Glastonbury

Album Review: Ben Howard – Noonday Dream

Upon the release of debut album Every Kingdom seven years ago, not even Ben Howard himself could’ve imagined he would be releasing an album as mature and as different as Noonday Dream. If you were expecting him to tread along a similar path, prepare to be disappointed.

After his debut album, Ben had won British Breakthrough Act, British Solo Male Artist and had his album nominated for album of the year at the Brit awards. He went on to play Red Rocks, Hammersmith Apollo, and Glastonbury, gaining respect from the music industry at large for his ability to combine poetry with his unique style of guitar playing. Following the tour from his second album I Forget Where We Were, Howard took a couple of years off to reassess where to go next. He had achieved everything he could have ever wished to. It may sound like he had lost his mind – he shaved his head completely, travelled to Nicaragua and dug a 5×5 hole in his garden and sat in it while considering whether to drop music completely and become a poet. But to me, Ben sounds like someone lost, trying to find themselves and find purpose. This couldn’t be more evident even if he had tried in this album – it’s a dive into who Ben Howard really is.

The new sound has clearly been heavily influenced by band member Mickey Smith, frontman to A Blaze of Feather, that Ben is also apart of. ABOF has a more friendly mainstream sound than Ben’s new release, so to ease yourself into Noonday Dream as a transition, you should take a listen to ABOF’s self-titled release last year.

he shaved his head completely, travelled to Nicaragua and dug a 5×5 hole in his garden

Howard never likes to play a song the same way live twice, he’s always challenging himself and the listener, and this third album is a great testament to this; by the time we reach the final track “Murmurations”, it makes us question the very definition of a song. It’s this – the mystery of never knowing what to expect from him – that’s his greatest strength. From long drug-fuelled instrumental electric riffs heavily relying on pedal boards to stripped back acoustic guitar with poetic lyrics floating over the top, Howard uses music to invoke atmosphere and feelings, creating a distinct experience to each listener.

Howard performing at the Roundhouse in London.

The album opens warmly with “Nica Libres at Dusk”, a slow-burning swell of fingerstyle guitar that we are accustomed to, but with lyrics that we weren’t expecting. “Door is locked my gums are bleeding, outside she reads outside she’s reading” is an immediate departure from what we know, with gone are the summer imagery, rivers and broken relationships, in place of something more abstract. “Towing the Line” and “A Boat to an Island on the Wall” follow and are are instant fan favourites. “There’s Your Man” is the highlight of the album, with Alt-J inspired sound effects to listen out for.

In summary, it’s clear Ben retains his magic and is still very much developing and evolving even now as an artist, yet he still very much understands the flow of an album. From the welcoming yet unfamiliar album start, to track transitions such as the move from “All Down the Mines (Interlude)” into “The Defeat” being my favourite, there isn’t much more that can be said other than to take a listen. This one will never leave you bored.

It’s not about the music anymore: Glastonbury from another perspective

The economy of human hedonism; people pass in droves innumerable. They flatten in colour over the horizon as I look through the flaps in the catering tent where I’m working, with a longing isolation –

I was in the Avalon field at Glastonbury festival, feeding artists bacon and making coffee too quickly in thick heat from 7am to 11 at night. The music in the background was not respite, but indistinguishable and overbearing. In the morning life was treacle – thick and sweet and slow to progress. But I’d be lying if I said I didn’t love it, the festival scene.

Yet I wasn’t there to watch overwrought singers sweat on distant stages, basking in pretension, I was there for the people (a little bit for the money; the pay wasn’t bad) – the ephemera of lives I met was the art, not the pre-designed sculptures and paintings by the dusty pathways littered with yellow of Thatcher’s cans and used blunts. People didn’t come here for the music, the music was in the glitter of conversation and discovery for me, as I suspected it was for many. It was an insomniac field of open delight. They said that here anything goes – climbing onto stages, smoking, lying on the base of tipis with arms outstretched, wading through the crowds half-dressed and speaking. It felt endless; endless but ending too fast to catch, and it stunned me.

When I wasn’t working, I’d skip out with a sketchbook and my 50p analogue camera to watch this small post-apocalyptic world pass, where nothing else seemed to matter. It was escapism. But this hedonism felt forced and feigned and commercialised. Perhaps I’m too picky a skeptic to take the festival at its glistering surface; my fingers were too blistered with the scent of crushed garlic from food prep and my eyes too tired to be much delighted. The people I’d seen dancing sometimes seemed the same, a sea of girls in torn denim shorts, hair braided with beads, and men in shades and second-hand shirts holding their waists, grinning. But there was something about this togetherness, cross legged around the stone circle, lounging in hammocks, singing, that was more beautiful than anything I’d encountered before. Then, this company, wild, had felt like everything.

I’d loved this presence of others, loved the din. Yes, Glastonbury is more than music.

Glastonbury, ABBA and the Politically Engaged Youth: An Interview with Declan McKenna

The night before I meet Declan McKenna, I am flicking through the music channels on television and spot ‘Wish You Were at Glasto’ on MTV Rocks, a programme of various music videos from artists scheduled to appear at 2017’s Worthy Farm iconic festival. Among tracks from the likes of Radiohead, London Grammar and Kaiser Chiefs, is ‘Brazil’, one of many politically-fuelled numbers from rising indie rocker Declan McKenna, who at this point was preparing to wrap up his week-long Glastonbury warm-up tour ahead of his third appearance at the festival, despite being just eighteen years old.

Fast forward 24 hours, and McKenna and I sit tucked away on a squashy sofa next to a mini fridge packed with Red Stripe, in a dressing room at Cardiff’s Clwb Ifor Bach, having just ended his soundcheck, which I was lucky enough to catch the end of. With his performance on the John Peel stage now less than a day away, I ask if he’s nervous and whether it feels like heading back to his roots, following his break onto the music scene by winning Glastonbury Festival’s Emerging Talent Competition in 2015.

“We feel in a really good place with the set we’re going to play. It’s a fun place, y’know? It’s a great time. It’s not somewhere I’d call home necessarily but it’s definitely somewhere I’m very fond of, and somewhere where I’ve had some great (and not so great) experiences, but it’s a great place to explore, enjoy yourself and let loose a bit. I love Glastonbury.” Any signs of nerves are well hidden, as I move on to ask whether he gets star struck at Glastonbury.

