotland which you could hear when they played "Hell Above", the crowd was singing along so loudly that you heard them far better than you could hear the band.
Finally, Four Year Strong – with beards almost as impressive as their music – completely blew away all expectations I had for them as a live act. With raging energy, the guys got the crowd so excited that I was told by security I had to stop taking photographs and move out of the photo pit because so many people were crowd surfing and having to be pulled over the barriers.
This having been my first Slam Dunk experience, I can without a doubt in my mind, say that I will definitely be attending next year. If you haven't got a ticket for any up and coming Slam Dunk dates, then I suggest you do. You can find what venue is closest to you here http://www.slamdunkmusic.com/slam-dunk-festival . Even if it sounds a bit too rough for you, I suggest you buy a ticket (ranging from £15 – £38, depending on the venue) and stand peacefully at the bar, watching the madness from a safe distance because Slam Dunk won't be like any other festival you're attending this year.
Liverpool Sound City is a determinedly different festival. The line-up reads like a roll call of this summer’s biggest acts, and though it runs awkwardly from Thursday to Saturday (it’s an industry conference, much like South by Southwest), there’s enough programmed outside of the working week to make decisions hard.
I’m sidled up by a buzzing espresso machine in Bold Street Coffee, as one half of the Collectors Club give their third performance of the day. On a Friday night in Liverpool, I’m aware this is a pocket of relative calm. “You say you don’t but you want to go out tonight.” Billed as indie-pop, it’s an acoustic set: two guitars, two mics, two men. Or boys, the median age of the room 21 at best.
Lead singer Joe Smithson says he’s pretending to be Justin Timberlake, by way of acknowledging a vague similarity between single ‘Wanna Be You’ and the pop royalty’s ‘What Goes Around… Comes Around’. A sense of humour seems to characterise the Middlesbrough band. “Don’t you want me, want me like I want you?” Understated songs about tears and longing suite the space, and music spills through an open door into the busy street. Outside, it’s as alluring as the smell of just-made coffee (or of garlic mayonnaise from various takeaway spots lining the road).
The café sings along to a pleasing cover of Fleetwood Mac’s ‘Everywhere’, and afterwards people clap, something I’ve noticed increasingly absent in live settings. We’ll cheer, yes, but people tend not to want to put down their drinks to applaud. The room erupts with good-time classic ‘Under Pressure’ at the end of the set. It’s a smooth transition with the kind of high production values that typify this festival.
Next up on Bold Street is Dan Croll, whose latest release ‘Compliment Your Soul’ aims to do just that. I hear Phoenix, but unlike Paul Simon, Burt Bacharach, and the Dirty Projectors, the French outfit are not among his known influences. The band play a few bars of ‘Wonderwall’ (Oasis, no other), as Croll quips “We’ve all had a bit to drink.”
Buttoned-up and bespectacled, the sometime Liverpudlian sings folkily from the heart – “Oh mother, it’s all thanks to you… I’m gonna miss you.” ‘Home’ gets me too. It’s plucking at heart strings, but Croll offsets any melancholy by instructing guests to take their shoes off at the door, “‘cause it’s impolite not to, you’ll be damaging my floor, ‘cause it’s my home.” This track smacks of Australian singer-songwriter Josh Pyke, but that’s mostly my homesickness talking.
Croll’s is a talent that makes you want to pick up an instrument and learn, goddammit! Fans shout for ‘Marion’ and he obliges. He’s interested to hear what other acts the audience has seen so far, and even gives the café’s breakfast menu his endorsement. It’s a mighty wholesome musician that references porridge mid-set. There’s a smile as he thanks the band – “Nobody introduces me, but that’s okay.”
A few streets over and pushing midnight, French natives Concrete Knives are working the Kazimier Gardens stage. Six-strong, they sound their full number with thick bass, edgy synth and ample reggae throwbacks. A cover of Ini Kamoze’s ‘Here Comes the Hotstepper’ rounds out their cool credentials, as do school yard echoes in tracks like ‘Brand New Start’ and ‘Greyhound Racing’.
