Sampology has just released his new film clip for Stars featuring the vocal talents of Hannah Macklin. Peep the animation below and if you like what you see make sure you go over and check out Director and Animator Luke Dwyer’s website.
Sugar Army have released the first film clip from their forthcoming album Summertime Heavy, due out this year. Once again the man behind the drums, James Sher has taken charge of the camera and directed the clip for Hooks for Hands, though not without a little help from some special effect and animation wizards tucked away in the CIA Studios enclosure. Names to mention here are Sam Price,Pierce Davidson, Josh Rampling, Tim Sommerville, Lestyn William.
I blame INXS, a soft target I know, but if Michael Hutchence and his bunch of leather and paisley wearing haircuts hadn’t decided that Wembley Stadium was a great place to do rock concerts then maybe, just maybe musicians would have kept their prancing and showboating to stages instead of football fields.
This year The Crustacean Cup matured into a four team competition, pitting local lead breakers and beat makers against each other in an irreverant riff on the world game. Cut & Paste was there to record all the highlights, the low lights and the absurd lack of motor skills that people who can play play multi-octave scales at blistering speed demonstrate when a big round thing gets near their feet.
Special mentions must go to the Foodchain crew for putting together an excellent afternoon’s entertainment, Tomas Ford for MC-ing the day and of course to the mighty Crabcelona FC for defending their title from last year.
During the Final of the 2011 Crustacean Cup, Young Filmmaker of the Year and roving documentary man Mat de Koning went deep inside the camps at half time and full time to talk strategy, skills and post match celebrations.
Game 1: FC Crabcelona 1 def Mictacea 0
Game 2: The Mariners 1 def Tyrannocrabs 0
Final: FC Crabeclona 1 def The Mariners 0
We love the WAMis. So we’re pretty excited that the festival starts in just ten days. The WAMis are about locally made music being played to the people of Western Australia, and developing the music industry through workshops and events designed so that people can take their dreams and learn how to turn them into reality, then of course there’s the Awards themselves – which mean giant cakes.
Huge congratulations to everyone nominated for an award this year (and a little pat on the back for ourselves for getting nominated as well).
Here’s our guide to the highlights of the WAMi Festival 2011
WAMi Festival Opening Party
Where: The Bakery
When: Saturday 21 May, 8pm start
Tickets: $15 from nowbaking.com.au
Last year’s WAMi Song of the Year winner Geoergi Kay will playing along with Rabbit Island and WAM favourite Abbe May and more. What better way to slip into a week’s worth of musicgasmic festival hijinks than a Saturday night at the Bakery. This is one fo the events you really want to make sure you ahve a ticket for , so get clicking to the Bakery and make sure you’re there with people and get your festival started right. There’s that much good stuff on at the Bakery you’ll wish you could rent one of the sea containers and live there for a week!
Think Twice/Funk Club WAMi Festival Showcase
Where: The Bakery
When: Friday 27 May, 8pm start
Tickets: $20 WAM Members, $25 Non-Members
Kurtis Blow’s The Breaks was the first rap album to become a gold record. So to have the man himself in Perth is something to celebrate. Throw in the first birthday of hip hop night Mass Appeal and you are quickly running out of reasons to stay at home. Western Australian music isn’t just about guitars and rock riffs, W.A. claims the title for Australia’s Bboy Breakdance champion and champion crew, P-town is a hop hop town too.
The Bird Sundowner Series
Where: The Bird
When: Monday 23 May – Firday 27 May, 5-6pm
Tickets: Just turn up
We have long championed The Bird as the small bar with a big heart and during the WAMis anyone making their way home through the city has even more reasons to sink into one of their comfy lounges with a schooner as the Bird present ten acts over five evenings. Stuff daily cares firmly away and relax a moment with Sean Pollard, A Schvendes Duo, Ruby Boots Duo, and Jack Doepel. If you’re thirsty and near the Bird after work any night during WAMi week, drop in.
The Community Beat Canteen
Where: Northbridge Piazza
When: Monday 23 – Friday 27 May, Midday – 1:30pm
Tickets: Just turn up
The Community are calling all beat heads and bedroom producers to come into the Northbridge Piazza during daylight hours for some serious mind expansion with Mathas, Diger Rokwell, Maxy Bills, Boost Hero Man and a whole lot more community minded folks. Electro-futuristic-cnosciousness-exapanding-jamtastic sessions for you while you soak up some sun on the lawn.
