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   <title>Festival Fever</title>
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   <id>tag:festivalfever.seatwaveblogs.com,2008://57</id>
   <updated>2008-07-25T12:34:38Z</updated>
   <subtitle>Fasten those wrist bands... it&apos;s festival time</subtitle>
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<entry>
   <title>REVIEW: Lovebox Day Two</title>
   <link rel="alternate" type="text/html" href="http://festivalfever.seatwaveblogs.com/2008/07/review_lovebox_day_two.php" />
   <id>tag:festivalfever.seatwaveblogs.com,2008://57.2909</id>
   
   <published>2008-07-25T12:25:55Z</published>
   <updated>2008-07-25T12:34:38Z</updated>
   
   <summary>Lovebox Weekender Day 2: Sunday 20th July 2008 Review by Katie Spain I arrive late. By the time my colleague and I drag our glitter-encrusted corpses to Victoria Park Sunday is well under way. We miss Esser and I kick...</summary>
   <author>
      <name>Seatwave</name>
      
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      <![CDATA[<img alt="love_use.jpg" src="http://festivalfever.seatwaveblogs.com/love_use.jpg" width="200" height="200" /><strong>Lovebox Weekender
Day 2: Sunday 20th July 2008

Review by Katie Spain</strong>

I arrive late. By the time my colleague and I drag our glitter-encrusted corpses to Victoria Park Sunday is well under way. We miss Esser and I kick myself firmly in the shins for it. After his storming performance at Transgressive Records’ Cross Kings event last week, I wanted to see if the Londoner plays as well under the sun as he does in kitsch North London venues. 

Nevertheless, the afternoon vibe at Victoria Park is a good one. The party antics from the day before ensured that some revellers didn’t make it past their duvet. This means the crowd has thinned out enough for yesterday’s twenty-five minute bar wait to be more of a “Wham-bam-thank you Mojito man” experience. The sun is out, the porta loos are clean(ish) and it’s easy enough to meander close to the main stage. Thank the small-person Lord above for the clear view of the day’s acts.

Our meeting spot is below the ferris wheel. It’s tempting to plonk ourselves down and for awhile we do just that. After catching the tail end of Frenchman Sebastien Tellier’s set, the view of Seun Kuti & Egypt 80 is an uninterrupted one. His set was a hot tip from a colleague and after seeing his legendary dad Fela Kuti play at Adelaide’s Womad Festival, I couldn’t miss it. Sure, I was thirteen at the time, but old enough to know a Nigerian master of sound when I heard it. Seun certainly comes from a mighty fine gene pool; not only does he have a glistening torso to die for, he’s sickeningly talented and has a sense of rhythm most Caucasian men dream of. He now leads his father’s former band Egypt 80 and first played with the band when he was nine years old. It’s a relationship that goes back a long way and the Lovebox crowd is honoured to be part of it. By the time the sound reaches us, the quality isn’t top-notch and I vow to see him in a more intimate setting.
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      <![CDATA[We move only to re-fill our Mojitos as Roni Size is next on-stage. Again, the sound comes between us and a good set so we enter the throng at the front of the stage. It’s as dusty as central Australia in here but as the beats take hold, there’s only one thing for it; close the eyes and dance.

When you’ve chosen a ferris wheel as a meeting point it’s only a matter of time before someone suggests a ride. The view from the top is mind-blowing and as Jack Penate fires up on the main stage below, we watch the tiny figures dance. Jack certainly doesn’t lack energy and crowd favorites ‘Have I Been A Fool’, ‘Second, Minute or Hour’ and ‘Torn On The Platform’ get our ferris wheel enclosure rockin’. I can imagine the headstone now: “Death by Penate”. It’d be a good way to go.

Liam Finn is not an artist I’m willing to miss. I saw him headline the night Essser played in Kings Cross and both he and his stage-companion blew my multi-colored socks off. The Aussie in me wants to claim him as our own; Liam was born in Australia but lived most of his life in New Zealand. Music is in his blood and the Antipodeans amongst you may recognize the name. Split Enz and Crowded House band member Neil Finn is indeed his dad. Today Finn fills the Clash Tent with an avalanche of sound. The crowd spills out onto the grass and fans strain to see the tiny bearded musician weave his audio magic. Liam plays most of the instruments the album ‘I’ll Be Lighting’ himself, and live is no exception. He is accompanied by the alluring Eliza-Jane and when new single ‘Second Chance’ hits our ears it’s a Sunday highlight. Expect big things from this miniature Ned Kelly lookalike.

<img alt="love2.jpg" src="http://festivalfever.seatwaveblogs.com/love2.jpg" width="200" height="200" />The balloons and body heat emanating from the Stockade dance area prove too alluring to resist and we find ourselves caught up in a tree-topped dance-athon. People are smiling, Monday morning is the furthest thing from the punter’s minds and children, adults and the odd nanna or two mingle with ease. This is a well organized, diverse and completely safe environment to be in. Most London fests verge on mass advertising overloads (you know who you are) but Lovebox has a refreshing emphasis on the music. It sounds simple but it’s a mark many competitors fall short of.   

A quick squiz at Aussie outfit Pnau brings on patriotic pangs but they’re short lived because Goldfrapp is due on stage. Arms outstretched we watch Alison shake her blonde tail-feather. Her get-ups are stranger each time I see her (today she looks like Big Bird’s feathered pink wife).  It’s a sensory overload and one that’s bore me in a standard venue. Today however, the sun, fresh air and company suits the band’s soaring set. They’re a marmite band; you love or hate them. The Flaming Lips share a similar situation; either you get them or you don’t. I don’t and after being vaguely amused by some streamers, dancing superheroes and gigantic frontman encasing bubbles, I’m bored and pass the rest of the evening with a brief fling with The Go! Team and their bouncing fans and a hell of a lot of time amongst the dancing masses in the Stockade.

It was a special day and one that organisers should be proud of. All 40,000 revellers at the sold-out festival would surely agree.


<strong>Related links:</strong>
<a href="http://www.loveboxweekender.com">Lovebox Festival's official site.</a>
<a href="http://www.seatwave.com/lovebox-weekender-tickets/season">Buy Lovebox Weekender tickets.</a>
<a href="http://www.seatwave.com/festival-tickets/category">Buy festival tickets.</a>
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   </content>
</entry>

<entry>
   <title>REVIEW: Lovebox Day One</title>
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   <id>tag:festivalfever.seatwaveblogs.com,2008://57.2908</id>
   
   <published>2008-07-25T11:06:49Z</published>
   <updated>2008-07-25T11:17:19Z</updated>
   
   <summary>Lovebox Weekender Day One: Saturday 19th July 2008 Review by Missy Boomsticks After years of trying, I never quite made it to Lovebox. Year after year I vowed to sort out my social life far enough ahead to: a) Book...</summary>
   <author>
      <name>Seatwave</name>
      
   </author>
   
   
   <content type="html" xml:lang="en" xml:base="http://festivalfever.seatwaveblogs.com/">
      <![CDATA[<img alt="logo%283%29.jpg" src="http://festivalfever.seatwaveblogs.com/logo%283%29.jpg" width="200" height="200" /><strong>Lovebox Weekender
Day One: Saturday 19th July 2008

Review by Missy Boomsticks</strong>

After years of trying, I never quite made it to Lovebox. Year after year I vowed to sort out my social life far enough ahead to: 

a) Book tickets and 
b) Make sure my mates did the same.

This year, I didn’t bother checking to see whether my eclectic music-loving pals had the Lovebox date in their diary. Instead, I vowed to see as much music as possible. It didn’t take long to realise that planned or not, you’ll always run into someone you know. I’ll put it down to size; the festival is small enough to meander leisurely and there’s ample grass area for perching and people watching. One could even sit beneath the ferris wheel and watch main acts enchant the masses. 

Saturday’s line-up was never going to disappoint and kicked off with Danish Popsters Alphabeat. They annoy the living hell out of me and are are bouncier than a litter of puppies but I’m told that and pint-sized frontwoman Stine led the band into a fittingly happy opening main-stage act. 

The Amnesty International Stage revealed some gems throughout the day. Maybe it was the effect of the Firefly solar power; never underestimate the sun me hearties. Boy, did the punters get a good dose of it on day one. Josh Weller, as always was a delight. His gravity defying hair, eclectic dress sense and feel good ditties is tonic for the stressed city dweller. He can pile the love in my box any day. 
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      <![CDATA[
Los Angeles band Dengue Fever injected some foreign delights into proceedings with their Cambodian Pop and Pyschadelic Rock and New Zealand Reggae and Funk band The Black Seeds upped the party stakes with a myriad of instruments. Other gems were found in the Gaymers Great Escape section of the festival site. Satin Peaches kicked things off with frontman George Morris as enchanting as ever. The first time I saw this band I likened him to the lovechild of Ozzie Osbourne and Eddie Vedder and I stick by that statement. Their crisp Detroit spun sounds hit the Lovebox spot head on. 

And then there was the main stage. Ladyhwake is top of my ipod playlist right now and there’s a good reason behind it. This New Zealender was raised in the 80s and she’s not afraid to show it. She plays over ten instruments and has a catchy as f*** album due out in September. Tunes such as ‘Paris Is Burning’ and ‘Back Of The Van’ made this the pick of the bunch for me. Of course, you can’t take the limelight away from The Human League and festival the force behind the festival; Groove Armada. One crowd member told me the sound is “Below par on quality” for most acts but “Those guys get the goods”. After seeing them at Glastonbury, disappointment just wasn’t an option. It was a solid performance and they were the only band on Saturday that properly used the screens, fireworks and all.

Manu Chao finished off proceedings with a set that made everyone dance like A-class fuelled party animals. Despite the sniffer dogs, a decent fraction of the crowd most certainly was.Meanwhile, the rest of the Lovebox punters found themselves fuelled by the Manu-effect. Lots of fun and bundles of energy. That, dear festival goers sums up day one of Lovebox in a nutshell.