Around the block, headliners Everything Everything can be heard long before they are seen. I spot the queue first of course, the warehouse that is Liverpool Academy of Arts already at capacity. Theirs is a complex sound borrowing from many genres, which goes someway to explaining a wide appeal. Dressed in trademark boiler suits, there’s something unignorably Coldplay about the group. It’s likely a comparison they hate, but it’s only praise.
Rapid-fire delivery from fontman Jonathan Higgs is also something of a signature, his voice not classically appealing but captivating all the same. “Yeah, so, um, wait a second!” The urgent pace of breakthrough single ‘Cough Cough’ is in sharp contrast with lilting piano on ‘The Peaks’, but each is entertaining.
My night ends with Temples fronting a packed-out second storey Leaf. It’s enjoyable enough, and a fan in the crowd tells me emphatically that their neo-psychedelic rock is melodramatic. “Melodramatic,” he yells over the reverb, “can you spell it?” Yes, I can, though I suspect he means theatrical. It’s hard to see the bands’ faces for hair.
As with any festival, the interest is as much in journeying between stages, friendships forged waiting for a toilet cubicle or at the bar, and the random exchange of hats, sunglasses and other sundry attire. The beauty of an in-city event might be that you can go somewhere else entirely during those inevitable programme gaps.
Saturday brings bright skies and an excuse for a courtyard barbeque at Heebie Jeebies pub. Aussie act Deep Sea Arcade look and sound rock and roll, right down to bassist Nick Weaver’s finger gloves. ‘Girls’ is an easy favourite, and the all-male act display a knack for taking things to double-time, then back again with ease. The set ends quickly, a teaser for debut album ‘Outlands’ (although ‘If The Devil Won’t Take You’ sounds distinctly better live).
Finnish elctro-folk lady Sansa follows, and I’m amazed by what she can do with her voice (and feet). Lyrics trade primarily in matters of the heart, most overtly in the track ‘Boys’ – it goes “boys, boys, boys, boys, boys.” Her real talent is in recording live guitar and vocal samples, singing with two mics at times, and mixing these on-stage. Her jazzy scatting is equally impressive.
Night brings the frantic garage of local boys Broken English, who look as slick as they sound. The audience knows every word, too. I so often worry for drummers – do they get the recognition they deserve? This drummer looks disarmingly young, but he’s skilled and owns the role. The Kazimier plays host to London-based Mind Enterprises, appearing here as a duo. These guys could play a much later set, their chest-thumping, bassy electronic chords reminiscent of an abstract, more melodic Totally Enormous Extinct Dinosaurs.
Popular indie act French Films are on form in requisite leather and denim jackets, so it’s a shock when singer Johannes Leppänen confesses he feels sick. “I actually threw-up on the way here.” How very rock and roll. Along with the festival’s second Justin Timberlake reference, Thomas J. Speight offers one of Sound City’s most memorable moments when he takes his set off-stage and into the audience for lovesong ‘Joni’. He offers to play a “quiet or a fast one” to close his spot, and two lads at the front shout “Both!” in perfect unison.
Toward the end of Liverpool Sound City Delphic’s set is fittingly showy, three minute singles drawn-out to six and seven minute long tracks. I stay long enough to hear ‘Red Lights’ and ‘This Momentary’, where jack-knifing beats build to the refrain “Let’s do something real.” Mount Kimbie are playing across the street, lauded as one of the festival’s best. It’s the first time I’ve heard them, and their eclectic electronica demands a second sitting (and a third, and fourth – you get the gist).
Transforming familiar urban spaces with those things about festivals we love best, Liverpool Sound City is an emphatic win. Leave your cares at home, and enjoy.
Festibelly. Sounds good, right? I fantasize about a mile long banquet out in the fields, the kind for medieval kings and queens, with all the mod cons and a soundtrack to boot. It’s day one, though, and I’m out of my depth – nobody mentioned a tightrope.
At a safe distance I watch as adults and kids queue, eager to play out their circus dreams. There’s hula too, and each attract a strong grownup contingent, age one of many barriers beautifully blurred over the weekend’s New Forest gathering.
Invention abounds. One young woman steps hurriedly on stilts as friends pass a hula-hoop around her hips, mimicking the feat. Even in this small field, I fancy I could make the weekend without seeing a single band. It’s part of Festibelly’s charm.