City of Perth Northbridge Saturday Spectacular
Where: Northbridge Piazza, THe Bird, Universal Bar, Cultural Centre (wetlands stage), Ya Ya’s, The Court, Mustang Bar, Rocket Room
When: Saturday 29 May, Midday – 6pm
Tickets: Just turn up
Eight stages and fifty local bands, it’s the big day out without fences or a padduck full of people you don’t really want to hang out with. Each of the venues has their own sound for the day so if you like things a little country then The Mustang Bar with The Ghost Hotel and others. Last year’s WAMi Darlings The Brow Horn Orchestra and Simone and Girlfunkle. The Rocket Room has Tangled Thoughts of Leaving, Hootenanny and Project Mayhem.
At Ya, Ya’s catch Tracksuit and The Sensitive Drunks. Minute 36 and The Justin Walshe Folk Machine are all over the Cultural Centre. Meanwhile its Sonpsilo Circus, The Panda Band and Emporers in the Piazza. The Bird Seams and Voltaire Twins. See The Devil Rides Out at the Universal Bar.
That list barely covers this monster music showcase, so get the program and spend an afternoon in Northbridge.
Kiss My Camera
Where: The Old Goal, WA Museum, Perth
When: 21 May – 7 August
Tickets: Entry is free
See the year in review from onstage, side of stage, backstage and down an alleyway when the best in music photography goes on show for the Kiss My Camera exhibition. This year catch pics from Cut & Pasters Jordan Shields, Nicole Norelli and Brad Serls amongst the finalists.
The WAMI Award Ceremony and After Party
Where: The Bakery
When: Saturday 28 May. Awards at 7:30pm Party from 10:30
Tickets: nowbaking.com.au limited tickets for the awards ceremony $15 for the after party.
Hosted by Dylan Lewis and Dom Alessio and featuring performances from John Bennett and Grace Woodroofe the Awards are the moment when dreams are rewarded with cakes. Slightly better than a pie in the face and way better than a Grammy.
This year Cut & Paste is punching with the big boys in the Media Award – Organisation and The Cut & Paste Soundsystem have a chance in the Best DJ category.
Then its after party time. We’ll be there with a Coopers in hand and we hope we’ll see you there too.
St Jerome’s Laneway Festival
Cultural Centre, Northbridge.
The Big Day Out one weekend, Laneway the next, never a dull moment in Perth. The difference between the two festivals is mammoth not only in punters but also in bands and the mentality of the day.
Laneway is a hipster and wannabe hipster’s paradise. A place where indie kids can shrug shoulders with original indie kids, a place where the day counts but it seems the music is much more important.
Set in the wonderful surrounds of the Cultural Centre, Fringe World glistened in the sunshine and the newly renovated urban garden created the perfect backdrop.
After finishing a quick stint on radio and dodging my way through the bike race taking place through Northbridge I walked in to catch the end of The Antlers. A band that recorded are a cavalcade of sounds and melodies, live they struggled to convey the complexity of their recordings.
Violent Soho, over on The PICA stage however had no sense of complexity. Instead they were straight up ballsy rock and roll. Harking back to the sound of Nirvana and Magic Dirt, this Brisbane band leave little room for your ears to recover and it was only 4pm.
Over on the Frances Street stage there seemed to be a bottle neck as people clambered for shade and to get a sight of the wonderful women of Warpaint. Brooklyn in a nutshell, this four-piece sound checked away lulling people into the belief the show had started. When it did the swelling crowd were treated to a tribal, bass filled set of songs that echoed through the afternoon air.
Dashing off to check Menomena I was surprised at the small size of the crowd. One of last year’s finest albums should have indicated higher interest but the extra space was wonderful. They set about a well-crafted and extremely enjoyable forty-minute set. Musicians in every sense this five piece dance about instruments and sounds that bellow from their arrangements.
I set in for a couple of hours at the PICA stage as the sun began to set. PVT began their final show of a very long tour in true form. This was a show form the Sydney boys that they had clearly been looking forward to. Their energy, passion and talent oozed from the stage and into the hearts of a growing crowd.
Blonde Redhead boasted the most impressive resume of all the bands on Laneway this year and their set showed their pedigree. Decked out in white the New York natives created a wall of sound that filled the amphitheatre, bouncing back off the library glass. Standing in that wall of sound is the best way to listen to Blonde Redhead, their music and melodies grip you and envelope you as they dance around on stage.
Les Savy Fav leave nothing on stage when they play. Word spreads quickly when things get crazy. It took Les Savy Fav half a song before singer Tim Harrington was off. He dived into the crowd and managed through forty minutes to see every inch of his audience. Technically the show suffered a little but this band put a smile on your face that goes nowhere until they leave.