“I think I would get star-struck, but there’s a small number of people who would do that. I do have a tendency to talk shit generally, but I think it sort of multiplies when I meet someone. You’ve just gotta go for it in whatever aspect of life it is.” he admits, laughing. As for who he’s most looking forward to watch on the weekend, “Justice is my main one. That’s going to be awesome. Maggie Rogers is another one. I really want to see Dizzee Rascal, Radiohead, The Flaming Lips, but there’s so much music going on, I’m just going to see as much as possible really.”

I’d recommend to anyone who can possibly get James Ford to produce their album

Some of McKenna’s other stops this summer include performances at Latitude, Lollapalooza, Reading and Leeds, of which he says “growing up around London, it’s the festival spot, so I’m very much looking forward to that”. However, perhaps the biggest event of his summer will be the release of his debut album in a month, What Do You Think About the Car?.

“We’re just in the process of getting everything done for the release, signing CD sleeves and all of that. I’m glad to be getting to a point of just putting it out in the world and having people listen to it and know the songs.” The album is produced by James Ford, who has worked with Arctic Monkeys, Florence + the Machine, Haim and Depeche Mode – was it an obvious or personal choice to work with him?

“Kind of, it wasn’t a case of ‘who do you want to produce your album?’ ‘JAMES FORD!’, but I’d seen some of the people he’d been working with, he’d done the last Foals album, so I sent over my demos and he was into them. It was really a no-brainer for me, I’ve liked a lot of the stuff he’s worked on, so it was really exciting to have such a talented producer interesting in what I’m doing. I had a great time with him, he’s a great guy – I’d recommend to anyone who can possibly get James Ford to produce their album!” he quips.

As he prepares for his debut release, I turn his attention to albums which have recently been released and ask what he’s currently listening to. “I’m really excited for the Arcade Fire album, and there’s this guy Okudaxij who I was showed to by Will Joseph Cook and said it was the best thing he’d heard in ages. I think he produced it in two days, it’s really basic recording and it’s just amazing.” Aside from current passions, I question who McKenna takes influence from musically.

I think it shows in my music, there’s a lot of different influences which come together

“A lot of influence comes from new wave and indie, but before that there was a lot of pop. Green Day, Busted, Westlife, anyone like that. Then indie and that sort of scene came about, and that’s what made me want to be in a band, to some extent. I got into it quite young because my brothers are a bit older than me and they were into The Mystery Jets, Foals and those sort of bands, and it’s just gone from there. I’d say nowadays my biggest influences are David Bowie, Jeff Buckley or ABBA – they’re a big one for me. There’s a lot really. I think it shows in my music, there’s a lot of different influences which come together – some songs sound like one influence, some like others, but I’ve just made the songs I’ve wanted to make and just had a lot of fun.”

Besides musical influences, I comment on the political tone and possible thematic inspirations which are weaved into McKenna’s songs, such as LGBT issues and politics, and ask if this was a conscious effort or if it just happened to come about.

“It just kind of comes about. I think it’s always been part of my writing, just observing the world and finding something to write about, but also finding something I care about, and whilst it’s not searching for it particularly, with the internet there’s so much out there it’s hard to ignore. So yeah, more and more becoming interested in the world, the way the world works and who it works for, as well. I think that’s big part of what I write about, who the world works for and wanting it to work for everyone. I don’t think there’s a theme necessarily to the lyrical content of the album, but if there was one, it would be that, as well as just general confusion. A lot of the songs are based around questions, and the title is a question.” I take a second to use this opportunity to ask where the album’s title originates from.

“It’s from a home video from when I was four years old. We’d just got a new car, the car my parents still have, and my sister turns the camera on and says to me, ‘Dec, what do you think about the car? Do you like it?’ and I say, ‘it’s really good, and now I’m gonna start singing my album’, and I just started to sing something, so we sampled that at the beginning of the album, and it’s just always stuck. It’s almost something which will throw people off, because you’re almost asking what they think about the album, but you ask about the car. I kind of like the idea of throwing people off.” He explains, laughing.

Thinking back to what McKenna mentioned about the internet regarding the last year in global politics, does he think artists should use their influence on social media platforms? “To an extent, yes. Where it can be done, I think it should be done. I think there are a lot more artists now who have seen they can make a difference. One of the biggest differences was the recent general election, with the result closer than it was expected to be, because of our generation, and scenes we’re promoting such as grime, which promote young people being involved. It’s good for people to use their influences, but at the same time, there’s a time and a place.”

“I constantly have this political thing over my shoulder, with people labelling me as a political singer, which is true to an extent, but it’s also just observing the world around me. When we go through tragedies or hard times, I think at least in the immediate aftermath we should just try and be positive, and if there’s going to be politics, it should come after, because I really disagree with a lot of kneejerk politics.”

I think it’s always been part of my writing, just observing the world

Having touched lightly about his labelling as a political singer, I comment on his music videos which have messages worn through about various topics and are unique and stand-alone in the themes they cover in the spectrum of his music. McKenna explains often his video ideas fall through, and that “especially in the last two videos, it’s often about finding a director who is able to convey my ideas,” something he feels he does badly. “I’ve told director Taz (Tron Delix) the basis for my ideas and he just went wild with them. That’s what we’ve done with a lot of the videos, we’ll talk about the ideas and themes I want to convey and we’ll have quite a different director each time, who’ll put it in their own way. I like the idea especially as there’s no one theme to the record, the music videos can all be very different projects which show different things from different perspectives.”

One video which does this particularly well is ‘The Kids Don’t Wanna Come Home’, which features the song and a diverse mix of young people and their hopes and concerns for their futures. Were they people McKenna knew and asked to be involved?

“A lot of them were, it’s funny, some of the people I knew on the shoot, I didn’t even realise had gone and been casted. A group of the people were my friends, but it’s meant to be a big group of young people from all around London really. I liked the idea of having a music video that didn’t have much of a narrative, but was more of an opportunity to get young people to have their say on the world. I could do that and not put it in the music video but people wouldn’t watch it. I guess the point of the video was to show that there are a lot of young people with views on the world who we should be listening to more.”