I follow a familiar tune to the Terrapin Station, where an impromptu singalong has broken out to Bohemian Rhapsody. A sudden downpour makes an excellent excuse to lie back in our tent and soak up the bourgeoning camp (oh, how we soak!). There are some brilliant exchanges. “Is cider a depressant?” starts one passerby, and I fight the urge to interject and give the game away.
As the carpark starts to fill, we skip out in wellies to explore Lymington town. The high street is lined with market stalls, and ambling vaguely toward the sea we’re among a handful of people not eating ice cream. Or walking our dogs. Or both. For me, though, it’s a decidedly Bakewell occasion, so we beeline to a nearby café.
Back at base the tunes have begun. Folky Rob Cowen & The Dissidents “love the neon” in City Lights, and a slow, stripped cover of 1970s hit Hotel California is fitting fodder on a bright afternoon. There’s welcome irreverence from The Operators, the lead singer shouting in mock admonishment by way of encouraging the crowd. Tongue firmly in cheek, he says Careless is “about going mental and being stupid, hence Careless.” We hear By My Side and Meet Me In The Morning, and there’s a slick nod to Rihanna (or is that Michael Jackson?) somewhere amid clapping and cowbells.
Parisian trio We Were Evergreen have as much fun as their fans, and why not? They sound like summer – in clubs, parks, beaches, and bars – and just when you think you’ve got a handle on their sound, the lead singer swaps ukulele for trumpet and the tent gets rightly jazzy. At one point there is a request for silence; “Let’s all go ‘shhhh!’” they smile, as if sharing a secret. If you’ve never had the pleasure, YouTube any version of Baby Blue (my favourite was filmed at St. Pancras International).
An aptly named Massive in China stage goes bananas for Crowns. The boys ask in earnest if their instruments are loud enough, and I suspect they want someone to up the volume. The Cornish group play some serious folk – there’ll be bruised knees around Festibelly tomorrow. Frontman Bill Jefferson breaks mid-set to sip a revellers drink, cunningly disguised as a protein shake. “I don’t want to tell you what to do,” he shouts, launching into the raucous Little Eyes, “but I think you’ll have more fun if you can-can!”
I cheer with the heaving tent when our MC mocks the masses waiting in line for silent disco, but as the next act starts up (an Indian marching band, of course) I steal away to join the spectacle. Headphones have sold out but we’re free to roam as the tent erupts in chorus to Eye Of The Tiger. The disco keeps on to the small hours, and we fall asleep to sounds of ‘silent’ fun.
It's high summer when I wake. Couples, families, and indeterminable larger groups sprawl sitting or lying, relishing the day. At the main stage people come and go, music secondary to conversation. The bank holiday makes Sunday the perfect time to party, and all-singing, all-dancing Man Like Me do just that. At the height of random are playful tracks Peculiar and Squeeze. London Town feels comparatively tame, but that's not a criticism. Frontman Johnny Langer isn't shy either; early in the piece he loses his shirt, and later hops off-stage to take a walk through the crowd.
Clock Opera aim to please with plenty of grandiose tracks like Once And For All. There's something unnerving about lead singer Guy Connelly's beard, so I focus instead on the Chris Martin lookalike manning keyboard and synth. Soon, they start to sound like Coldplay, but again that’s no critique.
I’m not fussed on Icarus, but when Bastille hit Overjoyed, Flaws, and fresh track Bad Blood, it’s bliss. Dan Smith and company sound even better live, and they use the stage well, switching places and instruments with ease. Popular cover What Would You Do has the whole site singing, their playful percussion impossible to ignore.
I’m sure I love Gold Panda's heavy bass, but it’s ambient noise this hour of night, and I’m fast distracted by talk of burgers. Punters gather by the roaring fire, a ceremonious end to our official Festibelly experience. Would I go back? Without a doubt, and next time I might even brave the hula.
On Friday August the 10th, BT London Live Olympics Festival in Hyde Park was in full swing; with glorious sunshine, phenomenal live music and – of course – three gold medals for team GB, to ensure smiles were on every face. The Overtones performed to several thousand Olympic-enthusiasts. Combining their unique sound with boundless energy, the lads soon had the entire audience on their feet and every Great Britain flag waving high in the air.