Elsewhere, Arial Pink’s Haunted Graffiti played to a massive crowd treating them to, not just a musical feast but a show, costumes and lights and dancing. Glam is not dead.
Holy Fuck took off on the PICA stage. Their intricately woven sounds show a complexity that most mathematicians would struggle with. This was one of those shows that to really enjoy you had to be involved. This is not a band that will engage you with witty banter but instead tear your head off with electronic music that you may never hear unless Holy Fuck were in front of you.
Deerhunter finished my evening with their treble filled aural explosion. Catching the last few tracks of their set they seemed a little washed out and at times their drummer battled with timing. Bradford Cox owned the stage even if he struggled to think of ‘anything cool to say’. However it seem that they may have played one too many shows in recent times, they seemed tired and little ready to head back home.
As the hipsters and crew headed off into the night, perhaps to forget they were hipsters and revert back to their bogan credentials, the indie fest that is Laneway provided an oasis for the festival going audience. It’s interesting how successful music festivals can be when they concentrate providing good music.
while you’re here check out our photos from Southbound
The Dreadlocked Sensei from Drum Media Perth sits down for a beer with Kevin and Jay from Tame Impala…they talk about venn diagrams and musichttp://www.vimeo.com/18946297
It’s not all Rock stars and Beers at these festivals you know. Read about Chris Callan’s run in with an angry sailor here.
Discovered at the age of 16 by some bloke from Perth called Heath Something-or-Other who whisked her off to Los Angeles to make an album, Grace Woodroofe has had a charmed journey. So what could be better than a conversation between her and the endlessly charming Mr Aarom Wilson?http://www.vimeo.com/18942936
While you’re here, read Aaron McCann’s behind the scenes Soutbound adventures
Spot yourself and your friends in the Crowd at Southbound 2011
Catch up with Chris Callan’s fight with a sailor
More Photos from Southbound
By Chris Callan.
Let me begin with a confession. This was the first year I entered the Southbound festival without a bottle of rum down my dacks. Instead Aaron, John and I were armed with video cameras and microphones ready to capture the talent southbound had on offer.
I have always fantasized about having band play for me while I relaxed in a sauna and finally that fantasy was fulfilled! The Cold War Kids played to Hot Sweaty Kids with Ray Ban tan lines, but thankfully the festival didn’t feel as overcrowded as it has in previous years.
Refreshed by my sauna experience I was ready to take on another challenge from ‘Festival To Do” my list: ‘Have a fight with an old man, whilst wearing only my jocks’. How was I to know that the shower I was using was for yacht club members only? Luckily I was wearing my Captain Reds. Take that Old man and the Sea!
I had a lovely sleep cuddled up with my Cut & Paste crew, and thankfully I hadn’t seen Aaron’s Christmas special yet or I may have stayed with angry shower man.
I enjoyed Tijuana Cartel and Birds of Tokyo made Perth proud on the main stage, The Chemist were all forms of awesome and Split seconds played a heartwarming set.
Burning questions still remain though, like “Why the hell do I have to show you my access all area pass to get OUT of the VIP area? I understand why you need to see it going in but I’m leaving man!” – Thank you security.
See you next year – Look out for the air-conditioned Cut & Paste tent!
Take a squizz at Court Maccah’s Southbound music photos
Look for yourself in Court’s Southbound social snaps.
by Aaron McCann
“I jus wanna FUCK SOMETHIN!!!….. I’M SOOO LOOOONELY!!!!!” Yep it’s 12am in the morning and this is what we hear as myself and Chris Callan try to set up a tent in the dark, sober… Not like myself and Mat de Koning attempting to do the exact same the year before… not so sober. But the strange yelps and cries for sexual gratification from the children, most likely on acid, a few tents away, made me chuckle. So how did we end up here? Lets go back shall we? Yes, the question is redundant, we’re going back… I’m telling you, not asking you.
I get a text from John Macliver at 9:27am “Yo make it 10:30 at the office” (we were meant to meet at 10am. I didn’t wake up ’cause of that CRAZY iPHONE BUG that stopped your alarms going off and made the weather unbearable.
10:40 I rock up at the office and we take off for the long, long, long drive to Busselton to shoot SOUTHBOUND 2011 I’m exited about this one because I really want to see The National, Joan Jett and Sleigh Bells. That’s it. That’s ALL I wanted to see. “But what about this person, and that band and this band?” Who gives a fuck! I’ve been to enough fucking festivals where I can be content with seeing who I want to see and not have you fucking lecture me about how good this band was or is or will be. 3 Bands. Done.