<strong>Related links:</strong>
Lovebox Festival's official site.
Buy festival tickets.
http://www.loveboxweekender.com
http://www.seatwave.com/lovebox-weekender-tickets/season
http://www.seatwave.com/festival-tickets/category

]]>
   </content>
</entry>

<entry>
   <title>REVIEW: 2000 Trees Festival</title>
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   <id>tag:festivalfever.seatwaveblogs.com,2008://57.2900</id>
   
   <published>2008-07-23T11:56:24Z</published>
   <updated>2008-07-23T14:28:05Z</updated>
   
   <summary>2000 Trees Festival, 2008 Review by Cheryl Jacobs THE FESTIVAL IN A NUTSHELL Friend making potential: As it’s a smaller festival-bonding is more likely, especially when crammed into the intimate Leaf Lounge Tent. Target audience in attendance: Very mixed crowd....</summary>
   <author>
      <name>Seatwave</name>
      
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      <category term="2000 Trees" scheme="http://www.sixapart.com/ns/types#category" />
   
   
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      <![CDATA[<img alt="green2.jpg" src="http://festivalfever.seatwaveblogs.com/green2.jpg" width="208" height="165" /><strong>2000 Trees Festival, 2008
Review by Cheryl Jacobs

THE FESTIVAL IN A NUTSHELL</strong>

<strong>Friend making potential:</strong>
As it’s a smaller festival-bonding is more likely, especially when crammed into the intimate Leaf Lounge Tent.
	
<strong>Target audience in attendance:	</strong>
Very mixed crowd. Some families. Average age group =25-30. On appearance, seemed to be less ethnic diversities than ,would, say get at a renowned festival like Glastonbury. Probably attracts lots of locals.
	
<strong>Quality of the food:	</strong>
Mixed. The crepes were nice, and there was also a great range of smoothies and juices to be purchased. There was an emphasis on healthy eating. My friend had chick pea curry-thought that was a nice festival food alternative. She liked that v.much. Fast food such as chips and greasy stir frys were to a pretty average standard.
	]]>
      <![CDATA[<strong>Celebrities spotted:	</strong>
2000 Trees wasn’t a posey festival. It’s the type of event for people really into their music, and who want to discover tomorrow’s next big thing. I didn’t spot one single Z-list celeb. Art Brut’s lead singer Eddie Argos mingled with the festival crowd before taking to the stage.
	
<strong>VIP blagging opportunities: </strong>	
None! A lot of the performers mingled in with the crowds, so was no real need to try and sneak backstage. 
	
<strong>Line-up for beer:</strong>	
The q’s for alcohol were ok. There were two different tents selling booze, which lessened the load. Food q’s were busy throughout the day. My friend queued at a burger van for over half hour. 
	
<strong>Weirdest thing you saw:</strong>	
Nothing abnormally weird, just some very eccentric people. There was a guy dressed in a bright, floral jacket, tight pants, and a sign on his bum reading ‘DANGER-KEEP OUT’. Quite a few fellas dressed up as women. Lots of people in funny headwear. One lady had made a hat out of straw thatch (and looked like she’d tried to create a small thatched roof on her head).  


<strong>AND WE SAID THANK YOU FOR THE MUSIC</strong>
	 
<strong>Highlights:	</strong>

Headline act Art Brut were amazing. Due to the damp weather conditions, there were problems with sound equipment, eventually leading to a very delayed stage time. However, sensing audience anxiousness, lead singer Eddie came on the stage and started performing juggling, inviting the audience to chuck fruit and bottles at him so he’d have props to throw up in the air. For a guy those music has been feted by the likes of NME, Spin, and Rolling Stone, it was refreshing to see him connect so easily with his audience, even without a musical smokescreen. 

Art Brut’s set was a delight from start to finish. Eddie’s dry wit, and speaky singing style (think Jarvis Cocker) won’t be to everyone’s taste, but they were one of a select few bands, who were able to generate a genuine atmosphere and sense of fun within the tiny festival. 

In a more general sense, it was great to see some bright new stars shine. Particularly good were The Blisters (a London based pop/indie band-slightly Beatles-esque), who played the Leaf Lounge tent. Their set was pretty intimate, and got a great reception. Imperial Leisure- a ska/reggae line-up with a Madness style vibe going on, were also crowd pleasers, and generated some much needed energy amongst festival goers, who, if were anything like me, felt the day start to drag around 2pm.
 	  	 
<strong>Lowlights:	</strong>
I found These New Puritians very disappointing. Like Art Brut they also experienced some sound problems. However, no excuse for a sulky and arrogant performance. They looked disengaged from their audience throughout.

Another feted band by the likes of Observer Music Monthly and NME, I expected better things. I hope they put a bit more effort and pizzazz into the set they perform at next week’s Benicassim festival in Valencia.

All round, the festival could’ve done with just one more big name act. Some of the unsigned indie bands were a bit run of the mill, and hard to get excited about.


<strong>Related links:</strong>
<a href="http://www.twothousandtreesfestival.co.uk">2000 Trees official site.</a>
<a href="http://www.seatwave.com/festival-tickets/category">Festival tickets.</a>]]>
   </content>
</entry>

<entry>
   <title>REVIEW: Rise Festival</title>
   <link rel="alternate" type="text/html" href="http://festivalfever.seatwaveblogs.com/2008/07/review_rise_festival.php" />
   <id>tag:festivalfever.seatwaveblogs.com,2008://57.2873</id>
   
   <published>2008-07-15T15:53:08Z</published>
   <updated>2008-07-15T16:06:10Z</updated>
   
   <summary>Rise Festival Finsbury Park, London 13th July 2008 Review by Katie Spain You’ll have to excuse the vantage point from which I’m forced to deliver my Rise Festival review. You see, I’m small. Very small. It makes gigs difficult to...</summary>
   <author>
      <name>Seatwave</name>
      
   </author>
   
      <category term="Rise" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://festivalfever.seatwaveblogs.com/">
      <![CDATA[<img alt="liana-800x600.jpg" src="http://festivalfever.seatwaveblogs.com/liana-800x600.jpg" width="200" height="150" /><strong>Rise Festival
Finsbury Park, London 
13th July 2008

Review by Katie Spain</strong>

You’ll have to excuse the vantage point from which I’m forced to deliver my Rise Festival review. You see, I’m small. Very small. It makes gigs difficult to see, especially when the crowd is a big one. If I’m going to be truthful (and I plan to), it’s also because I didn’t move much during the day long 'rise against racism' day of entertainment at Finsbury Park.

Laziness wasn’t to blame; a body weak from food poisoning was. When you’ve spent the last two days heaving up your vital organs, the last thing you want to do is clomp around a festival ground and risk a jerk-chicken portaloo explosion. So, it was with reservations (not many), I plonked down on a picnic rug and didn’t move for the rest of the day. Unlike 2007, the sun beat down on us and the view to the main Rise stage was dotted with happy, smiling faces.
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      <![CDATA[The half-hearted bag searches on the way in targeted weapons more than anything else, and after London’s recent burst of knife crime, you can hardly blame them. The booze and weed however, seemed to make the cut and the punters guzzled and puffed as they released some inner city stress. Events like these highlight the cultural mecca of sights, sounds and people that make London so unique. Hey, it’s what kept me here.

On to the music. 

Over 100,000 Londoners found themselves treated with music from around the world. Indie, hip-hop, soul, rock and world music hugged our eardrums and the likes of Kitty, Daisy and Lewis, Jimmy Cliff, The Aliens, Ty, Trojan Sound System and Bassekou Kouyate reminded us that music really does soothe the soul. It was however, the beatboxing that stole the outdoor show. When Beardyman did his own version of internal organ regurgitation he blew the crowd away. The masses stopped talking and watched in awe as he burst forth with beats, lyrics, sound effects and cover versions of tunes by Amy Winehouse, Kanye and even Ken Livingstone. Screw DJs, God was a beatboxer.

CSS were much anticipated and although Lovefoxx looked sparkly and sported her trademark jumpsuit, poor sound let them down. Sharon Jones and The Dap Kings were high up on our list but the sound died before it hit us and we didn’t feel the impact of Sharon Jones’ amazing voice. 

For most, it wasn’t an issue; the background beats made it easier to talk to new friends. Getting home was harder than scaling Everest and a few extremely rude local women squashed our positive, people loving feeling. Later, as we sat in a highly pretentious, Indie-poser-packed Camden Lock Tavern, we couldn’t help but wish we were back on the grass with the diverse crowd at Rise. Since when do Indie people scorn you for dressing differently? Somewhere along the line, things have gone horribly wrong. For the rest of us, there’s always Rise.

<strong>Related links:</strong>
<a href="http://www.london.gov.uk/rise/">Rise Festival's official site.</a>
<a href="http://www.seatwave.com">All UK and international festival tickets.</a>]]>
   </content>
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<entry>
   <title>REVIEW: T in the Park</title>
   <link rel="alternate" type="text/html" href="http://festivalfever.seatwaveblogs.com/2008/07/review_t_in_the_park.php" />
   <id>tag:festivalfever.seatwaveblogs.com,2008://57.2872</id>
   
   <published>2008-07-15T14:26:32Z</published>
   <updated>2008-07-15T14:32:59Z</updated>
   
   <summary>Top 10 T In The Park Moments By Tim Kernutt 1. Amy Winehouse performs... Only Amy Winehouse can get a crowd excited by the mere act of turning up. Yet so common is it for Ms Winehouse to cancel shows...</summary>
   <author>
      <name>Seatwave</name>
      
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      <category term="T in the Park" scheme="http://www.sixapart.com/ns/types#category" />
   
   
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      <![CDATA[<strong>Top 10 T In The Park Moments</strong>

<strong>By Tim Kernutt</strong>
 
<strong>1.  Amy Winehouse performs...</strong>
 
Only Amy Winehouse can get a crowd excited by the mere act of turning up.  Yet so common is it for Ms Winehouse to cancel shows due to "Exhaustion", that fans often expect a no-show from her.  Her performance was catchy, talented and kooky - testament to the fact that she is famous for a reason.
 
<strong>2.  The Bitter Sweet Verve</strong>
 
Richard Ashcroft of the Verve is no stranger to success, however it appears he is still a stranger to modesty.  Before doing a stirring rendition of "Bitter Sweet Symphony", Mr Ashcroft asked fans the rhetorical question of whether they knew what it was like to write a classic song.  It's a good thing he knows what its like, I guess.
 ]]>
      <![CDATA[<strong>3.  Eddy Grant Renaissance</strong>
 
Eddy Grant confirmed his current revival with a smattering of old hits amid new releases.  Mr Grant is a 60 year old on a mission.
 