Shortly after their set, they joined me backstage for a quick chat. Band member Mike was chomping on a huge burger, so I opened the interview by addressing him directly.
SFG: So, Mike, with your mouth full of food. Whereabouts in the UK are you from?!
Mike: Bristol.
SFG: That’s near me, I’m from Plymouth.
Mike: Our tour ends in Plymouth.
SFG: I will definitely come along to watch! So whereabouts are you all from? You seem to have different accents.
Mike: We’re from all over. I’m from Bristol.
Mark: Manchester.
Timmy: I’m from Ireland!
Lachie: I’m from Sydney.
Darren: And I’m Mr Essex. I actually was Mr Essex one year.
SFG: Really?
Darren: No, that’s a lie.
SFG: Oh, I was going to say!
The boys laugh.
SFG: So how did you all meet up then? How did you get together?
Timmy: Well, the four of us had been singing together for six years without Lachie. We met while singing at open mic nights. I met Lachie several years ago, handing out leaflets for a famous department store. But I won’t mention the name, because he used to take lots of lunch breaks and put the leaflets in the bin!
SFG: We’ve all done it.
Timmy: I then heard his amazing bass voice and said ‘you have got to be in our band!’
SFG: Amazing! So how did you get involved in this Olympic festival?
Mike: This festival has just been amazing to us. We’re really lucky guys, they invited us along and we’ve just had an amazing time.
Timmy: Unreal crowd; everyone is in such good spirits. Not only is the weather great, but everyone is really getting into the whole Olympic atmousphere. Team GB have done so well.
Mike: It feels so patriotic at the moment it’s ridiculous. We’ve actually just come back from LA where we recorded or first video for the next album ‘Higher’, which is out on October 1st. Although we’ve been away, we’ve seen little bits of the coverage on US TV and it’s not the same. But coming back here, you just get right back into the spirit of things. I love this country!
Timmy: But you also learn to appreciate sports that you would never normally get to see. I’ve never enjoyed show-jumping so much in my life!
Mark: Can I just say, I’m really looking forward to Sunday because we’re all going to have a few drinks and watch the closing ceremony.
SFG: So you’ve all been following the Olympics from overseas?
Mark: No, I’m just looking forward to the party at the end of it! Of course, I’m joking, we’ve all been following it.
Darren: I enjoy the diving most. That really impresses me. Team GB did really well.
Lachie: He’s quick isn’t he, that Usain Bolt?
Darren: Yes, I’ll think he’ll win it.
SFG: So who does the choreography for your set? Because when I was watching, I couldn’t help but love your moves!
Timmy: (Jokes) Beyonce.
SFG: I knew it!
Timmy: Well, she gives us a hand. We’ve done most of it by ourselves in the past year, but now we’ve been getting people on board. It feels weirdly like we’re loosening the reigns with the shows. But we’re still involved in everything we do regarding style and choreography, so we always add our little Overtones moment. A bit of a click. A little toe-tap. It’s got to be done!
SFG: Is there a signature move that you do in every show?
Timmy: I have a little move. It’s called the Timmy Shimmy, so I do do that. And if there is Beyonce on, I will grind a little bit!
SFG: Steady on! So, did you come to London just for this gig?
Lachie: No, we live here.
Timmy: It’s where we’re based. We were lucky enough to perform at the Queen’s jubilee this year too. Gary Barlow asked us to be the warm-up act which was amazing. It was such a big thing to be a part of! We’ve been having a great year so far. Of course, we’re all looking forward to the album coming out as well and people hearing the new stuff we’ve been working on. It’s such an exciting time for us. We’ve worked our butts off for the last 8 months; living in the studio. It’ll be great for people to hear it, so check it out! ‘Higher’ is out on October 1st, baby!
SFG: And finally, who do you think would win in a fight out of all of you combined, and one female welterweight Olympic boxer?
Timmy: I have to mention Katie Taylor because she’s flying the flag for female boxing at the moment.
Lachie: I think she’d kick our ass.
Darren: She wouldn’t.
Lachie: She would.
Timmy: Have you seen her fight?!
Darren: Yeah, she’s good, but against five guys?!