We arrive and it’s HOT! I mean the kinda hot that makes you go “How am I sweaty there?” Hot. Lugging camera gear from cars to trolleys, trolleys to gates, gates to camping ground, ground to media tent and then to back stage and back again… Pain in the ass. We Have VIP/Press access… Still a pain, But 3 bands. 2 on the 1st night. Not complaining. First up is an interview with Tijuana Cartel. I can’t hear anything and am just focused on the shot and getting a cold drink (Even if I shoot the interview, in situations like this I really only “SEE” the interview for the first time when I edit it… Strange? Maybe…. Too HOT don’t care)
SECURITY: “You can’t come through here without a AAA”
US: “We’re standing in the AAA section… we want to go to General Admission”*
*This conversation happened over and over, again and again. We gave up by day two and mastered horrid looks to express our distaste for them not being able to remember our faces, and more interested in the half torn pages of a porn mag they left discarded in the staff toilets like many actual condoms found in the regular toilets.
So then we packed up our equipment for the first day and I went off to see The National. I primed myself right up front so I could get a great view and be in the crowd and experience Frontman; Matt Beringer’s amazing vocals in awe… What I wasn’t expecting however was when they started off with “Mistaken For Strangers” from their acclaimed 2nd Album Boxer (one of my favourite tracks) some fucking retarded, vocally inept walking failed abortion starts singing every line from the top of his lungs, right behind my ear. Not just a Chorus (that I could handle) NO! Everything word for word (he fucked up a lot of the words… and the key it’s meant to be sung in, the general pace… FUCK!
I CAME HERE TO LISTEN TO THE NATIONAL…. NOT A NATIONAL FUCK-TARD!
So I left for the back of the pit. More room, but not up close. Still great, still amazing. (Got told off for smoking… fucking hell… why not rape me while i’m here!) So when, for their final song “Terrible Love” from High Violet, kicks in and Beringer launched himself into the crowd, to about the point I was originally standing, where fuck-diddly-umptious was still singing every word, was I angry? Kinda. But that that stage I had had my festival highlight and could go home in peace.
Two more drinks. Not drunk yet. Off to Joan Jett.
The crowd was slim, mainly cause it was full of girls who just saw the movie “The Runaways” and now think they know everything about their music. More about stupid people like this in
Joan Jett and the Blackhearts played. They were good, not great. They played “I Love Rock & Roll”, “Crimson & Clover”, “I Hate Myself for Loving You” and older Runaway’s tracks like “Cherry-Bomb”… But I think by that time of the night I was tired and it had dawned on me.
We hadn’t set up a tent yet and were just hoping to crash somewhere in Busselton.
CUT TO: Where we began. It’s late, we’re tired and we’re setting up a tent and some random drunk is still yelling: ““I jus’ wanna FUCK SOMETHIN!” and then every now and then he’d yell “Watermelon!!!” some girl was egging him on…
*for more on stupid girls like this see above statement about “Runaways” and a rant in Pt.2
So. Tent is up and I’m off to bed. The ground is hard. The Acid freak, wont shut up. Someone is snoring in the tent beside me and some fucking bug from hell just crawled into my ear. Still… Seeing the National was Worth It!
… More madness in Part 2…
Read part two of Aaron’s adventures here
Check Out who as in the crowd thanks to Court Maccah’s snappy snaps
Read about Chris Callan’s fight with a sailor in a shower here.
Check out Maccah’s shots of the bands you went to Southbound to see.
Who: Timo Maas
When: Friday 15th Oct
Where: Ambar Nightclub
Last Friday Boomtick Events invited Timo Maas to share an affectionate mix of deep, deep techno with the people of Perth. My job as a photographer is to go in and to speak to every person in the club and take their photo. So I’ll just tell you what I see and what I came here to shoot.
The pre-performance nervous jitters kick in and then give way to an insatiatable excitement. Pumped I knock back a couple of jagerbombs, slightly vomit in my mouth and swallow ‘cos I’m hardcore and ready to rock. I slap myself in the face a couple of times to get over it: shake it off, kill a cigarette and then strut straight into the middle of an inexhaustible carnivorous and desirous crowd.