<strong>4.  Powderfinger Bring the Weather</strong>
 
The boys from Brisbane get more rock-focused by the year, which we can all be grateful for.  One of the better sets of the festival, and on a sunny afternoon too.
 
<strong>5.  Prodigy Pack a Punch</strong>
 
The mad dance-rockers brought the festival to a stand-still.  The performance of "Breath" was enough to take your breath away.  
 
<strong>6.  The Kaiser Chiefs Cause A Storm</strong>
 
No band gets a crowd more excited than the Kaiser Chiefs, and this proved to be the case once again.
 
<strong>7.  Buffalo Burgers Are the Business   </strong>
 
The buffalo burger stand in the gourmet food area did a roaring trade for a good reason.  Try one at the next festival you attend. 
 
<strong>8.  The Chemical Brothers</strong>
 
One of the most intense light shows on the planet, and some classic tunes to boot.
 
<strong>9.  The Crowd Revolt Against the System</strong>
 
The 80,000 strong crowd did everyone proud in an attempt to ignore the overly-vigilant security and festival bureaucracy, with the ticketing system being an absolute sham.  Could it be that T In The Park's success has gone to its head?
 
<strong>10.  REM Close</strong>
 
How apt that one of the most successful bands of recent times close off one of the biggest festivals in the United Kingdom.  

<strong>Related links:</strong>
<a href="http://www.seatwave.com/t-in-the-park-tickets/season">T in the Park tickets.</a>
<a href="http://www.seatwave.com/t-in-the-park-tickets/season">All festival tickets.</a>
]]>
   </content>
</entry>

<entry>
   <title>REVIEW: Zoo Thousand and Eight</title>
   <link rel="alternate" type="text/html" href="http://festivalfever.seatwaveblogs.com/2008/07/review_zoo_thousand_and_eight.php" />
   <id>tag:festivalfever.seatwaveblogs.com,2008://57.2871</id>
   
   <published>2008-07-15T11:05:56Z</published>
   <updated>2008-07-15T13:34:08Z</updated>
   
   <summary> Zoo Thousand and Eight 4th - 6th July Review by Andy Hirst The organisers of the Zoothousand festival really pulled out all the stops this time; their band selection was nothing short of inspired; a varied and intriguing mix...</summary>
   <author>
      <name>Seatwave</name>
      
   </author>
   
      <category term="Music" scheme="http://www.sixapart.com/ns/types#category" />
   
   <category term="1960" label="Zoo Thousand and Eight" scheme="http://www.sixapart.com/ns/types#tag" />
   
   <content type="html" xml:lang="en" xml:base="http://festivalfever.seatwaveblogs.com/">
      <![CDATA[<img alt="zoo8.jpg" src="http://festivalfever.seatwaveblogs.com/zoo8.jpg" width="200" height="151" />

<strong>Zoo Thousand and Eight</strong> 
<strong>4th - 6th July</strong>

<strong>Review by Andy Hirst</strong>

The organisers of the Zoothousand festival really pulled out all the stops this time; their band selection was nothing short of inspired; a varied and intriguing mix of quality acts spread across 3 days in the beautiful Kent countryside. The mere thought of seeing Dizzee Rascal, Wiley and Gallows at the same festival was reason enough for me to lust eagerly at the festival program and the prospect of attending.  The fact that I had not heard of this festival through the normal avenues of advertising did not perturb me - perhaps I was not reading the right magazines or looking at the correct websites, a criticism I frequently fall foul of, yet a line-up like that was bound to pull a good crowd whether they were the fashionable presses intended demographic or not.
In addition to the expertly selected line-up, the organisers had even managed to challenge the infinite wisdom of the Met office; wind and rain had been rashly forecasted for the duration of the weekend yet when Friday arrived the weather, though not blistering hot, was certainly far more pleasant than we had been led to believe. Surely the weekend was all marked out to be one of the best festivals of the summer?!
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      <![CDATA[A short answer to this question would be an emphatic ‘No!’  however short answers do not tend to suffice as far as reviews go, and moreover I will take great pleasure in explaining the numerous ineptitudes that turned one of the most promising weekends of the summer into little more than a poorly organised village fete. 

Whilst I credited the organisers with impeccable taste in their booking policy, it must be said that just about anyone with an interest in music could come up with a dream line-up if you confine yourself to the realms of pure fiction. What the promoters seem to have overlooked on this occasion is that in addition to creating the line up you actually have to get the bands to turn up, a fact made rather difficult if you fail to pay the bands you have booked.

Despite the lack of some of the big name bands the atmosphere remained suitably positive, much to the credit of the crowd; a festival isn’t all about the headline artists, there is plenty to be said for discovering a new band on a small stage or giving bands you wouldn’t normally consider buying tickets to see a second chance and with such a big hole in the line-up there was certainly opportunity to carry out this voyage of festival discovery. I must admit to being pleasantly surprised by a few of bands I stumbled across; The Mexican Foolz, were rather entertaining and Hadouken, a band I had previously discounted provided an energetic and crowd rousing afternoon performance on the Saturday. Unfortunately even these brief moments of musical discovery were tainted by the negative elements that were becoming rapidly more dominant; Hadoukens lead singer was on a tirade against the festival organisers and the fact they hadn’t paid them, and any band playing on any stage besides the main stage were likely to have found a bigger audience in the local pub.

To make matters worse the Tap ‘n Tin Stage, the location for some of the big names still left on the bill, was rendered structurally unsound for all but the very end of Saturday evening, and whilst some of the bands were rescheduled to perform elsewhere, for many of the acts the altered location was the VIP stage which was off limits to anyone who didn’t have the appropriate wrist band, providing a further slap in the face to the majority of dejected festival goers.

The atmosphere of the festival suffered profusely as a direct response to all of these unscheduled and uninformed changes. With the crowd barely pushing half capacity the sparseness of bodies had already sapped much of the festival spirit from the arena and when fans turned up to see the bands whose presence on the line-up had been a contributing factor to their decision to buy tickets, only to find an empty tent with a scrap of paper informing them in a very vague and less than helpful manner  that the bands were elsewhere (a fact that was all too apparent anyway for anyone with eyes and ears) the feeling was understandably downbeat. Had there been some kind of steward to point people towards the altered locations or even a poster listing the acts, times and stages, people would at least have had some kind of idea of what was going on however most of the information that could be derived came from overheard conversations in the crowd or from bands venting their frustrations about the organisers in a less than understanding fashion. 

The festival organisers have officially apologised for all of the shortcomings the festival encountered blaming it on cash flow problems, however there was far more to be found lacking in the organisation of the festival than the lack of money and so I would be very surprised to see Zoothousand advertised for 2009 even if I do manage to align my reading habits in the correct direction.

<strong>Related Links</strong>
<a href="http://www.seatwave.com/festival-tickets/category">Buy Festival tickets</a>
<a href="http://www.seatwave.com/competitions/reading-festival-2008">Win two tickets to Reading Festival</a> 



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   </content>
</entry>

<entry>
   <title>REVIEW: The Mighty Boosh Festival</title>
   <link rel="alternate" type="text/html" href="http://festivalfever.seatwaveblogs.com/2008/07/review_the_mighty_boosh_festiv.php" />
   <id>tag:festivalfever.seatwaveblogs.com,2008://57.2834</id>
   
   <published>2008-07-08T10:42:21Z</published>
   <updated>2008-07-08T10:54:56Z</updated>
   
   <summary>Jamie Hince fancies the crowd at The Mighty Boosh Festival. Hop Farm 5th July 2008 By Zarina Raja The Mighty Boosh Festival, an event showcasing a variety of comedy and music, took place on Saturday 5th July at the Hop...</summary>
   <author>
      <name>Seatwave</name>
      
   </author>
   
      <category term="The Mighty Boosh" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://festivalfever.seatwaveblogs.com/">
      <![CDATA[<img alt="jamie_hince.gif" src="http://festivalfever.seatwaveblogs.com/jamie_hince.gif" width="200" height="165" /><strong>Jamie Hince fancies the crowd at The Mighty Boosh Festival.

Hop Farm
5th July 2008

By Zarina Raja</strong>

The Mighty Boosh Festival, an event showcasing a variety of comedy and music, took place on Saturday 5th July at the Hop Farm in Kent.

Along with the sun came hundreds of Boosh fanatics, many of whom were dressed as characters from the hit BBC series. 

Throughout the day, Boosh fans saw the likes of Gary Numan, White Denim, Polar Bear, Robots in Disguise, The Kills, Jarvis Cocker, Har Mar Superstar, Peaches and The Charlatans, take to the main stage.
]]>
      <![CDATA[Rich Fulcher, otherwise known as the irrepressible Bob Fossil in The Mighty Boosh, entertained the audience between performances. Dressed as a fetching woman he threw in some slap dash comedy and a handful of smutty jokes. 

The crowd, a mixture of families, teenagers and twenty-somethings, thoroughly enjoying the whole day and Fulcher’s cheeky witticisms.

The Mighty Boosh boys, Noel Fielding and Julian Barratt, headlined the one-day festival with a medley of their own songs from the TV series, including Isolation, Nanageddon, Eels, Space Pirates and The Funk Song.

<img alt="robots_boosh.jpg" src="http://festivalfever.seatwaveblogs.com/robots_boosh.jpg" width="200" height="165" />Dee Plume of Robots in Disguise, and girlfriend of Noel Fielding, said it was:

“A family festival. It’s a bit like a soap opera, all our friends are here and we’ve been dancing with our niece and nephews.”

Alison Mosshart of The Kills said of their performance:

“I liked the gig a lot. It was way too sunny though, next time, let’s do it in the dark.”