Lachie: Darren, take the shame. She’d win.
Timmy: We’d let her win!
Lachie: Although we could stop her with a wall of harmonics. (Sings) GET BAAAACCCK!
SFG: On that wonderful note, it’s been an absolute pleasure talking to you! Best of luck with the new album, and thank you for coming to speak to me today.
There’s a certain amount of fear inherent in trying something new. You’re excited, sure, and with a line-up like Kendal Calling’s you know you’ll have a good time. But have you been oversold? Have weeks of hype and anticipation set you up for one colossal fall, that sinking sense of ‘oh, that’s it?’ and the slow admission that things weren’t quite all you’d hoped?
These were the thoughts I silently entertained on the drive to Cumbria, but as we entered Lowther Deer Park and spied a herd of the creatures grazing peacefully in the next field, I was assured of a magical weekend.
We were still fighting with tent poles (the vintage variety, circa 1985) as Newcastle outfit Maximo Park hit the main stage. The sound was surprisingly clear from our spot in the ‘party’ camping zone, and we paused for a brief impromptu dance session before resuming the battle against our half-pitched home.
The festival has a dream-like quality, owing much to its hideaway Lake District setting. Rumours circulate of a wedding on-site, and you get the feeling it’s the kind of festival folks take to heart. One mother of three said the family alternate years between here and Glastonbury, and Kendal does have that same quirky, wonderland (or is that woodland?) appeal, though on a scale less daunting (and easier on the wallet).
Billed as a ‘live music and contemporary circus extravaganza’, the spectacle that is Slamboree had the Chai Wallahs marquee flailing wildly. Bridging unlikely styles from classical to dubstep, I couldn’t count the performers – a juggler here, two exotic dancers there, oh and a few fire-twirlers if you weren’t impressed already. Punters weary from dancing up a storm took refuge to sway in their seats, and no one seemed to mind the stage getting smokey.
After a serious dose of the avant-garde, House Party just didn’t appeal. We made a beeline for bed armed with freshly steamed chai, curious as to what the dawn would bring.
Kendal Calling 2012 | Saturday
The Travelling Band open Saturday’s main stage, though I don’t mind saying that I’m too busy over at Ginger’s comfort van to see their show. You’d be distracted too if your other half handed you a double scoop salt caramel and peanut butter ice cream cone, suffice to say it all sounded dreamy. Of the weekend’s playful roaming acts, something called the Sample-ist stand was my pick. Manned by two DJs in labcoats, and another three gents in white coveralls dancing up a storm beside them, the project involved capturing a voice sample from willing passers by (and there were plenty), then distorting it as part of a broadcast soundscape.
I couldn’t miss suited and booted London lot Spector, who got the audience clapping with ‘Friday Night’. From their dress you can tell they mean business, and boy can frontman Fred Macpherson scream! There’s romance in their synth-rock, with one track introduced as “for the lovers. Yeah, I see you in the trees over there.”
It’s A-grade entertainment when the band breaks mid-set: Macpherson has something unsavoury on his jacket, and needs to brush it off immediately as best he can. Later, and mid-song this time, he produces a comb to deftly fix already slicked-back hair. Spector close to an eager audience with hit single ‘Never Fade Away’. I hope they won’t.
Evening now, and a DJ set from Humanizer has the Glow Dance Tent thumping. Back at the Chai Wallahs stage, a special mention goes to Dizraeli and The Small Gods for their decidedly different hip hop folk. The instrumental ‘Istanbul Express’ transports the (admittedly few) fans assembled to an overland journey in a far away place, and it’s nice to hear the story unfurl.
The masses appear from nowhere for 'Heavy' headliner Dizzee Rascal. Despite signs asking we 'leaf them be', limber fans clamber into trees, vying for a better view. Fresh from his Opening Ceremony showing, Dizzee tells us to "be safe out there”, and I fancy he is talking to those trees. Energetic, the pair (who is that guy with Dizzee all the time?) bounce through 'Road Rage' to new track 'Bassline', a preview from the forthcoming album due out in November. "Make some f*cking noise!" Dizzee commands, and we do.