The suave, calm, collected 41 year old Timo Maas emerges with his beautiful blonde bombshell making acting cool seem effortless. All the levels go up a notch, the crowd swells; and all at once the beats kick off with a good blend of the sweet smell of something special up in the booth. Fresh faced, newly 18 year olds celebrate birthday parties and worship sweaty gyrating bodies on the dancefloor. Oh and remember: your guest dj is the guy your dancing with not just dancing for.
Things get wild pretty quickly… Hands come at me from all directions, groping. All of a sudden my camera and I are everybody’s new BFF and they want their photo taken not just by me but with me too. The ladies tear each others hair out over who’s next and who is more beautiful. I can’t share with you the real secret to this, but let’s just say there’s an unspoken power you possess when your role is to party and work at the same time. So I just roll with it, get loose and keep shooting.
So remember, next time you see me: Work it! and show me how much you love to party.
Check out the looseness in my flickr gallery, here:
We always launch with a party and this time around we have something extra special in the works: A Micro-Festival held in the newly renovated and reopened Bakery on Saturday December 11 2010.
WHERE: The Bird, Northbridge
Occasionally Perth bands go to Melbourne, never to return. For a Thursday night down in Northbridge it was a treat to see, now ex-Perth band, The Bluejays tear the roof off The Bird.
How did you come to direct the film clip for Schvendes’ ‘Lay The Noose’?
I was itching to do another clip after Sugar Army’s ‘Acute’, so I told a few people to keep their ears open for me. One day Dease sms’d. I wish more people would ask – my email is email@example.com…
Where did you shoot ‘Lay The Noose’… and what was it shot on?
We googled Perth for it’s #1 dodgiest Pub – a really funny forum listed out about 30 – with nervous/funny anecdotes. Then in one soul-prodding weekend we visited every single one. It was clear that we couldn’t actually shoot in THE dodgiest Perth pub because I was scared of that place.
So we shot in the Fremantle Buffalo club instead.
It was shot on digital – The Red.
How did you come to casting?
We apologetically (no budget) briefed local casting agents to find us two actors who could do the rhumba. They were stoked to be involved with a local music clip and between ‘Frog Management’ and ‘Actors Now’ sent the call out to a database of about 5000 local actors/dancers. Casting was held at King St Arts Centre in 15 minute blocks.
Did you draw inspiration from any older film clips in developing ‘Lay The Noose’?
Yeah sure, generally for tonal reference – and not just clips. Nick Cave’s ‘Fifteen Feet of Snow’, The Knife’s ‘Pass it On’. Features like ‘Mean Streets & ‘The Last Ride’ were a few influences.
Last night at a bar someone said the concept had sadly already been done (the new Groove Armada clip) – I think he was off the mark, but you can surely trace some of the techniques in most art to some other place. Personally I think that’s cool, as long as your core concept is unique, and true to its purpose.
Did you have complete creative control over the project, or did Schvendes throw ideas into the mix?
I had a generous level of creative control in this one, Schvendes were keenly interested, and were also curious about how I’d run with it. I think they are a very healthy creative community themselves, and they know how to get the most out of each other and what it generally takes to collaborate to a higher end. Might be some of their Freo roots or something.
That said, we had plenty of sessions where we threw ideas together, which I think is vital. Philosophically, I think a music video should essentially be made by the band. If musicians had the same mastery over cameras etc as that they do over their instuments – their visuals would be a perfect marriage to their sound. My role ideally is to be a bridge.
What kind of budget did you have to work with?
The deal was to just let them know if we needed to spend any money. We didn’t spend much.
That was ok for me, because this was an important one. Schvendes are world class musicians, and I’ve always perceived them as an important contemporary West Australian band. From an historical and artistic point of view, they create music that is culturally relevant – I love that.
What other Perth creative’s were involved in the producing the clip?
These three people did an incredible job, and just go to show you don’t need to live in Hollywood to be near really brilliant film people. Holly Kemp produced/choreographed it, Dave LeMay was the cinematographer, Matt Osbourne edited (although he’s just Melbourne hopped [*grumble])
Another website featuring the ‘Lay The Noose’ video mentions you see ‘three main elements in the video’ – “it feels Australian, it is a Rumba and it’s creepy as fuck” … Can you explain?
I guess that was a brief I gave myself to keep the initial idea generation on track. Staring at a blank page waiting for an idea is often exciting and sometimes scary. There are techniques I use to make sure it happens well. I should say at this point that I am, by day, a filthy adman – My job is to come up with ideas for clients’ ads and then manage its creation – I’m an advertising creative. Idea generation is my currency. This is partly the reason I love doing music videos – it’s still a communication art – but the art bit is ramped up.