Jamie Hince of The Kills and boyfriend of Kate Moss said:

‘The sun was in my face; I couldn’t really see anyone. There were a couple I fancied in the crowd though…’


<strong>Related links:</strong>
<a href="http://www.seatwave.com/the-mighty-boosh-tickets/season">The Mighty Boosh tour tickets.</a>
<a href="http://www.seatwave.com/the-kills-tickets/season">The Kills concert tickets.</a>
<a href="http://www.seatwave.com/robots-in-disguise-tickets/season">Robots in Disguise concert tickets.</a>
<a href="http://www.seatwave.com/newsletter">Sign up for the Seatwave newsletter for your chance to win free gig tickets.</a>
<a href="http://backstagepass.seatwaveblogs.com/2008/03/competitions_join_our_facebook.php">Sign up to the Seatwave Facebook group - yep, more free tickets!</a>
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   </content>
</entry>

<entry>
   <title>REVIEW: Wireless Fest, Powderfinger/Counting Crows</title>
   <link rel="alternate" type="text/html" href="http://festivalfever.seatwaveblogs.com/2008/07/review_wireless_fest_powderfin.php" />
   <id>tag:festivalfever.seatwaveblogs.com,2008://57.2832</id>
   
   <published>2008-07-07T15:46:25Z</published>
   <updated>2008-07-07T15:53:54Z</updated>
   
   <summary>Fingering the Counting Crows 02 Wireless Festival Hyde Park Sunday, July 6 2008 Review by Tim Kernutt On a day at the Hyde Park 02 Wireless Festival 2008 in which the Counting Crows was featured as the headline act, it...</summary>
   <author>
      <name>Seatwave</name>
      
   </author>
   
      <category term="02 Wireless" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://festivalfever.seatwaveblogs.com/">
      <![CDATA[<strong>Fingering the Counting Crows
02 Wireless Festival
Hyde Park
Sunday, July 6 2008</strong>

<strong>Review by Tim Kernutt</strong>
 
On a day at the Hyde Park 02 Wireless Festival 2008 in which the Counting Crows was featured as the headline act, it was the Australian band Powderfinger that out-rocked all acts.  On a rainy day in which Ben Harper and the Innocent Criminals, the Goo Goo Dolls, the Delays and Eddy Grant also played, punters may have gone home wet but would have been hard-pressed to be disappointed at the variety of bands on offer.
 
Arguably Powderfinger had the enviable task of following on from the tepid, but crowd-pleasing, Goo Goo Dolls.  Led by lead-singer Bernard Fanning, Powderfinger has now been playing for nearly two decades having been initially formed in 1991. Yet so fresh is the new material from their latest albums, it is almost as if they are a new band. Having had a hiatus in 2005 when band-members decided to temporarily pursue solo interests, Powderfinger came back with a vengeance in 2007 with the release of 'Dream Days at the Hotel Existence'.  Funnily enough, it was probably only the Australian and New Zealand contingent in the crowd (which was actually a significant number) that knew of the band before they entered stage right, however by the end of the performance in which hits such as 'Love Your Way', 'My Kinda Scene', 'Since You've Been Gone', 'Who Really Cares', and 'Baby I've Got You On My Mind' were blasted out across Hyde Park, everyone had the band's name on their lips.  
]]>
      <![CDATA[It came as a surprise not to hear some of the band's older hits such as 'These Days' (from the hit Australian movie 'Two Hands' which starred the late Heath Ledger), however little did it matter especially with Bernard Fanning mixing up his performance with humorous comments to the crowd such as, "It's so nice to be here in the balmy English summer.  You people must really suffer...  with the heat!"
 
Ben Harper and his band the Innocent Criminals immediately followed Powderfinger, and Ben arrived to a cacophony of screaming female friends who were intent on letting him know how much they loved his way.  Although playing a chilled-out set more fitting for a beach-festival than a rock-festival, the crowd were kept entertained with a diverse selection of the band's back catalogue including 'Excuse Me Mr', 'Gold to Me', and 'Steal My Kisses'.  There is no questioning that Ben Harper is one talented guy, and he intersperses his rousing vocals with impressive guitar-playing.  Although now approaching forty years old, Ben Harper shows no signs of losing his passion for performing, which can only be good news for his large fan-base.
 
Counting Crows started off their performance in a mild-panic no doubt induced by the talent that had gone before them, however soon settled in with particularly popular renditions of their hit singles 'Mr Jones' and 'Colourblind', a song featured on the film Cruel Intentions.  Meanwhile, Galactic with Lyrics Born and Boots Riley managed to induce dance-floor fever nearby (on the grass at least) with a fun collection of tunes. 
 
And so the festival drew to a close which perhaps was metaphorically music to the ears of those exhausted fans who had braved going to multiple days to watch a plethora of star-acts ranging from Jay Z to Mark Ronson to Fat-Boy Slim.  How can the festival-organisers possibly top that stellar list next year?!  

 
<strong>Highlights:</strong>

- The sun bursting through the clouds after rain had persistently irritated the crowd for an hour, shining immediately after lead-singer of Powderfinger Bernard Fanning had mentioned Spain.
- The charisma of Ben Harper.
- The Australian pie shop.

<strong>Related links:</strong>
<a href="http://www.seatwave.com">All festival tickets.</a>
<a href="http://www.seatwave.com/newsletter">Sign up for the Seatwave newsletter for your chance to win free gig tickets.</a>
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   </content>
</entry>

<entry>
   <title>REVIEW: Wireless Fest, Fatboy Slim/Underworld</title>
   <link rel="alternate" type="text/html" href="http://festivalfever.seatwaveblogs.com/2008/07/review_wireless_fest_day_three.php" />
   <id>tag:festivalfever.seatwaveblogs.com,2008://57.2830</id>
   
   <published>2008-07-07T15:21:22Z</published>
   <updated>2008-07-07T15:27:06Z</updated>
   
   <summary>02 Wireless Festival Saturday 5th July 2008 Review by Max Hogg For me the defining moment of this festival was the man on his Blackberry. He was dancing along to the end of a surprisingly good set from the terribly...</summary>
   <author>
      <name>Seatwave</name>
      
   </author>
   
      <category term="02 Wireless" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://festivalfever.seatwaveblogs.com/">
      <![CDATA[<strong>02 Wireless Festival
Saturday 5th July 2008

Review by Max Hogg</strong>

For me the defining moment of this festival was the man on his Blackberry. He was dancing along to the end of a surprisingly good set from the terribly named Does It Offend You, Yeah? and simultaneously firing off emails left right and centre. You can imagine the message he might be sending:

“Futures prices on Zimbabwean maize are still far too low. Buy me a million dollars’ worth. Off to see Deadmau5. Keep me abreast of developments.”

Ensnaring your bonus for the year at the same time as signalling your moderately modish music tastes and avant-garde weekend activities to colleagues is undoubtedly fulfilling. But whatever the content of Mr PDA’s emails, the episode neatly summed up a very different festival crowd and atmosphere from those that would lose their wellies on a farm in Somerset or lose themselves under a field of fluorescent butterflies. It left me totally unmoved.
]]>
      <![CDATA[Let’s turn to the music for a minute. It’s almost a given that Fatboy Slim will get a party going wherever he plays. On Saturday night he didn’t disappoint, although I had some sympathy with Gemma next to me who complained that “the crowd aren’t really raving are they?” He didn’t quite seem to connect with the audience in the way he usually does. Maybe it was the enormous branded beach ball that was in the way.

Underworld were the highlight. Specifically Born Slippy. Its an anthem. Hearing it live for the first time rivalled the sight of the PDA-fiddler for the festival’s most memorable moment. It set the tent alight and the roar of appreciation from the audience was fully deserved.

Mstrkrft beforehand were disappointing. They were billed as producing robotic electronica, a billing that was accurate only in the sense that their entirely generic brand of electro was robot-like in it’s lack of flair or ingenuity. But both Cagedbaby and Audio Bullies had brought more excitement earlier in the afternoon, the latter playing to a packed and very sweaty tent. 

All in all, the line up was pretty good, if a bit heavy on the nostalgia. But on almost every other count the O2 wireless festival falls down badly. The food, always expensive at a festival, is both seriously overpriced and pretty tasteless if my chow mein is anything to go by. The queues for beer (naturally branded to the hilt) are monstrous, stretching halfway across the site even before you get to the theme park-style snake-like queuing system within the beer tents.

And you just can’t get away from the branding. It’s everywhere. As we stood waiting for Mr Cook to make his entrance, listening to yet another commercial for some new mobile phone, I came to the realisation that the O2 wireless festival is basically one long advert. When you’ve paid nearly £50 for a ticket that’s a bitter pill to swallow.

It’s an easy target to caricature a Blackberry-owning festival-goer and to complain about the branding. But it’s depressing that at the time when 30,000 Londoners were dancing along to Fat Boy Slim’s party vibe, the organisers behind the far, far better Wild in the Country were dismantling their cancelled festival (supposed to be held on the same day a mere 20 minute train ride from the city) and staring bankruptcy in the face because of a lack of ticket sales. As you can probably tell by now, I’d much prefer to have been at Wild. It seems silly to me that one festival succeeds over another solely (as far as I can tell) because of the marketing machine behind it. As festival-goers we deserve better than this.

The O2 wireless festival is billed as a festival that swaps travel chaos and mud for convenience and the Blackberry Owners’ tent. But in losing the chaos and mud the festival has also lost all semblance of soul or character. It seems the 12 hour advert with musical accompaniment may be the future. Perhaps its time for the ravers to find a party elsewhere.

<strong>Related links:</strong>
<a href="http://www.seatwave.com/festival-tickets/category">Festival tickets.</a>
<a href="http://www.seatwave.com">All artist concert tickets.</a>
<a href="http://www.seatwave.com/newsletter">Sign up for the Seatwave newsletter for your chance to win free gig tickets.</a>
<a href="http://backstagepass.seatwaveblogs.com/2008/03/competitions_join_our_facebook.php">Sign up to the Seatwave Facebook group - yep, more free tickets!</a>]]>
   </content>
</entry>

<entry>
   <title>REVIEW: Wireless Fest, Morrissey</title>
   <link rel="alternate" type="text/html" href="http://festivalfever.seatwaveblogs.com/2008/07/review_wireless_fest_morrissey.php" />
   <id>tag:festivalfever.seatwaveblogs.com,2008://57.2831</id>
   
   <published>2008-07-07T15:15:16Z</published>
   <updated>2008-07-07T15:41:03Z</updated>
   
   <summary>02 Wireless Festival Hyde Park Friday 4th July 2008 Review by Chris Todd The mass of people all arriving at 8.30 meant that Morrissey&apos;s fans decide to wait until he’s due on rather than doing something as crass as watching...</summary>
   <author>
      <name>Seatwave</name>
      
   </author>
   
      <category term="02 Wireless" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://festivalfever.seatwaveblogs.com/">
      <![CDATA[<strong>02 Wireless Festival
Hyde Park
Friday 4th July 2008

Review by Chris Todd</strong>

The mass of people all arriving at 8.30 meant that Morrissey's fans decide to wait until he’s due on rather than doing something as crass as watching The Wombats. Within minutes of his arrival, an empty Hyde Park is awash with thousands of expectant fans. His arrival makes one girl burst into tears as soon as she sees him as Morrissey fans tend to do, this is either from excitement or the fact he is wearing a Playboy t-shirt which is rapidly replaced oddly by an American Idol one. 
 