“With myself you can kind of get heralded as this incredible young person who talks about politics, so I wanted to show that we’re all doing it,” he explains with modest honesty, laughing. “I think that’s the point of ‘The Kids Don’t Wanna Come Home’, there’s a young generation who are scared and confused and have been thrown into a completely new world which no one has had before, who want to do something about it and change that.” I agree, noting the stance of the majority of the youth election result and how young people have strong attitudes to change and progress.

there’s a young generation who are scared and confused and have been thrown into a completely new world which no one has had before

“Absolutely. It’s whether the world around them chooses to let them know that they can actually change the world, because everyone wants to, but if you don’t think your vote is going to count or aren’t told you should go out and vote or that the parties are different, then you’re going to feel disenfranchised from the political elite, which I have, which a lot of my friends have. That’s the problem, it’s not that young people are lazy, the young people who don’t vote don’t know why they should vote, or who they should vote for.”

As we reach the end of the interview, I take a moment to think about the maturity and simplistic wisdom of McKenna’s views from someone who has been old enough to vote for less than twelve months. This maturity spreads further than his views on the state of the world and the people in it, as he thanks me for the questions as I thank him for his time and wish him the best for his future tours and album release. An hour later, I watch his energetic performance and crowdsurfing attempt over other members of his generation, equally as passionate as the young man who they sing along with, and can’t help but feel just as hopeful that there will one day be a society in which these people are listened to and believed in.

Declan McKenna’s debut album, What Do You Think About the Car? is out July 21st.

The Exeposé Music Festival Guide – Summer 2016

It’s that exciting time of year again. But how to decide? Flick through our handily chronological list and see what tickles your fancy.

ISLE OF WIGHT

June 9th-12th

Newport, Isle of Wight

£195

Line-up: The Who, Queen + Adam Lambert, Stereophonics, Faithless

Isle of Wight is fast becoming the rock festival that Glastonbury once longed to be. Flaunting one of the richest and most exciting histories of the UK festival circuit. The “Dad-rock” sympathisers will no doubt be delighted once more, with the line-up boasting nostalgia headline slots from Queen and The Who, and while few remain convinced at Adam Lambert’s impersonations of Freddie Mercury, the UK’s greatest rock festival returns with a big statement of intent.

FIELD DAY

June 11th-12th

Victoria Park, East London

£94

Line-up: James Blake, PJ Harvey, Skepta, John Grant

This hipster gathering in the heart of London’s Victoria Park has grown and grown since its inception in 2007, this year totes a bill including the nuanced electronic synths of James Blake, urethral tones of alternative icon PJ Harvey and grounded rhymes of grime reviver Skepta. Celebrating its 10th anniversary this year, Field day is the home of the cutting edge and critically acclaimed. The festival for music lovers put together by those that know their stuff.

GLASTONBURY

June 22nd-26th

Worthy Farm, Somerset

£228

Adele, Muse, Coldplay, Foals, Beck

Pilton’s biggest party returns for its 46th year this June, with 175,000 punters descending on the sleepy Somerset farm to see some of the biggest artists in the world perform. Muse, Coldplay and Adele top this year’s festival, with other notable acts such as Foals, New Order, LCD Soundsystem and Skepta also set to play. The festival also features dance, comedy, theatre, circus and other performing arts, with tickets selling out (as usual) within hours of going on sale back in October.

BLISSFIELDS

July 1st-2nd

Vicarage Farm, Winchester

£95

Line-up: Dizzee Rascal, Everything Everything, Shy FX

Compensating for the middle class drudgery that comes with a

farm setting near Winchester, Blissfields pushes the boat out in theming and spectacle. A “House Party” theme may seem contrived but with pre-constructed slumber parties and retro living room discos with art design by the award-winning Matt Canning, Blissfields isn’t doing thing by half, and massive hot-tub parties are a nice touch too. Dizzee Rascal and Everything Everything are the perfect headliners; perfectly representing it’s colour and vibrancy, and veterans Beans on Toast and Dub Pistols will provide character in bucketfuls.

T IN THE PARK

July 8th-10th

Strathallan Castle, Kinross

£205

Line-up: The Stone Roses, Red Hot Chili Peppers, Calvin Harris, Bastille

Ardent festival-goer, first timer or just in search of a good weekend, T in the Park accepts all and is a stalwart of the summer’s festival season. Widely regarded as the ‘Scottish Glastonbury’, this year’s T in the Park boasts an eclectic bill ranging from festival heavyweights of the calibre of Red Hot Chili Peppers and Calvin Harris to Spanish guitar maestros Rodrigo y Gabriela and more. The perfect place for a weekend of hedonism, so long as the ospreys don’t interfere again.

LATITUDE

July 14th-17th

Henham Park, Suffolk

£205.50

Line-up: New Order, The National, The Maccabees

Family-friendly Latitude Festival boasts one of the best – if not THE best – festival line-up this year. A glorious collection of artists that released critically acclaimed albums in the past few years (Grimes, Father John Misty, Perfume Genius, Courtney Barnett) and staple indie favourites (Of Monsters and Men, The Lumineers, The Maccabees), the Latitude line-up is a thing of tear-jerking beauty – this year’s Mona Lisa of festival posters. And headliners The National and New Order are not just examples of good bookings, they’re genius ones too.

LOVEBOX

July 15th-16th

Victoria Park, London

£93.50

Line Up: LCD Soundsytem, Major Lazer, Jungle

LCD Soundsystem. If those two words don’t fill you with glee then there’s probably no hope for you, but worry not – Lovebox has a hell of a lot more to offer. From juggernauts like Run The Jewels, Major Lazer, and George goddamn Clinton to up-and-comers like Denzel Curry and Hannah Wants, this festival has a lot to offer. Elsewhere, there’s the usual premium fast food that seem to be a legal requirement for London festivals, and specially curated experiences like slacklining or rollerdisco. This ticket is absolutely a summer essential.

WILDERNESS

August 4th-7th

Cornbury Park, Oxfordshire

£164

Line-up: The Flaming Lips, Robert Plant, Crystal Fighters

Embrace a bohemian lifestyle of music, food, philosophical debates and art in a landscape that is wholeheartedly hobbit-worthy. With music from Robert Plant, Crystal Fighters, Glass Animals and Matt Corby, Wilderness’s line-ups are improving with every passing year. When you can wake up with the sun and swim in a lake to start your day, followed by boating, yoga, physical theatre, long table banquets or yurt-building… it’s clear that Wilder- ness stands above the rest as more than just a music festival.