Anyway, coming into this project I make a promise to Schvendes to do my best to get the tone right. Nothing worse than a clip that doesn’t feel like it matches the music. So, after listening to the song a stack of times, I wrote down three distinctive feelings I got from the song:
1. It feels Western Australian
2. It is unnerving, slightly tragic, creepy
3. Out of this darkness, something occasionally swings – and it is a rhumba.
The elements formed a loose brief that I worked to and measured concepts against. This probably all sounds really clinical and awful – but it just keeps things focused. Formalising it a bit will make it less about what I want to do, and more about what the music is all about. Honestly though, in the end, like anyone, I just close my eyes and listen to the song.
You’ve worked on a number of clips for Sugar Army and now Schvendes… do you have any film clips coming up? …are there any Perth bands that you would love to do a film clip for?
I would love to work with ‘Schvendes’ again, ‘Brass & Sassy’ are interesting – do ‘The Drones’ count? I am actually looking for a (possibly) electronic act to work with, I have an idea that I can’t shake that needs a repetitive, yet organic feel. The music of ‘Animal Collective’ crossed with ’Seekae’ is kinda what I’m after – anyone still reading give me a holla if you’re keen ?
Is it hard making film clips in Perth?
No, I hear making clips in LA is hard. Everyone is unionised and wants money if their house is in the background or whatever.
Perth is dead easy. People are nice here, and are happy to help make cool things for cool bands. There’s good light, it hasn’t been overshot, and it doesn’t have much money which can (ironically) be liberating.
WHAT: On The Bright Side
WHERE: Esplanade, Perth
The iTunes generation was out and about, as On The Bright Side took over the Esplanade with a day of fun, music and the band that changed the decade.
Opening acts, The Middle East and Bluejuice may have been missed by many, as the line to collect tickets was rather large. I missed them because it was Saturday morning.
Hot Chip played a short but interesting set. This is a band that has been around awhile and they play their fun time party tracks with a lot of professionalism. Crowd favorites, Over and Over and Hold On echoed within the single tent stage to an appreciative and growing crowd; a crowd that knew the singles and ran to hear them when those singles dropped. On the down side five songs is not much of a set from a well-respected international band.
From professional and talented, to completely woeful and pointless; Art vs. Science. A fifty-minute set which had not one single redeeming quality. They make music by numbers, everything seemed contrived and by the book looking for a set reaction by a crowd that unfortunately lapped it up. They have energy but energy doesn’t write you a decent song. They rely on stupid and aimless clichés, basic chord progression and the same drumbeat in every song. If you were fifteen and had copious amounts of chemicals in your blood you may have enjoyed it, if you’re not I hope you walked away.
Thankfully Band Of Horses are one of those true American bands, in the vain of The Traveling Wilburys and The Band. Standing before a crowd looking to party, they produced a set that drew the energy level down but in no way let down the crowd.
Older favorites, There’s A Ghost, No Ones Gonna Love You and Ode To LRC, along side newer tracks Loredo and Factory were highlights. This band writes songs not to impress but to entertain and enlighten.
Considered by some as Australia’s answer to the great American band Angus and Julia Stone stepped up next. Full of innocence and true talent, the siblings played a subtle almost subdued set. Big Train and the slowed down You’re The One That I Want brought the crowd to them but they seemingly struggled to maintain a level of energy and intrigue perhaps needed at the later time slot.
Every now and again a band comes along who garner a hell of a lot of success off one or two singles. Mumford and Sons are that type of band. Of course they played the song, the fucked it up song and the other one, The Cave and the crowd enjoyed every single moment, dancing like they had never heard it before. That is the beauty of this band, they know how to arrange a song to get people moving and singing and they play those songs very, very well on stage.
It was some of the quieter moments incorporating a brass section and strings that really made this set. Dust Bowl Dance is a beautiful song and hearing it belted out within a packed festival tent was something even a cynical music snob could enjoy.
To The Strokes and a return to 2001. From the onset this Manhattan garage band played the songs that the ten thousand strong audience wanted to hear: New York City Cops, Hard To Explain, The Modern Age, Is This It and the quite brilliant Someday.
The Strokes were all there and they were all played with absolute perfection. Finishing off with Last Night before returning for a quick fire encore, saying goodbye with Take It Or Leave It. You could argue that they were half an hour short for their allotted time, but they are a garage rock band who play three minutes songs, an hour of dam good music was more then enough.
©Chris Wheeldon. 24th July 2010.
Click on an image to see full size. All images by Nicole Norelli