Kicking off with a beefy rendition of one of his finest tracks; 'Last of the Famous International Playboys', he precedes to make Hyde Park his with a greatest hits set incorporating songs from his forthcoming 'Years of refusal' as well as long lost Smiths classics such as the gorgeous 'Stretch out and wait' and a rapturous rendition of 'Irish Blood, English Heart' all delivered in his particularly dismissive way. The stench of burger bars and hot dogs hangs so heavy in the air that even Mozzer can smell it onstage to which he begins to berate the audience by 'Announcing you stick death inside your bodies', Kylie also is on the receiving end of his ire commenting on her OBE "Which I believe to be totally deserved, as for me... I'm nameless, timeless, that's about it really".
 
The showstopper however is a stunning and emotive rendition of 'Life is a Pigsty' which ends with him writhing on the floor looking like a true icon, just to hammer that status home they finish with an electrifying rendition of 'How Soon Is Now' ensuring a mass sing-along occurs before the crowd leave elated if maybe also slightly depressed.
]]>
      <![CDATA[<strong>Related links:</strong>
<a href="http://www.seatwave.com">All artist concert tickets.</a>
<a href="http://www.seatwave.com/newsletter">Sign up for the Seatwave newsletter for your chance to win free gig tickets.</a>
<a href="http://backstagepass.seatwaveblogs.com/2008/03/competitions_join_our_facebook.php">Sign up to the Seatwave Facebook group - yep, more free tickets!</a>
]]>
   </content>
</entry>

<entry>
   <title>REVIEW: Wireless, Hercules and Love Affair</title>
   <link rel="alternate" type="text/html" href="http://festivalfever.seatwaveblogs.com/2008/07/review_wireless_herciles_and_l.php" />
   <id>tag:festivalfever.seatwaveblogs.com,2008://57.2829</id>
   
   <published>2008-07-07T15:01:44Z</published>
   <updated>2008-07-09T09:12:04Z</updated>
   
   <summary>02 Wireless Festival Hyde Park July 3rd 2008 Review by Malcolm Black The clouds open up over London’s Hyde Park as this year’s Wireless Festival gets underway commencing with UK Grime MC Wiley and some heavy b-lines from XL’s b-boys,...</summary>
   <author>
      <name>Seatwave</name>
      
   </author>
   
      <category term="02 Wireless" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://festivalfever.seatwaveblogs.com/">
      <![CDATA[<strong>02 Wireless Festival
Hyde Park
July 3rd 2008</strong>

<strong>Review by Malcolm Black</strong>

The clouds open up over London’s Hyde Park as this year’s Wireless Festival gets underway commencing with UK Grime MC Wiley and some heavy b-lines from XL’s b-boys, Cool Kids.

Each day at Wireless is carefully programmed to appeal to a certain type of music lover and typically the opening night of Wireless is tailored towards dance and urban music and this year’s line up is certainly the cream of the crop, Roisin Murphy, Hot Chip, Mark Ronson, Hercules & Love Affair and of course the main man himself, Jay Z – whose performance at Glasto can only of amplified the excitement of seeing the Hip Hop superstar headline at the Main Stage.

To be expected there’s not that much is going down upon arrival late afternoon, entering the stark, dark and near empty Scan Disk tent to hear Alice Smith who tries her best to warm the tent with her charisma and lusciously powerful soulful voice. She jokes with the handful of loyal fans “Wow there’s so many people here”, but carried on un-phased.
]]>
      <![CDATA[Gutted that I’d missed Roisin Murphy – who was on surprisingly early on in the day, we  make our way to the main stage to see Mark Ronson and make a quick reccy of the festival ground bypassing corporate branding everywhere – even Blackberry had their own mini tent. I popped my head in to have a nose and an aerobics class was in full swing!

By the time Mark Ronson & The Version Players make it onstage the sun is beaming and it turns out to be a pretty fine evening music and weather wise. Mark – the former hip hop dj is accompanied by a full band and keeps his show interesting with his versions of other people’s songs, and a variety of guest appearances; Charlie Waller, the lead singer of The Rumblestrips sang an OK rendition of Amy’s Back To Black and the crowd witnessed another great highlight of Lily Allen’s career who had to restart ‘Oh My God’.

Although the sun was shining and the music was good, I felt a visit to Hercules and Love Affair was much needed after having seen them twice already this year and being massively disappointed, I was desperately hoping that Anthony Heagerty might at least make an appearance at one of the shows, but sadly no. However, at least  Kim Ann Foxman , a Hawaiian lesbian and Anthony’s stand in did a better job than on previous occasions, but unfortunately both her and  Nomi – the transsexual vocalist just did not do “Raise Me Up” justice.

<strong>Related links:</strong>
<a href="http://www.seatwave.com/festival-tickets/category">Festival tickets.</a>
<a href="http://www.seatwave.com">All artist concert tickets.</a>
<a href="http://www.seatwave.com/newsletter">Sign up for the Seatwave newsletter for your chance to win free gig tickets.</a>
<a href="http://backstagepass.seatwaveblogs.com/2008/03/competitions_join_our_facebook.php">Sign up to the Seatwave Facebook group - yep, more free tickets!</a>]]>
   </content>
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<entry>
   <title>REVIEW: Wireless Fest, Jay-Z</title>
   <link rel="alternate" type="text/html" href="http://festivalfever.seatwaveblogs.com/2008/07/review_wireless_fest_day_1.php" />
   <id>tag:festivalfever.seatwaveblogs.com,2008://57.2828</id>
   
   <published>2008-07-07T14:52:48Z</published>
   <updated>2008-07-07T15:01:34Z</updated>
   
   <summary>Wireless Festival Day 1 - Thursday 3rd July 2008 James Hamlin checked out the Main Stage for Jay-Z&apos;s post-Glastonbury performance. Did the big man cut it? Last night saw the final act in the Live Nation annual summer take over...</summary>
   <author>
      <name>Seatwave</name>
      
   </author>
   
      <category term="02 Wireless" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://festivalfever.seatwaveblogs.com/">
      <![CDATA[<strong>Wireless Festival
Day 1 - Thursday 3rd July 2008</strong>

<strong>James Hamlin checked out the Main Stage for Jay-Z's post-Glastonbury performance. Did the big man cut it?</strong>

Last night saw the final act in the Live Nation annual summer take over of Hyde Park as the O2 Wireless Festival kicked off in fine style. O2 Wireless is a strange thing, it wants to be a festival but can never really be one – it has far too corporate-a-feel for that. What it does provide is big acts and a chance for Londoners to come down to Hyde Park after work and have some festival style fun on their doorstep. The opening night's headliner doesn’t get much bigger than certified New York city hip hop don, Jay-Z.

The storm in the tea cup that was the Glastonbury Jay-z headline show was now firmly in the books and this was a chance for Hove to put on a real show for his ever passionate London-based fans.
]]>
      <![CDATA[A late afternoon downpour delayed our entry to Wireless but when we showed it was safe to say that we hadn’t missed much. A basic head count showed that those in attendance had come to see Jigga with the rest of the enclosed area looking pretty bare (I don’t know if the scheduled acts even played but if they did it would have been to five men and a dog). I have to give props to Hyde Park; whilst not the best surface to play football on, you wouldn’t have known that there had been a virtual monsoon hours earlier. This added to the fun and throughout the reasonably hip crowd, trainers stayed nice and white.

We arrived and thankfully missed most of the Mark Ronson show, okay, that’s a little harsh – but the half hour or so we witnessed was more than enough. As usual, guests were the norm for the Ronson band and it was particularly good to see Wiley get a better response than Lily Allen. Wiley jumped ship from Hot Chip, who incidently played earlier in the day, and joined a bigger headliner for a version of “Wearing my Rolex” which went down a treat. Lallen was rubbish as normal – fag in hand whilst singing – bad look.

Hove himself hit the stage about 9ish and from there it was all perfect again. His set was similar to his Glastonbury set but his Wonderwall intro was replaced with the club destroyer and the only track he will probably ever play live from his American gangster LP, “Roc Boys”. The man is a master. Plain and simple. An effortless hour and a half followed of hit after hit after hit with no filler whatsoever – there wasn’t a track that the crowd didn’t know which kept the energy high and people engaged through out. Posse cut appearances were thrown in to good effects and his verse on “Umbrella” was dropped to a site of a thousand umbrellas held aloft. Nice.

<strong>Related links:</strong>
<a href="http://www.myspace.com/jayz">Jay-Z MySpace.</a>
<a href="http://www.seatwave.com/jay-z-tickets/season">Jay-Zconcert tickets.</a>
<a href="http://www.seatwave.com">All artist concert tickets.</a>
<a href="http://www.seatwave.com/newsletter">Sign up for the Seatwave newsletter for your chance to win free gig tickets.</a>
<a href="http://backstagepass.seatwaveblogs.com/2008/03/competitions_join_our_facebook.php">Sign up to the Seatwave Facebook group - yep, more free tickets!</a>]]>
   </content>
</entry>

<entry>
   <title>REVIEW: Wakestock</title>
   <link rel="alternate" type="text/html" href="http://festivalfever.seatwaveblogs.com/2008/06/review_wakestock.php" />
   <id>tag:festivalfever.seatwaveblogs.com,2008://57.2837</id>
   
   <published>2008-06-29T14:41:06Z</published>
   <updated>2008-07-08T17:04:41Z</updated>
   
   <summary>Wakestock Blenheim Palace 27th – 29th June 2008 Review by Matt Killeen Wakeboarding. I had to look it up. Clearly there was some kind of watersport going on at Blenheim Palace but if you’re the type who owns their own...</summary>
   <author>
      <name>Seatwave</name>
      
   </author>
   
      <category term="Wakestock" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://festivalfever.seatwaveblogs.com/">
      <![CDATA[<img alt="wakestock.gif" src="http://festivalfever.seatwaveblogs.com/wakestock.gif" width="200" height="160" /><strong>Wakestock
Blenheim Palace
27th – 29th June 2008</strong>

<strong>Review by Matt Killeen</strong>

Wakeboarding. I had to look it up. Clearly there was some kind of watersport going on at Blenheim Palace but if you’re the type who owns their own wetsuit you should probably stop reading now. For me to attempt to cover the sporting activity would be a waste of material. While I could talk about the rumoured propeller problems and the fact that no riders could stay on their feet as a result, I can’t honestly claim that to know what I’m talking about. It might take me all weekend to figure out a Minnewashta from a Batwing and I’m afraid it just doesn’t seem as exciting as getting to bitch, from some position of authority, about the music.