DOWN TO THE WOODS

August 13th-14th

Hardwick Hall, Durham

£99

Line-up: Chase and Status, Primal Scream, Catfish and the Bottlemen

Relatively unheard of in the larger festival circuit, Down to the Woods is making a name for itself in the relatively quiet (and Exeter-detested) part of the North East. But it’s totally reasonable to put aside your palatin-hate for old school gems such as Primal Scream and Echo and the Bunnymen alongside Chase and Status and Catfish and the Bottlemen. Don’t be fooled by the rustic whimsy of the “Foxes’ Folly” stage or the “Badger’s Den”, you can also engage in “glamping” with tents big and cosy enough to safely swing a a cat. What more could you want?

GREEN MAN

August 18th-21st

Brecon Beacons, Wales

£175

Line-up: Belle & Sebastian, James Blake, Wild Beasts, Warpaint, Laura Marling

For those looking for a slice of wilderness this summer, where better than Green Man? Set within the natural beauty of the Brecon Beacons, the festival offers a variety of music, comedy and beyond. Boasting headline acts such as James Blake and Laura Marling, alongside Ezra Furman, Gengahr and Edward Sharpe and the Magnetic Zeros (to name but a few), a range of magical, creative, relaxed areas like the Walled Garden and the incredible Chai Wallah’s, Green Man has it all.

READING & LEEDS

August 26th-28th

Richfield Avenue, Reading

& Bramham Park, Leeds

£213

Line-up: Red Hot Chilli Peppers, Foals, Disclosure, Biffy Clyro

Reading & Leeds is the only secondary school rite of passage that includes seeing the most popular new artists as well as those who have been iPod staples since the days when you bought music. Although fundamentally a ‘rock festival’, this year sees grime collective BBK on the main stage as well as the mysteriously titled “co-headliners” Biffy Clyro/Fall Out Boy, Disclosure/Foals and the return of the Red Hot Chili Peppers. Bring bucket hats, hand sanitizer and roach card.

BESTIVAL

September 8th-11th

Robin Hill Country Park, Isle of Wight

£190

Line-up: The Cure, Major Lazer, Fatboy Slim, Hot Chip

A perfect end to the festival season, Bestival is an event that is always a hit with fans. Although relatively new, it already boasts some of the biggest names in music on it’s CV, and this year is no different. From The Cure to Fatboy Slim, there is always a great selection of genres, stages and activities to keep the colourful crowd on their feet. This years theme of ‘The Future’ is already proving popular, with costumes in previous years ranging from the bizarre to the spectacular. One thing’s for sure, Rob Da Bank knows how to throw a great party.

ONBLACKHEATH

September 10th-11th

Blackheath, London

£107

Line-up: Primal Scream, Belle & Sebastian, Hot Chip

Sponsored by John Lewis and based in one of the most middle- class areas of South London, OnBlackheath is surprisingly student friendly. The line-up appeals across the ages, with bands like SOAK performing next to Squeeze, making it a festival both you and your parents could enjoy. Having had an impressive opening year with Frank Turner as their headliner, it has only improved, and two years on, it’s firmly cementing itself as one of the major London music festivals with a surprisingly impressive list of artists making their way south of the river.

“Might as well face it I’m addicted to Chung”

Alexa Chung is a girl after my own heart. She likes clothes. She baked cakes on GBBO. She travels and she knows the importance of good grammar.

As an English student, through and through, I’ll admit, I have one or two grammar gripes. As Alexa said, “I don’t like it when people don’t know the difference between ‘their’, ‘they’re’, ‘there’”, and I couldn’t agree more (I also feel she’s playing it down. Grammar grippers go beyond “not liking”). It’s a frustrating habit that left younger me in moral dilemmas over ordering from a menu titled “desert” rather than “dessert” and has resulted in my defacing of several bathroom posters. I like to call this productive graffiti, my little legacy to future generations in the hope that please, please, please can we iron out our grammar creases?!

Anyway, grammar to one side (but not neglected – fear not Alexa), I’m pretty sure Alexa and I could be BFFs. Alexa’s style is simply out of this world. The lengths I would go to get a look inside this girl’s wardrobe are arguably extreme and when I saw she was gracing Elle this month, I knew she was going to have to feature in Exepose too!

Alexa Chung is both a trend-setter and a quirky re-aligner of said trends. Whatever “it” is in the fashion world, she’s got it, she flaunts it, and my God, does she work it! Whilst drop dead stunning and an amaaaazing model, it’s actually Alexa’s everyday outfits that give me major style envy and day-to-day style inspiration.

Screen Shot 2015-11-26 at 11.14.13 — Photo Credit: @chungalexa via Instagram

Her preppy style calls on cute collars, dainty dungarees and lovely loafers, and she manages it all without looking like a 4 year old. Alexa described her style as conveying her “inability to grow up” and I couldn’t agree more…if age is just a number, then why on earth would we let it dictate what we can and cannot wear? There’s immense value in a playsuit/dungarees/pinafore: it’s a complete outfit in and of itself. Therefore, totally justifiable use of the student loan, right?

She’s a fan of high necklines and knows the value of a warm jumper. She does both floral and sequins seamlessly and she knows a blazer is a girl’s best friend. She’s a fan of spotty tights – my latest go-to. Red lipstick features regularly, as do Breton stripes and trench coats – timeless classics. And I’m still in search of anyone who can rival Alexa’s effortless transition from city chic to festival fashion – no one does Glasto quite like Chung! From little black dress, to denim dress, biker jacket, to Barbour, to fur coat, Alexa, brilliant bob and all has it to a T. She’s practical and glamorous. Down to Earth and, in the fashion world, soaring. She’s quirky, and she knows it. She’s drop dead gorgeous and she wears it so, so well!

Noel Fielding summed it up in one when he said, “Nobody wants a real job anymore. Everyone wants to be Alexa Chung.”

Two things:

I’m prepared to be flexible here, if I can’t “be” her then please let me go shopping with her…
Noel, are you implying being Alexa Chung isn’t a “real job”. Let’s get this straight, no one simply rolls out of bed looking quite that good, day in, day out…and if they do, they’re a god!

Album Review: Florence and the Machine – How Big, How Blue, How Beautiful

Following a successful replacement headline slot at Glastonbury, Lauren Edwards reviews Florence and the Machine’s summer offering, How Big, How Blue, How Beautiful.

“It’s definitely big. It’s definitely beautiful.”

Florence and the Machine
How Big, How Blue, How Beautiful
Island Records, 1 June 2015

[dropcap size=small]T[/dropcap]he Queen of soulful melodies is back. Indie Rock band Florence and The Machine hits it up with a new album of pure brilliance. This brilliance of How big, How blue, How beautiful doesn’t just lie in the magic of Florence’s vocals but the heart breaking stories behind each individual song.