“He's just a rascal, Dizzee Rascal" chime the crowd, this by far the most attended timeslot of the day. How many artists boast their own them song? After a relatively tame showing in Benicassim, Dizzee is on form, charging through a catalogue of chart toppers including 'Dirtee Disco' and 'You’ve Got The Dirtee Love'. There’s a theme here…In a weekend chiefly devoted to celebrating a shared nonchalance about the start of London's Olympics, Pepper makes a special appearance, joining Dizzee for Olympic collaboration 'Scream'. This particular performance is being filmed, with the promise "You're gonna be famous and sh*t!"
'Dance Wiv Me' is an obvious favourite, but it’s 'Holiday' for the finish and a glitter gun to boot. Dizzee dubs this an Instagram moment, the crowd welcoming his approval with yet more applause.
An aptly named Happy Slap Boutique is the spot to be by the early hours of Sunday morning, as the resident Happy Slap DJs spin their distinctive breed of Balkan, electro and swing to a heaving marquee. Here as elsewhere at the festival, twinkling fairylights serve to offset anything too hardcore, continuing the carnival theme.
Kendal Calling 2012 | Sunday
New Yorkers We Are Scientists set the standard for audience rapport on the main stage, delivering their upbeat breed of indie rock with a sophisticated sense of humour. Bassist Chris Cain fires off cheeky comedic quips, thanking one girl in a wedding dress “for taking this show seriously.” I roll my eyes when my fellow festivalian muses aloud “I wonder if they are scientists…”, but stop as it dawns that they might be.
The boys match the euphoria of a sunny Sunday afternoon, firing off intelligent tracks like ‘I Don’t Bite’, ‘Rules Don’t Stop’, and the one that made them, ‘Nobody Move, Nobody Get Hurt’. Needing no introduction, the immediate and urgent beat has much of the crowd up on shoulders, and a collective cheer erupts when one (shall we say, heavy-set) man successfully manages to stand atop a friend.
The theme for the weekend’s fancy dress component is fairytales and comic books. Some people have put incredible effort into their look, but it’s apparent that anything goes, like the wedding dress girl (unless she was Friday’s festival bride) or the countless wolves and bunny rabbits dressed in smart tweed suits. James haven’t dressed up when they take to the main stage, but it’s clear the packed-out field award them superhero status. Scheduled for nearly two hours, I tire quickly of the singalong affair, and although they sound in fine form I sneak away, prefering to discover something new.
Under the big top now, and the Calling Out stage is abuzz with talk ahead of Los Angeles act Vintage Trouble. Gracing Kendal Calling for a second year, this four man ‘juke music’ group ooze soulful style. Indeed, the collars, vests, hats, ties, even hairdos aid a welcome departure from the present day.
Belting out songs like ‘Still And Always Will’ and a sexy ‘Nancy Lee’ is gifted front man Ty Taylor. With a mighty voice and fun stage presence, he dips and spins his standing mic, working up a sweat. Mid-set he asks the audience to turn away from the stage – he wants to see us dancing with each other. “Is anybody horny in here?” he shouts, and the tent cries yes.
‘Nobody Told Me’ is a complete change of pace, and Taylor touchingly explains the song is for people in times of struggle. For a band only formed in 2010, these guys are convincing performers. When a pair of underwear is flung on-stage, you imagine this kind of thing is typical, but Taylor announces it’s the first g-string they’ve had. “You go down in history” he smiles, before launching into a tamborine-charged ‘Run Outta You’.
As things wind down (or up, depending who you are) on a massive weekend, Yes Sir Boss play to a handful of revellers on the Chai Wallahs stage, the rest of the festival evidently still singing along to James. An unlikely meld of brass and metal, the group play as if to a full house and those few appreciative fans go mad on the dancefloor.
Kendal Calling 2012 | to wrap
Somewhere between the official line-up and set times, acts like Alpines and Little Comet got lost. Or maybe I was lost – it’s that kind of festival! From the most chilled and intimate sideshows, to fun fair amusements, giant scrabble and a real ale party, there’s a little bit of Kendal for every mood (and a heap more if you’re the ‘I’m-at-a-festival-feeling-avant-garde-now’ type). I never made it to Kendal Calling’s so-called ‘Garden of Eden’. I suspect I was already there.