Therefore lengthy analogies around the words Butterslide, Tantrum and Tail Rail have also been shelved in favour of some serious criticism. The bill was extremely promising in terms of both people I was looking forward to seeing and people who I expected to disappoint. The Mondays, Mark Ronson, The Streets...So who is who? Read on...or, as my editor says, bring on the scorn. Ah, I love the smell of dissatisfaction in the morning.
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      <![CDATA[There wasn’t a discernable running order in advance so my best journalistic intentions were likely to dissolve with the weather. Furthermore the schedules I did get my hands on shifted like water. Queues for toilets or beer are also the enemy of organisation. Not knowing when someone is onstage meant I was certain to miss someone I really wanted to see and I would, at some point, see a band that I loved without ever knowing their name.

Also the nature of festivals itself imposes its own tyranny. Temperature and dryness, or the lack of it, directly affects your mood. The best performances are lost to the individual through hangover, at Glastonbury by distance and everywhere by fatigue induced apathy. It works the other way round as well. Finding someone in your favourite obscure band’s t-shirt after pushing to the front at 10am can make the worst performance golden. Having sex in a tent nearby also guarantees that you will remember a set fondly.

Unique in my experience is the several hours walking back and forth across the site looking for my press accreditation, chasing a ‘runner’ who has decided to not take his job title literally. It took one individual to go above and beyond to make things right and establish some kind of equilibrium in my mood, so thanks to Sam for giving this review a fighting chance at reasonable parity and fairness.

Thankfully Wakestock is otherwise small and well organised. Security are helpful and polite, stewards friendly and even the Police have taken some sort of anger management course. It is also, in audience terms, looking a little threadbare. Hyper, Trophy Twins, Devils Gun and Aynsli Jones all howl into a wind of technical problems and small crowds of clean looking teenagers with Rucksacks. DJs play pumping tunes to clumps of grass in dark marquees. Even the fifteen year olds haven’t had time to binge drink yet.

Nothing sums up the reality of a Friday afternoon festival slot and the authentic experience of starting out as a newly signed band than watching Cazals. Seen by an audience of dozens, some of whom are clearly their parents, the fresh faced children do their best to establish some kind of status with their mix of Editors-like ‘80s darkness. The singer is a curiosity, somewhere between Kevin Rowland and Micky Pearce from Only Fools and Horses wearing a shirt reminiscent of some kind of totalitarian dictator. It’s unclear whether he has the voice to match his potential stage presence as the sound precluded any reasonable assessment. They make perfect sense when they play a Spandau Ballet track, the first band of the weekend to reference the 1980s directly, and they’re possibly worthy of another listen.

Royworld, on the other hand, wear their influences much more obviously. They want to be Keane or Coldplay very badly indeed, seemingly unaware that those bands already exist and have occasionally written a memorable melody. The singer came across as smug without ever once coming across as worthy of such self-regard. I feel for them as the technical problems and lengthy hiatus mid-set cannot have helped the performance but I just don’t think they have it.

The fabled ‘it’. It is another factor at work in a festival setting that the sheer number of acts on show encourages the swift and damning judgement so beloved of the A&R man – after 5 seconds, you really can tell whether something is worth listening to or at least that is what you come to believe. I’ve fought such prejudice for years but whenever faced with quantity over quality it is the default human setting. Maybe Royworld have a diamond in their somewhere but when there is so much earth to shift to get there, wise miners seek elsewhere.

By this time Audio Bullys have managed to get a decent crowd together in the main tent but by virtue of the fluid running order are just finishing up when I got there. Like so many other acts on the big stage at Wakestock, the sound rendered the vocals indistinct and lost in the background buzz. Over the weekend the tonality of Simon Franks, Shaun Ryder and Mike Skinner were lost completely, as if the engineers had never heard anyone with a voice like that before. Sound is, of course, subjective – volume and equalisation depend entirely on an individual’s hearing but if the mixing on these acts sounded good to anyone, they have no business as a sound engineer. The Bullys were banging, competent but denied their true edge they were far from convincing.

By hook or crook, Groove Armada got their sound perfect. At their age and with their experience I would have expected no less. As the advert said, you do indeed know more Groove Armada than you think. In fact you know all of it, by virtue of having seen any TV advertising over the last decade. You may hate that kind of thing, this is an act which is, after all, currently signed to a brand of rum, but when it matters most they deliver. Their edges were sharp, vicious yet precise, in your face but not painful and they made many other bands this weekend seem very ordinary and rather amateurish. Walking the line between accessibility and edginess, it was the proverbial baby bear’s porridge. Even ‘At the River’, one of the most overused ‘chillout’ tracks in history – the M&S food ad to some of you – manages to be some kind of apotheosis. For a band so cynical in so many areas of their work, they do seem to believe that what they do is important and that it mattered.

Talking of apotheosise, Hadouken! were on the other stage at the same time. As I arrived, a tent full of pubescent new ravers with face paint and oversized ‘H!’ foam fingers were going ape to their final chords, aircraft floods illuminating all the excitement. Looked good but who can say? Did I miss them because Groove Armada were so good or because they once left me outside in the rain when I went to review them? I think it was an accident but a mental healthcare professional once told me there are no real ‘accidents’.

That left Pendulum to finish Friday night, the entire festival crowd that had made it until that point now crammed into a tiny marquee. They couldn’t possibly fail, could they?

I love my guitar frequencies and dance is fine by me as long as there’s fat distorted sounds driving it along. Pendulum fit that bill perfectly and I love their massively overblown, theatrical, Charlie & the Chocolate Factory sampling intensity. What I expected from their live performance, I don’t know but with it being drum and bass I thought something percussive, something with clean lines. What I did not expect was a metal band. 

It made perfect sense, the only real surprise is why we haven’t seen more of it: a fully charged, guitar driven grunting monster coiling into ever tighter mobius loops, just coherent enough for you to see its passing. Very nicely done. Now normally I demand dynamics, a little light with my shade so I can truly fear the dark but here it just seemed right to carry on like the Ramones on speed. Of course they are Aussies and what Australia doesn’t tend to accept is bedroom widdling. What they had to do to survive was make their stuff work live and clearly that’s what they did. The band does have mid-tempo numbers but tonight Pendulum dispensed with all that. Stopping to breathe was considered simply unnecessary, like not having a singer just because they’re playing an instrumental. 

It works. As yet another shrieking analogue synth riff ripped along like the devils kazoo I became aware that underneath it there was a low growling. It was the audience singing along to it. AND wrecking. Stunning.


Saturday 4am. I am awoken by a very familiar row. A woman is striding precariously through the guide ropes, slurring, ‘leave me alone, leave me alone’. This is followed by a stumbling male calling out, “no, just listen, listen...” I’m not sure what was worse, being awake at 4am or hearing that row from the outside looking in.


Fortunately, the morning at Wakestock is given over to wakeboarding so it is only the board riders who are invited to get up early. However, when the sun comes the hungover masses are driven from their oven-like tents by the heat. All those that do burn instantly in the sunshine. They survey the wreckage of the previous night and most of them leave it where it is.

The festival filled gently over the day and slowly loses the ghost town vibe. I couldn’t help thinking, however, that there weren’t enough people here. It remains to be seen if the organisers can take the hit this year. Having a festival the same weekend as Glastonbury would seem a little provocative but not everyone can go there, even if this year there were Glastonbury tickets available until the Thursday before.

Glastonbury’s ticket ‘problems’ were nothing to do with Jay-Z of course. This was a media stunt if I’ve ever seen one – there have been hip-hop acts at Glastonbury before and the headline act is never the sole reason for going. They didn’t sell out until the last minute because of the punitive and complex registration process. After a brief period of ultra-trendiness where some people would do anything, this has left most people believing they wouldn’t be able to get tickets. Now, most couldn’t be bothered jumping through hoops to get them.

This meant Wakestock has a certain refusenik status. Many of the same acts played, the queues for burgers were much shorter and all we missed was Amy Winehouse’s drunken antics, which Londoners will have to relive in the Metro for months to come anyway. For some, the board riders, this is actually where it’s at.

There are healthy crowds for those starting out on the Saturday, even those like Esser who are still having to move their own gear off stage. Like policemen, bands start looking younger every year and Esser look for all the world like children dressed in their parents’ 1980s clothes. Their bizarre Nick Kamen chic aside, they play an attractive pop / dance crossover, unpredictable and endlessly engaging. I’m concerned for them, as I can see that their music is probably just too clever for pure pop, too interesting for mass appeal. Time will tell but I fear a career as It Bites will probably follow.

Far more obvious and easier to categorise are I-Koma, a bog standard rawk band of limited scope. More than a decade ago The Almighty tried to make people believe that this kind of dirty LA rock was something new when in fact it’s just a patchwork of well-trodden influences. Do they really belief that no-one has the wit to see where their coming from? Even their press materials are riven with unintentional double meanings. You cannot ‘herald’ those who ‘came before’. How is it possible that they can’t see that doing a Stones cover just demonstrates their lack of vision and ambition?

For all his bluster, Davey Perry undermines their status by playing pally with the crowd. A true star doesn’t care what the audience thinks. Like a good military officer you have to lead, not by playing nice but by demanding respect. When he says, “This is a song about trying to find a prostitute at 3am”, I know it’s a crock. I don’t believe them, their songs, stories and dirty rock personalities, not for a second. They are just the Towers of London without the unintentional humour.

Watching them backstage living the vida loca like an LA hair band of the 1980s, I had to smile, the way you smile at a child playing at being a grown-up. I wonder if they have ever seen ‘The Decline of western Civilisation Part 2’? They would probably view it as a ‘how-to’ manual.