The bewitching lyrics of love and heartbreak is the only connection these songs have with one another. How big, How blue, How beautiful has a familiar Florence softness, but the dynamic fight with emotions tells the songs through melodies in a way we’ve never heard from her before.

The mix of instrumental styles give off a vibe of different eras – the opening of ‘Third Eye’ sounds like the beginning of a 50s pop song whilst ‘Various Storms and Saints’ sounds like The Cranberries in the 90s. The stir of attitudes in the harmonies add a truthful feeling that give a sense of what Florence is going through, ‘What Kind of Man’ is a prime example of frustration and it’s all absolute genius. It’s definitely big. It’s definitely beautiful.

Forget Adele’s 21, if there’s ever been a most powerful break up album then this wins, hands down. Sit down, head phones on, full volume and Florence’s voice feels like it’s talking directly to you in an attempt to pierce straight through your soul. Her hurt echoes in ‘St Jude’ where her voice is eerie but bloody gorgeous. Yes, it may be depressing, but aren’t all love songs?

At Florence’s expense the whole world has an incredible break up album to listen to. Her way of handling it is to produce eleven songs to make you feel empowered. Flo’s earlier albums have showcased her unbelievable talent as a singer by demonstrating scales that are, for anybody, a cause for envy. Lungs understandably as a debut album was too varied to show what they were capable of doing, while the repetitive high scale of Ceremonials could be a bit overwhelming.

In this case, put creative song writing alongside an incredible voice and it creates an album of perfect balance. Without a doubt their best yet.

Lauren Edwards

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Album Review: Courtney Barnett – Sometimes I Sit and Think, and Sometimes I Just Sit

Sam Jennings checks out the debut studio release from pensive Australian indie rocker Courtney Barnett, Sometimes I Sit and Think, and Sometimes I Just Sit, following a successful day at Glastonbury.

“Barnett muses upon the benefits of mowing the lawn.”

Courtney Barnett
Sometimes I Sit and Think, and Sometimes I Just Sit
Mom + Pop Music, 20 March 2015

[dropcap size=small]T[/dropcap]here is a highly explorative element to Courtney Barnett’s debut album Sometimes I Sit and Think, and Sometimes I Just Sit. It feels as though the Sydney-born singer-songwriter is just as curious as we are about what sounds she can make. Each song seems to show a completely different side to Barnett’s song writing ability with her conversational lyrics one of the few underlying themes.

At worst, it leads to a slightly disjointed feeling for the album. At best, it demonstrates just how versatile Barnett can be. As only a good artist can, Barnett wrings out simple absurdities from the most mundane everyday observations. This is clear from the very start, where, in ‘Elevator Operator’, she tells us a story with an Australian twang of ‘Oliver Paul, 20 years old/ Thick head of hair, worries he’s going bald’ who ends up being mistaken for a suicide case as he daydreams on a roof about Sim City and life as an elevator operator.

The opener is rooted in a classic slacker-esque set-up with loose guitar, and in just a few lines, Barnett manages to capture the average anxieties and routines of everyday life. The very nature of the album is anecdotal, and there is little that Barnett is unwilling to consider lyrically: from searching for a house to buy in ‘Depreston’, to healthy eating and roadkill in ‘Dead Fox’. There is a tangible humour to these songs, and each story is delivered in an idiosyncratic and deadpan way, a kind of neurotic mumbling, which, on occasion, has a Velvet Underground tinge to it.

The third and fourth tracks noticeably slow down the album after the more indie-punk style opening, allowing both the guitarists (Barnett and Luscombe) and us to relax a little and find room to breathe. Small Poppies, the last song before the tone changes again for ‘Depreston’, is a highlight of the album. It has a bluesy, grunge feel to it with gliding guitar work and a steady, laidback drumbeat, whilst Barnett muses upon the benefits of mowing the lawn. That said, she does not always reach that same calibre of brilliance some of her other songs promise.

As the album progresses, it begins to tail off a little, leading to a couple of rather generic tracks before it picks up again in Kim’s Caravan, an atmospheric seven minute long track that experiments with a lethargic bass, light electric guitar work and pattering cymbals. That is not to say that the previous songs Nobody Really Cares If You Don’t Go to the Party and Debbie Downer are without merit, only they seem to fill a generic Barnett-print, perhaps relying too much on a rock vibe without any solid foundation or musical concept to ‘rock’ from. All in all, though, Barnett has worked to produce an incredibly diverse album, more polished than her earlier EP work, yet still, save a couple of exceptions, capturing that essence of freshness. Despite Barnett’s warnings in Pedestrian at Best, where she yells ‘Put me on a pedestal, and I’ll only disappoint you,’ I, for one, am willing to risk it and sing her praises, just to see what else she may come up with before I am disappointed.

Sam Jennings

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Glastonbury 2015: Five acts that rocked Worthy Farm

James Beeson, Editor, gives his run down of the five acts that impressed him at this year’s Glastonbury Festival

1) The Libertines – Friday 26th June, 8:20pm, The Pyramid Stage

With Dave Grohl deciding to take a tumble in Gothenburg, Florence and the Machine were given their chance to shine on the biggest stage of them all. However, Miss Welch and co. were ultimately outshone by their own replacements second from top on the bill on Friday night. From a musical perspective, The Libertines aren’t all that impressive; they are rusty, out of sync and a little lost on the vast expanse of the Pyramid stage. Nonetheless, the sheer buzz surrounding the vacant slot on the bill, the wild rumours and the surprise when the curtains fell to reveal Carl, Pete, John and Gary made for a magical moment that will live long in Glastonbury folklore.

Rattling through a 70 minute set at a frenetic pace, The Libertines delight the huge crowd with hits such as ‘What A Waster’, ‘Don’t Look Back Into the Sun’ and ‘Boys In The Band’ as well as highly promising new material from their upcoming album; ‘You’re My Waterloo’ being a personal highlight. Frontmen Carl Barat and Pete Doherty appear to have patched up their differences, but the utterly chaotic and volatile nature of the band’s performances remains firmly intact. The Libertines may not have been the most polished, or even the most talented act of the weekend, but they sure as hell were one of the most fun.