Operator Please are everything that I-Koma are not. They might not be anything especially new but they take what they have and ramp it up until it hurts. For everything they lack in gravitas they make up for in enthusiasm, reminiscent of the Voodoo Queens but with tunes and song structures. Their childlike glee and edge of tantrum anger is simply a joy to watch. Since the Eighties are the period de jour they play Salt and Pepa’s ‘Push It’ and actually make it work. The crowd is thick with women and girls and this changes the dynamics of the live experience. It might seem like a cliché but there is an inclusivity and supportive atmosphere at work here that makes a mockery of I-Koma’s machismo, without ever resorting to over-familiarity. For the first time this weekend, I am disappointed when a band finishes.

In Case of Fire want to be Muse. They aren’t.

I don’t get Mystery Jets. They look like Robert Smith in ‘Miami Vice’, the sleeves of their white jackets rolled up like it’s 1986. They play a Smiths-esque jingle-jangle pop infused with those DX7 keyboard noises. They can write a pop song, ‘Two Doors Down’ is an endearing piece of whimsy in the studio but today it doesn’t work. Watching them I don’t believe that there was / is a girl two doors down. This is a trick the Cure do very well – a man who has been seeing the same woman since he was 13 regularly tells stories of love and loss that resonate. The Jets have not yet learnt to do it. There are too many distracting irritants. Unless Blaine is disabled, the sitting down thing is an affectation that they could do without, but I’m not really sure why it wasn’t happening. Their twee vibe is lost in a sea of what I can only describe as smugness. Everything sounds like it’s happening in slow motion or underwater. I am not...feeling it.

The Blackout and Elliott Minor are the result of a decade of Green Day ascendancy. They play that kind of Sum 41 / Lit alternative metal that is already out-of-date, the kind of bands that small town America pumps out on a weekly basis. Even though they are from Wales and Yorkshire respectively they sing with trans-Atlantic accents. 

Elliott Minor describe themselves as playing a ‘fusion of rock and classical music’. No you don’t, you stupid little boys. What you play is a fusion of piss-weak Americana and corporate greed filtered through watered down metal. The effect is  somewhere between the guy who brought his new electric guitar to school – standing outside the music block trying to play ‘Sweet Child of Mine’ through a £5 crunch pedal – and Busted, just without the self awareness. These are people unaware that the Darkness were a joke.

I made a point of checking them out in the interests of fairness. This meant missing some of the Happy Mondays but that’s the job isn’t it? After fighting my way past a crowd of star-struck adolescents I found myself caught up, for a moment, in their boyish enthusiasm. Only for a moment, because a few seconds later they played, with grim faced determination, a solo that sounded as if they were indeed the only people who have ever heard Eddie Van Halen and expected us to accept his sloppy seconds.  They are a nail-on for worst anything of the year so far, right up there with Boris Johnson or a botched colonoscopy.

The Blackout, who by all accounts might just have a sense of humour, escape my wrath as the bizarre scheduling changes that were the curse of the weekend meant that I missed them entirely. Their sentence is, of course, merely suspended.

I had never seen the Happy Mondays. Shocking, I know but I didn’t really love them at their peak. I had back-combed hair at the time and despite growing up in the alternative melting pot that was Birmingham in the late ‘80s / ‘90s, baggy didn’t grab me. It was too flared, too druggy and too casually reactionary in terms of their stance on women and homosexuality. In retrospect and without those flabby album tracks the Mondays clearly had some magic, a fact born out by the sparkling Black Grape debut that brought a touch of control and organisation to Shaun Ryder’s scattergun creativity. More importantly, the Mondays form a vital and intricate part of the soundtrack to my life. I was therefore looking forward to the experience, even though I knew in my heart that I was going to see a mess.

It was chaos and distressingly so. Baggy never got its live thing together, its proponents either too stoned or too cool to care enough. The Roses and the Mondays were particularly guilty in this regard and the double live album recorded at Elland Road was a testament to this laissez-fair attitude to playing a gig. Punk, rock and even pop can be more forgiving but dance music requires a certain precision.

The poor sound that had dogged the big tent throughout the festival allowed no margin for error, and the Mondays were way over the mark in terms of quality. Shaun Ryder wandered round the stage, utterly detached from what was going on, like a fat Shane McGowan. Bez did what Bez has always done – distracting from the Mondays’ many failings. It was like watching a bad Happy Mondays cover band. Playing ‘the Reverend Black Grape’ just indicated how far they have fallen, a great song by a good band played by some old drunk people. What was also apparent was that there was one member of the band missing who they couldn’t really do without.

In the final days of their original incarnation the band claimed that Shaun could leave if he wanted, they’d be fine with their backing singer thanks, much to the hilarity of the music press. We knew they were wrong but who could have predicted that they would miss Rowetta when she left?

Poor, crazy, unstable, talent show reject Rowetta, the woman so abused by life she can’t see that someone reached down and gave her the voice of the gods. Her replacement is not only short of charisma, but just doesn’t have the range or vocal quality to make this stuff work. So typical of the Mondays, so typical of Shaun William Ryder and the small minded approach that has cursed the band, that they clearly believed that one black, curly haired singer was freely interchangeable with another. 

The volume, or rather the inappropriate lack of control in the use of high frequency noise was almost ear-splitting. Hundreds fled the tent to protect their hearing after the first song. The anger of the other journos and photographers nursing their ears outside the tent afterwards was palpable evidence of a genuinely gruesome and harmful sonic experience. 

All in all, we watched a bunch of mid-forties hasbeens pissing away their legacy to pay for a lifestyle that has left them destitute. They even left the stage without ending on ‘Wrote for Luck’. I felt insulted, god knows what a real fan would have thought. 

In comparison Calvin Harris, playing what is a very thin lo-fi dance music, shows how this stuff should be done. Taking his sound and turning it into Arena Rock without losing the essential mood was quite an achievement. While maintaining spontaneity the music was insistent, dark with humour and a joyful intensity. Calvin Harris also shows I-Koma how a frontman should really work. He participates with the crowd but does not beg, is great to watch but doesn’t resort to visual cliché. Most of all he radiates presence, an elusive quality that you either have or you don’t.

Mark Ronson is hot. Trendy. The big thing. I am therefore hugely suspicious.

With any media frenzy there is a big dose of exaggeration. In this case there is a revisionist history that is now attributing the success of Amy Winehouse, Lilly Allen and others to his tutelage. Chronologically speaking this rubbish of course, but his profile has now begun to eclipse his producees. Everything he touches turns to gold, or to be more precise, money. He is undoubtedly a good producer but his solo career is much more dubious.

Covers. I blame Nouveau Vague but they probably didn’t start it. Doing an acoustic or easy listening version of a song that is, shock, not acoustic or easy listening was interesting and funny for all of five minutes. The aftermath has resulted in all kinds of deeply unpleasant music, most of which has been used in mobile phone ads. The worst example is the child of satan who saw fit to cover Massive Attack’s Teardrop believing that his voice was comparable to Liz Fraser and that his desultory strumming equal to the original soundscape. This kind of narcissism is the driving force for this movement. Why would one assume that you could do better than the original?

There’s a reason that these things can work and Mark Ronson has lost sight of it. Lilly Allen or Amy Winehouse singing an Indie stomp is funny, it’s a contradiction, a contrast with the expected. When some unknown comes on and sings ‘Oh My God’ it is truly execrable. Use a random small woman with an average voice and you’re left with a poor copy.

Covers serve a purpose. They offer the chance to re-imagine something obscure or lost. They offer a band a chance to put their imprint over something familiar for a new audience. The choice says something about you and you can live and die by its execution. Mark Ronson covers Radiohead’s ‘Just’, one of the most heartbreaking songs ever written, an angry and imploring howl about domestic violence and all of its implicit inconsistencies. The song is already made listenable, already treads a fine line between a pop song and an expression of horror. He turns it into a joke and the result is frankly sickening.

Watching Mark Ronson in his white suit, with his ever-so-tight band playing ever-so-easy-listening covers, I am reminded of one thing. Mike Flowers Pops. This is not a good thing. Mike Flowers was joke. Also Mike Flowers was better than this.    

By now the Monday’s related threshold shift sounded like someone sitting on a keyboard in my head. I retire but I cannot sleep, and instead listen to the muffled efforts of the girl in the next tent to get laid. Desperation proves itself unattractive and she is unsuccessful.


Sunday morning and fatigue is kicking in. Tiredness overcomes my eco-guilt and in order to carry on I have to spend a few hours asleep in my car with the air con on full. I emerge in time to watch Matt Costa, who is one of these acoustic singer-songwriter types.

To clarify, there is nothing wrong with acoustic music. However, contrary to popular belief it is much harder to do well than people think. Loudness, as in the case of electrified pop / rock and roll is inherently exciting by virtue of a physiological response. Your brain produces chemicals in response to loud noise to prepare you for fleeing or fighting and this is thrilling. The rhythm of your heart adjusts itself in response to high volume percussive beats. With an acoustic guitar and a single voice, you are relying on an emotional response, which is the work of your higher brain functions. The proportion of mediocre singer songwriters is the same as the proportion of mediocre rock bands, you just notice them more as their allure isn’t bulked out with endorphins. This is the case with Matt Costa who fails to trigger any response from my upper brain at all and denied adrenaline and natural opiates I get bored. 

A Silent Film, on the other hand, have all the bases covered, providing amplification and something for my mind to do. As a reviewer I am grateful for the two signs at the front of the stage which tell me the name of the band and am entertained by the fact that at one point two of the band play them like drums. They are not the first or last band of the weekend who want to be Coldplay or Keane but in their case and at this present time, they are actually better than both. While Chris Martin insists on releasing the same song over and over again, there is definitely a place for A Silent Film. They also teach Mark Ronson a thing or two by covering Underworld’s ‘Born Slippy’ and totally nailing it. 

Runners up in the ‘we had to get Monday off school to do this’ competition, The Dykeenies didn’t set any fires but were amusing enough, all boyish enthusiasm and smiles. They looked very much as I did at 15, right down to the clothes that have obviously become available again after two decades. Much as I wanted to like them however, I couldn’t take any of their songs away with me and that does not bode well. 