2) The Maccabees – Saturday 27th June, 7:05pm, The Other Stage

Prior to their arrival on stage, my enthusiasm to see London 5 piece The Maccabees was somewhat luke-warm, having previously seen and been underwhelmed by the band. Fast forward an hour or so, however, and my opinion is somewhat different. The Maccabees are tight, energetic and above all else humble, with lead singer Orlando Weeks constantly thanking the audience for their support. As well as playing hits such as ‘Precious Time’ and ‘Pelican’, which they dedicated to the onlooking Florence Welch, The band play rare fan favourite ‘Latchmere’ and invite their friend and ‘hero’ Jamie T onstage for new song ‘Marks To Prove It.’

The Maccabees perhaps sometimes fail to get the recognition they deserve due to their inoffensive and charming nature, both musically and as a band. However, on the back of this performance, they are a band that has the ability to go all the way to the top, and should be treated as such.

3) La Roux – Saturday 27th June, 9:05pm, John Peel Stage

Energy, style and hits; Three things electronic synth act La Roux have in abundance. Elly Jackson and her band absolutely blitz the John Peel Stage on Saturday night, playing large swathes of material from her highly impressive second album Trouble in Paradise. Famous hits such as ‘In For the Kill’ and ‘Bulletproof’

draw the largest cheers from the audience, but it is the new material, with songs such as the infectiously charming ‘Kiss and Not Tell.’ and 80 funk inspired ‘Uptown Downtown’ which are the most memorable of the set. La Roux strut their stuff on the John Peel stage with confidence and panache, refusing to be deterred by some of the audience (foolishly) leaving early to catch Kanye on the Pyramid stage.

Since her split with producer Ben Langmaid, Jackson appears to have only gotten better, and with two critically acclaimed albums already under her belt, it wouldn’t be a surprise to see La Roux headlining the Other Stage or high up on the Pyramid sometime in the near future.

4) Fat White Family – Sunday 28th June, 4:30pm, The Park Stage

I knew little about Fat White Family prior to their set at The Park on Sunday afternoon, and only went on the recommendation of a friend who knows one of the band members. I had been told they were ‘quite heavy’ and hence had braced myself for a wall of impenetrable noise. However, what I discovered was something far more sophisticated and intense than many ‘conservative’ British indie rock bands. With elements of the likes of Fidlar and Howler, and songs about oral sex and pedophilia, Fat White Family are certainly not your average two step indie pop band.

The band make little attempt to converse with the audience throughout their set, and lead singer Lias Saoudi is far from your stereotypical sexy rockstar, greasy and bedraggled, dressed in ripped jeans and flashing his pubes whenever the opportunity arises, it is easy to be disgusted by Fat White Family. Nevertheless, there is a strange beauty about their dark material. ‘Is It Raining In Your Mouth’ provokes a stonking reaction from the audience, who paw furiously at Saoudi as he approaches them. Fat White Family might not be everyone’s cup of tea, but they certainly far exceeded my own expectations with a thoroughly enjoyable mid-afternoon set.

5) Jamie T – Sunday 28th June, 8:15pm, The Other Stage

Okay, so I’ll admit, I was absolutely desperate to see Jamie T before Glastonbury, having missed the Wimbledon based troubadour when he headlined the John Peel tent at my first festival in 2010. Nevertheless, this, if anything, only raised my expectations before the 29-year-old singer/songwriter took to The Other Stage as the sun began to set on the final day of the festival. I’m pleased to report that Treays did not disappoint in the slightest.

Glastonbury-Jamie-T-20150628-Emma-Swann-15 — Image credit: DIYmag

Swaggering onto the stage and displaying none of the anxiety previously attributed to the artist in the past, Treays plays a mixture of old favourites such as ‘368’ and ‘If You Got the Money’ and new tracks such as ‘Rabbit Hole’ and ‘Don’t You Find’, all of which are received gloriously by the adulating crowd. He even takes a swipe at Saturday’s headliner, “I don’t think anyone at this festival is gonna look as nervous as Kanye West did on that crane,” before declaring Florence and the Machine’s headline performance as the greatest “of all time.” Treays basks in the glorious sunshine and laps up the plaudits, before closing his set with ‘Sticks & Stones’ and ‘Zombie’, which generate a mass mosh pit and near ecstasy amongst the crowd. Jamie T; it’s good to have you back.

James Beeson, Editor

Whooping Gough: on abandoning all sense of self, foot shaming and mounting Florence

11650838_10153021770433403_763503071_n — Photo Credit: Edwin Yeung

It’s exciting isn’t it; being something you’re not. Enough of this “love the skin you’re in”, “you’re worth it”, “mm Danone” crap. It’s time to bend your entire perception of self to a conceptual stereotype, depending on your location. I just did so and would highly recommend.

Coming from the sleepy “northern” (to most of you reading this but not to general UK population) town of Stafford and otherwise residing in serene old Exeter, two weeks of work experience in London was a wake up call. I was waking up to an actual rush hour; where space was tight, people were sweaty and I was rude.

Fake it until you make it, they say. Well I didn’t just fake it, I became it.

Intent on avoiding all eye contact while simultaneously determined to absorb as much surplus information as possible, I became one of them. I started to read the newspaper standing up. Four stops on the Jubilee line and I was already better informed than I had been with the first tap of my Oyster. What’s more, not only had I reflected upon Greek’s impending economic collapse, I’d also managed to devour a croissant. Nothing says good morning like a croissant and a collapse.

Despite not getting paid for the work I was doing, I wanted to feign professionalism so much that I even used the left hand side of the escalator. I told myself that I must hurry, that I must be in the office for 9 and that if I wasn’t there for 9 the office was likely to collapse, explode, spontaneously combust – delete as appropriate. I knew it was a lie and that I was fooling no one other than my sweet innocent self. But whatever, the rush was a rush.

Outside of the working day, I had spontaneous cocktails, went for impromptu dance lessons and even stood on someone’s foot without apologising. Was I a city bitch? Yes, a hopelessly naïve excuse for one. One day I ate a salad for lunch (I know, this is not the Sarah you know and endure) and then went round for what must have been a good three hours with lettuce protruding from my canine. Here was a lesson I learnt the hard way: when you’re let loose in the big city alone, no one tells you when you’ve got shit in your teeth.

Didn’t Karl Marx or Yeezus say something like “adapt or die”. Well here I am, still living. Sense of self is fluid: you can become a pretentious knob in no time, just look at me. And it’s fun, very fun in fact. But like most fun things in life, it was completely and depressingly unsustainable. It wasn’t long before I came crashing back to the reality that is my bank account. London, we had something great but now one must be careful that one’s frivolous frolicking doesn’t end up becoming…fraud.

***

Foot shaming. It’s not a new phenomena (the Daily Mail ran a FRONT PAGE this year criticising celebrities and their so-called ‘monster feet’) but I fell victim to it last week when in Schuh. When in Rome, you do as the Romans do, but when in Schuh, you scream at a staff member.

All I wanted were some travelling trainers, okay. Something light, something comfy, something ‘trendy’ (isn’t it funny that when using that word you immediately become the absolute antithesis). It wasn’t a hard task, especially when I saw these funky Puma ones. I wanted the funky Puma ones. I say to staff member: “may I try on funky Puma trainers please sir, dem r sum sik crepes bled” (told you I’d adjusted to London lifestyle). “What size would you like madam?” he asks with an archaic charm. I initially liked Schuh staff member, I did not want to hate Schuh staff member. But this is when a relatively simple question for him became episodically embarrassing for me. “An eight please”, I respond confidently. Kate Winslet has size nines, everything’s fine, I’m normal… ish. “Oh I’m sorry”, Schuh staff member says, with little-to-no remorse, “we only stock Puma up to size six.”

Silence. Staring. I attempt to fathom a response. Schuh staff member shuffles awkwardly. I then whisper (shout) a polite (aggressive) “WHY?!”. Only up to a SIZE SIX?! Considering Puma base their branding on a LARGE CAT, the SECOND HEAVIEST in the world – one that, I’m sure, does not totter around with a PETITE PAW – and considering the average female foot size IS now a size six, it is utterly ridiculous that they do not cater to anyone with LONG TOES. What if Kate Winslet wanted Puma trainers hm? Kate would be disappointed wouldn’t she, if she could not purchase her desired Puma trainer. You don’t want to frustrate Kate. She’s pretty cold-blooded, I mean, she said she wouldn’t let go … Anyway.

I’m now impassioned to put my fat feminist foot down. (It’s not actually fat, just long, I have fairly narrow arches). In an open letter to the powers that be: Puma, your puny shoes are pathetic. Start catering to the massive, not just the masses or Schuh staff members may receive severe facial lacerations. Luckily for you, this time Schuh staff member remained unharmed (he sold me some Adidas).

***

I write this ahead of Glastonbury glee. I’m a festival virgin fully prepared to pop the cherry – the only things packed so far are gin and a wig. Ah, youth. Don’t ask me why but I have quite a large urge to mount Florence. Not sexually, but for some sort of piggyback ride. Preferably on the Pyramid stage. A Pyramid piggyback, now wouldn’t that be instagram gold?! Updates to follow.

Sarah Gough, Print Editor

Review: Isle of Wight Festival 2015

Isle of Wight Festival 2015, the new Glastonbury?

In 1970, an excess of 600,000 people surrounded Afton Down, after the declaration that, given its commercial incapacity, the Isle of Wight Festival would be free. Hills were climbed, fences broken down, and authorities denounced by a new age of revolution and human spirit. But like parents silencing a party, the Isle of Wight County Council Act was in place by 1971, inadvertently lauding 1970’s edition of the festival with the reputation of “the last great event”.

Jethro Tull, The Who, The Doors and Jimi Hendrix headlined this particular chapter of the festival’s history, before its 32-year hiatus. For Hendrix, it was to be his last performance before his death some 18 days later. On the 45-year anniversary since one of music’s biggest happenings, there seemed to be a huge effort from festival organisers to remember, pay tribute to and rival its predecessor, featuring and delivering on a line-up that must now surely put Isle of Wight as a very, very close musical alternative to the prowess of Glastonbury.

THURSDAY

Arriving early on the Thursday, the main stage (renamed Electric Church in honour of Hendrix) was closed off, allowing for exploration of the smaller and new stages, alongside the comprehensive line-up of late 70s/ early 80s talents to play the Big Top tent. From UB40’s Ali Campbell and Billy Idol to Geno Washington & the Ram Jam Band.

Campbell in particular got the crowd – packed far outside the tent – skanking to hits like ‘Red Red Wine’ and ‘Kingston Town’, whereas Idol performed with such energy that he blew the vocal mic halfway through ‘Rebel Yell’, and was left in comic anger, screaming into a soundsystem, with little being heard other than his overinflated ego. He cleverly used the technical problems as an excuse for an encore, where an electric performance of ‘White Wedding’ picked up his fans and – thankfully – his leather jacket, once more.

Then came room for exploration, which included dinner on a renovated old green bus, before heading to the new Strongbow Tree stage for upcoming London DJ Izzy Trixx. The walk back to the campsite that night was colourful itself, past other new stages Hipshaker and Electro Love blaring out Booker T and the MGs before being struck dead by the immense noise from the Hard Rock Stage, which was transformed from its predictable daytime ‘hard rock’ tendencies into a haven of old-time electro/synth-pop with DJ Rusty Egan, the drummer of former new wave outfit Rich Kids. Friday’s action didn’t kick off until 4pm, and the Thursday night vibes were contagious.

FRIDAY

When Friday eventually began, it was with an immense statement of things to come, both for the Derbyshire quartet The Struts and the festival. Their set was crammed with ‘those songs that you know but don’t know where from’, all executed with the charismatic mod-like energy of Luke Spiller, reminding of a camper Freddie Mercury. This energy was seduced, and broken, by Irish four-piece Kodaline, whose heartbroken lyrics were enough to sadden the most excitable dogs (see music video for ‘All I Want’). Next up was a return to the island for 90s rock icons Counting Crows, with a wonderfully diverse set from rock to ska to folk, including an emotional performance of ‘Colourblind’ (famed from the film Cruel Intentions) followed by ‘Mr Jones’, where “all of the beautiful colours,” gesturing to the growing crowds, “are very meaningful.”

Leaving the main stage for a while – preferring the prospect of tired feet and wasted money on fairground rides to even a small chance of seeing You Me At Six – we stumbled across part of an Australian family, the Germein Sisters, taking the Hard Rock Stage. Comprising a guitar, a drumkit and a cello, the trio saw arguably the biggest crowd that stage received over the weekend. Delivering an infectious blend of folk rock, with a lead singer whose voice cracks mid-note (harking back to The Cranberries), the trio’s only shortcoming in their UK debut was the chat between songs, reliant on clichéd “this one’s for if you’re a dreamer” or “for all the hard times”.