Metronomy are on record as trying to make electro more interesting to watch. With their robotic dance moves and other gimmicks, they want to be Kraftwerk or Devo. The problem is they don’t look like they actually believe in what they’re doing. Using props from Ikea is just laziness. Dressing the same but wearing different trousers is a sign of a couldn’t-care-less attitude. The choreography is sloppy, not to mention dull and uninspired. At least it suits the music.

Winner of the Eagle Eye Cherry look-alike competition, Lightspeed Champion, grins in his furry hat. He plays nice songs and has an attractive female drummer. I am unable to figure out why it isn’t floating my boat. Maybe it’s because he is memorable but his songs aren’t quite so. Maybe it’s because I’m too cynical. In the end, I put this down to tiredness and a lack of concentration on my part. 

Black Kids have possibly the worst band name I have ever heard. They also want to be The Cure. Not just sound like The Cure, or look like The Cure but they want to pretend that The Cure haven’t existed at all. They want us to hear ‘Teach your boyfriend to Dance...’ and smehow not assume that it’s a post-Disintegration period album track by Crawley’s finest. Hearing people talking up Black Kids I’m just astounded that they cannot see the emperor’s new clothes are a back-combed wig and smudged lipstick. Seeing them live I am struck by how 1980’s they look, how much they look like the Thompson Twins and how utterly contrived they are. They also play Don Henley’s ‘Boys of Summer’. They don’t call it that of course, they pretend it’s something else they wrote themselves. I shuddered as I imagined how this band are going to make my life miserable over the next few years. It turns out that two of Black Kids are Afro-American, for what that’s worth.

It’s an interesting time for The Futureheads, now an ex-next big thing. Recently dropped by their label, the on-a-platter marketing power of the majors is over and everything they achieve from now on will be with the sweat of their own brow. 

The tent is full, the crowd mostly partisan so they would struggle to screw up and they prove themselves more than adequately. They come across less as the hollow Kaiser Chiefs Slight Return that we‘ve been told that they are and more as an archetypal Northern four-piece reminiscent of the Buzzcocks. They’re very good at it. The acid test was whether ‘Hounds of Love’ was the set highlight or just another good track. In the end it sat nicely alongside ‘Area’ and the best of their self-penned titles. If The Futureheads were forced to give up the ghost the world would be a little duller.

I had been waiting for The Streets all weekend so naturally I was going to be disappointed. Mike Skinner is a Brummie living in South London just like me, a Birmingham City fan to boot so I cut him a huge amount of slack. I believe he’s a poet, I believe he’s important and I think he uses humour and self-deprecation as tools to comment on essential truths about existence. Most of this was lost in the sonic mulch and his vocals sounded like he was rapping through a sock.

From the pit I saw him screaming at the monitor engineer and clearly he couldn’t hear himself any clearer than the audience could. He upped his game in an attempt to overcome the sound and gave it everything. His co-ordinated crowd surfing was a particular joy but I felt I was watching the whole performance through a window.

Estelle, the black female Mike Skinner™ got her sound right from the start, and played a decent set of R&B interspersed with commentaries on modern sexual mores.
She’s intelligent and that is, of course, going to cause her problems. Modern R&B rejects the idea of a woman as anything else but sexual object and that is the essential conflict in Estelle’s music. On the one hand the diva, on the other, the clever mouthy little girl described in ‘1980’. The crowd made her sing it and I would be cautious to jettison that track if I were her. Her desire to maintain her integrity has already cost her a record deal, an attitude for which I have great respect. However, she’s going to have to fight that same battle at every step along the way. She needs the people here if she’s going to survive.

Supergrass are one of those bands who have slipped under the radar down the years to become outstanding artists. As each of their songs have surfaced you felt that each one was OK and it was only looking back you realise that they have been consistently brilliant all along.

Truly beautiful moments in a live setting are rare, although the pedestal that we put musicians upon, coupled with the ceremonial quasi-religious nature of the gig does encourage them. I’m a sucker for audience participation but as Gaz began ‘Moving’ and the entire audience sang along, I was struck with a soaring and glorious feeling of awe and well-being. Sit in front of a Rousseau at the National Gallery for any length of time and the effect is the same. 

It was only going to go downhill after that so I took the chance to take my exhausted body home down the motorway. It sounds sacrilegious but ‘Supergrass played and were brilliant’ isn’t really a story that needs telling. 

So who were the winners and losers? Board Riders of all kinds were leading the pack as the friendly subculture they are until they decided to have a wet t-shirt competition and spoilt it all. Pendulum, Calvin Harris and Groove Armada definitely excelled, with Operator Please close behind. The losers? The people who had to clean up afterwards.

<strong>Related links:</strong>
<a href="http://www.seatwave.com">Festival tickets.</a>
<a href="http://www.wakestock.co.uk/">Wakestock official site.</a>
<a href="http://backstagepass.seatwaveblogs.com/2008/07/interview_hadouken.php">We interview Hadouken! about their Wakestock and Glastonbury experiences.</a>
<a href="http://www.seatwave.com/newsletter">Sign up for the Seatwave newsletter for your chance to win free gig tickets.</a>
<a href="http://backstagepass.seatwaveblogs.com/2008/03/competitions_join_our_facebook.php">Sign up to the Seatwave Facebook group - yep, more free tickets!</a>
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   </content>
</entry>

<entry>
   <title>Hove Festival: Day Three</title>
   <link rel="alternate" type="text/html" href="http://festivalfever.seatwaveblogs.com/2008/06/hove_festival_day_three.php" />
   <id>tag:festivalfever.seatwaveblogs.com,2008://57.2802</id>
   
   <published>2008-06-25T15:59:07Z</published>
   <updated>2008-06-30T13:50:40Z</updated>
   
   <summary>Imagine my delight this morning, when I realized that the male bouncers are permitted to frisk the lady punters. What a way to start a sunny Wednesday at Hove Festival. The weather looked overcast this morning but it was a...</summary>
   <author>
      <name>Seatwave</name>
      
   </author>
   
      <category term="Hove" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://festivalfever.seatwaveblogs.com/">
      Imagine my delight this morning, when I realized that the male bouncers are permitted to frisk the lady punters. What a way to start a sunny Wednesday at Hove Festival. The weather looked overcast this morning but it was a mere flash in the weatherman’s pan. A tan is looking more and more likely.

I have another little linguistic gem for you today; If you speak English and you haven’t yet arrived, be sure to pronounce ‘Hove’ as follows… “Hova”. It’ll save you blank looks from bus drivers and giggles from the locals.

Things are looking a little more disheveled today but I’m still dumbfounded by the cleanliness of the festival site itself. These Norwegians have their act together when it comes to cleaning up after themselves. Recycling is the done first thing and although the woodlands surrounding the fest smell increasingly like stale urine, you’re okay so long as you stick to the paths.

Outside on the main stage, I can hear the keyboard banging sound of Thom Hell. The Norwegian artist is from a town called Kristiansand and from here, I like what I’m hearing. Soft guitar strumming and soothing vocals for the hungover masses. 

This evening promises, Foals, Band Of Horses, Beck, Flogging Molly, Bad Religion, Blood Red Shoes, Magne F, Joe Lean and the Jing Jang Jong, Behemoth, Primordial and the almighty metal making Dimmu Borgir. It’s time to let some hair down.

      
   </content>
</entry>

<entry>
   <title>Hove Festival: A Hazy Day Two</title>
   <link rel="alternate" type="text/html" href="http://festivalfever.seatwaveblogs.com/2008/06/hove_festival_a_hazy_day_two.php" />
   <id>tag:festivalfever.seatwaveblogs.com,2008://57.2803</id>
   
   <published>2008-06-25T15:52:19Z</published>
   <updated>2008-06-25T15:57:24Z</updated>
   
   <summary>Hove Fest – Day Two I can’t help but wonder… will Peter Doherty and his Babyshamblers be as moved by the Norwegian scenery as I have been? Who knows if the UK clan have hit Scandinavia yet; for all I...</summary>
   <author>
      <name>Seatwave</name>
      
   </author>
   
      <category term="Hove" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://festivalfever.seatwaveblogs.com/">
      <![CDATA[<strong>Hove Fest – Day Two</strong>

I can’t help but wonder… will Peter Doherty and his Babyshamblers be as moved by the Norwegian scenery as I have been? Who knows if the UK clan have hit Scandinavia yet; for all I know they’re still pounding British pavement but they’re set to the Ampfiscenen at 1.15am on Thursday night and Beck’s in ‘da Norge hood’ so who knows.

Today’s festivities began with a very long and gob-smacking walk into Arendal. We watched people buying fresh crabs straight off the boat, grappled with the supermarket (have you shopped without understanding what it says on the label) and managed to work out the Hove festival bus route. It’s easy as jumping on and off, so long as you know what number to take.

As we walked back to the apartment to prepare for another festival onslaught, we passed a massive silver truck unloading gear in to a waterfront venue. Along the side of the instrument-filled black boxes the word ‘BECK’ was printed. You guessed it, the pint sized performer did a an intimate gig last night. We missed it, but that’s what you get when you’re at a fest. I wonder if Mr Doherty made it.

One gig we did make however, was The Kooks. Allegedly, the Hove Festival homepage almost broke down from traffic overload when the band was announced on the line-up. Either way, they got a storming response to a cracking set on the main stage last night. Old favourites, new favourites and a lot of banter for the Norwegians. One passer by commented on Luke Pritchard’s mighty fine stage presence. Fine job boys… I almost felt a little bit patriotic (and I’m not even British).

The next hour was a blur… the mix of duty free vodka and apple schnapps we accidentally left in our bag (?!) had to be consumed and where better to do it than in front of a volleyball court adorned with semi naked sporty types. A tough looking official even cleaned up for us. It’s easy to get away with murder when you’re little and you can’t speak the language.

We later risked death (it seemed like it at the intoxicated time) to perch on the steep hill leading down to the AMFI stage for Avenged Sevenfold. The highlight was the brief cover they did of Pantera’s ‘Walk’. It’s moments like these… you need the portaloo.

The tail end of The Wombats’ set saw us through to a beer stop and a fling with The Pigeon Detectives. A bout of troll hunting turned into a search for the beachfront cinema. We didn’t find it… but the ferry and a hangover later came into view. Full marks to the paramedics dealing with the girl we passed who’d misplaced her legs and the power of speech.  

It’s time for Wednesday… pray for sun. I'm due to head back for Glastonbury on Thursday but if this continues, I may have to give that the arse.  
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