As the Germein Sisters left the stage, so did the weather climate confused by their Aussie accents, with torrential rain severely diminishing crowds for Friday night headliners The Black Keys, though ‘Lonely Boy’ and an acoustic ending of ‘Little Black Submarine’ inspired life into the drench masses, who opened perfectly for The Prodigy. Meanwhile, a set from the Hey Joe tent covered Mungo Jerry’s ‘Summertime’ and The Kinks’ ‘Sunny Afternoon’. It was funny. Predictably, the Big Top Tent saw a lot of action once more, providing great music and, more importantly, a roof. A great set from Visconti (producer/ bassist) & Woodmansey (drummer) of David Bowie’s band, performed the entirety of Bowie’s seminal album, The Man Who Sold The World. What the performance had in musical vigour was unfortunately contrasted by the comparatively lacklustre nature to Bowie’s iconic frontmanship. All faith was restored, however, when Suzanne Vega and Gerry Leonard came out to collaborate on the title track, for what proved a very successful opening night to their tour.

SATURDAY

Saturday started with emerging country two-piece Ward Thomas, as comical as it was impressive (including an ode to a town called Ugly). Then to another small stage called the Bohemian Woods, equipped for the brilliantly unusual “Cirque de la Quirk”, where the rhythmic charm of London quintet Keo & the Movement felt very continental. The centrepiece for the day was the festival’s work with Wellchild, for a Guinness World Record attempt of the most number of people wearing the same (Hendrix) mask in one place at the Main Stage.

The attempt was followed by the upcoming singer-songwriter James Bay, a definite crowd favourite, though not helped by basslines that could have, and did have, ‘Hold Back The River’ sung over every one. Then came Jessie Ware, whose stunning voice and audience interaction reminded strongly of a young Otis Redding.

The performances with real verve and liveliness didn’t stop from then on; first with James, opening with ‘Sit Down’, displaying an amazing showmanship, a Heisenberg appearance and dance moves that looked like a crab being electrocuted, before hurling himself into the crowd, surfing his way through ‘Come Home’. From veterans to newbies, the Big Top tent saw Foxes bounding across the stage with a mental crowd for ‘Let Go For Tonight’.

One of the festival’s overall highlights was an electric set by Pharrell Williams, an artist managed by the festival’s curator John Giddings. Giddings considers him a rock band, not a hip hop artist, and his set was testament to that belief, running around the stage, sampling old jazz standards and screaming out his songs so it was hard to forget just how revolutionary his music has been to the last five years of mainstream… Even during a controversial performance of ‘Blurred Lines’ (not condoned by Exeter’s Students’ Guild).

Finally on to the headliners for that night, Blur. God had taken his longest shower the night before, but the lack of rain cascading its way down from heaven put the audience in an audibly excited mood for the pioneers of Britpop. Their set began with a childish xylophone medley over the PA systems, playing ‘Greensleeves’ and the ‘Teddy Bear’s Picnic’, and then an hour and a half passed with their only hit played being ‘Tender’. ‘Parklife’ and ‘Song 2’ were the reasons the bulk of the crowd were there, and when they were eventually played, they weren’t. Damon Albarn’s hyperactive bounding energy for the most part transcended the mass feedback and occasional boredom during their set, which received a highly marmite treatment.

SUNDAY

The final day in Newport started with emerging Manchester outfit The Rainband, with a guitarist who was a former band mate of Peter Hook in Monaco (Joy Division, New Order). A sometimes heartfelt set, it lacked the energy of its “recommended by Liam Gallagher” label, although a final moment of water-bottle-throwing anarchy to end their set, missed the audience and hit the vocal mic, which plummeted into the pit almost knocking out the cameraman, to a backdrop of a very worried and cautious looking Rainband.

One of 1970’s headliners, Jethro Tull’s Ian Anderson, then played to a considerable crowd with wit and experience, playing new material he warned was suitable for those needing a lavatory break, and Bach’s ‘Bourée’ as another tribute to Hendrix. A ten minute recital of ‘Aqualung’ secured the dancing flautist as an act that was definitely not past his time. Rockabilly blues musician Imelda May offered an amazing ‘great to be alive’ spirit, with catchy double bass and trumpet solos making an impressive testimony for the state of Irish music.

A set by Manchester’s Courteeners was endured, while the festival’s atmosphere ashamedly fell in and out of being mistaken for Reading. At a festival headlined by Blur and Fleetwood Mac, it’s hard to judge bands in any other form than on legacy, and the Courteeners’ harmless array of indie pop will struggle to have one. The mood was recovered with back-to-back sets from Swedish sisters First Aid Kit and Scottish songwriter Paolo Nutini. Starting with ‘Lion’s Roar’ from their debut album, First Aid Kit lilted their way through a stunning tribute to Alabama country icon Emmylou Harris, ending with her song ‘Red Dirt Girl’. Nutini then introduced a band of eight-strong musicians alongside him, through a humbling set, sampling Charlie Chaplin’s speech from The Great Dictator: “You, the people, have the power to make this life free and beautiful”.

Paolo Nutini implored everyone to enjoy the legends. The legends were thence led out – fashionably late – by drummer Mick Fleetwood, following a week of cancelled shows due to illness in Birmingham and Manchester. Fleetwood Mac seemed to have a new life in them, from obvious delight and camaraderie at Christine McVie’s return. Starting with the thumping drumbeat of ‘The Chain’, the quintet went on to play hits from Rumours ‘You Make Loving Fun’ and ‘Gold Dust Woman’, alongside a thrilling rendition of ‘Rhiannon’ and a solo escapade for Lindsey Buckingham’s ‘Never Going Back Again’. I have never seen a version of that song sung with such defiance. Buckingham throughout was determined – it seemed – not to be forgotten. Meditating on change through Tango in the Night and encoring ‘Don’t Stop’, while Stevie Nicks’ voice has lost its tone, and all have aged, Fleetwood Mac are still one of the best bands to have graced this earth.

Michael Eavis sits down with his dairy produce, the year is 2016 and he has just attempted to sign Fleetwood Mac for the tenth successive Glastonbury. His butter and his cheese are of the highest quality, but sighing quietly to himself, says, “Kasabian again this year, lads”. Somewhere in the distance, the Isle of Wight Festival edges ever closer towards regaining its status as Britain’s best rock festival.

The only question that remains is, what can John Giddings and his friends at the Isle of Wight Festival possibly do to top this?

Tristan Gatward, Online Music Editor

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