September 2008

nude
and other highlights
of the Edinburgh Fringe
 Jim Jeffries
reviews by
Hammered
Ian Phillips

J
im is pissed. He’s in a shouty and belligerent mood; which is
relatively par for the course. He’s also been fed tequilas be-
forehand by some of the punters; which isn’t.
Jeffries is a contradiction. Huggably vulgar; he comes across as
aggressive and gentle, assertive and fragile, angry and sensitive.
He carries a strong sense of right and wrong, despite the rape gags
and the hostile gender politics you get that sense that he really just
wants to love and be loved… But just as you start to consider this
he remembers himself and asserts that he really just wants to fuck
and get fucked. Whilst he does have strong and noble principles,
he firmly believes they should never get in the way of what his dick
wants.
He’s got a bit of a rant on this year, demoting his trademark dirty
stories to a supporting role; he casts his unforgiving sights upon
religion for much of the gig. It’s an easy target, but one that Jeffries The Edinburgh Festival Fringe is the world’s largest open arts festival. 2008 saw an
attacks with relish. The audience are keen to follow. estimated 18,792 performers appearing in 31,320 performances of 2,088 shows in
Shrieks of disbelief fill the auditorium. Upon opening the show 247 venues… and 350 of the 2,088 shows on offer were absolutely free.
Jeffries asks what proportion of the crowd is seeing his act for the This year’s Fringe offerings originated from 46 different countries. 838 shows were
first time (his usual material isn’t really welcome on television or ra- World Premieres.
dio), it’s a large number, and this fuels him. He takes every possible This year saw the launch of the Edinburgh Comedy Festival with more comedy tak-
opportunity to surprise and alarm the audience, dropping shock- ing place on the Fringe than ever before. Acts appeared in tons of different perform-
bombs left, right and centre. But despite his eagerness to repulse ance spaces including huge concert halls, Portakabins, cellars, a caravan in a car
and offend, he manages to make himself a very welcome abrasion. park and even a swimming pool.
A loveable cunt. As usual, magazine was there for our annual Fringe Binge… we laughed, we cried,
we sweated profusely (some of the venues get very hot and have little ventilation!),
we stayed up late, we slept little, we drank, we ate (some quite dodgy fast food), we
got picked on by stand-ups, got danced with by randoms, shouted at, rained on (a

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his import from Israel made its UK debut at lot), we queued, booed, stewed and loved (almost) every minute… Here are just a
the Fringe before setting off on a nation(s) The Aluminum Show few of our highlights…
wide tour. Filling the Pleasance Grand
Extended reviews and further coverage at: thenationalstudent.co.uk/fringebinge
with silvery shiny wonder, it was easily one of the
big talking points of the festival. Pipes prance and ducting dances

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in this visual splendour. It certainly is a feast for the eyes and
the soundtrack doesn’t disappoint either. As though that wasn’t d Byrne is a big venue man these days, huge venue in fact
enough, there are also tactile pleasures to be had! and he certainly deserves to have reached these heady
It’s a stunning spectacle; for the majority of the show, the alu- heights. Addressing the vast hall, smartly suited on a large
minum (aluminium goddamit!!) has a life of its empty stage with a radio mic clipped subtly to his tie, this is a
own, bopping pipe-people strut about the stage far cry from the Fringe intimacy that I’m accustomed to but Byrne
together with cutesy little offspring that herald a does little to sustain any feelings of separation, he engages the
wave of condescending awe (and arrs) from the crowd as though it were a much smaller space and when someone
audience. Don’t doubt that you could fall in love pipes up with an interjection from a few rows back he un-flinchingly
with a metallic slinky, ‘cos this show will prove engages with them and interacts with complete ease, his flow un-
that you can. affected.
Later on we get to fully appreciate the energy The notion of class forms the basis of this show, predominantly
and flexibility of the dancers through sequences focussing on reflections of pigeon-holing him-
that shield them less from our view as they in- self by assessing his own actions.
teract and manipulate the pipework and foil from As a newlywed, his recent marriage fea-
which the show gets its title. tures strongly, the long-winded build up
The sights and sounds are wonder enough, of proposal, planning and preparation
but The Aluminum Show doesn’t stop at that. providing him with a great
Aided by hefty industrial wind machines and wealth of material and some
leaf-blowers pilfered from a giants’ garden shed, particular highlights.
those sparkly pipes come right out at you, across Byrne holds skilful mas-
and over the crowd making this an enchant- tery of the stage presenting
ing, all-inclusive experience and an undeniable a steady show full of strong
showstopping treat for all ages. and well-received comedy.
It’s fluid, charming and witty.

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ea and Cake return doubled in strength
and number. They bring extra helpings Ed Byrne
of everything in their second year at
the Fringe, lashings of joy and a huge
Different Class
dollop of depravity.
Last year Lauren Shearing and Tiern-
Tea and Cake
an Douieb introduced their very special Jonny and Joe
brand of smiling immorality, this year Tea and Cake II: In The Gateau
The Jonny and Joe Show
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they’re joined by Sam Bern and Mat he aforementioned show of Jonny
Wandless enabling the team to further and Joe is a slapdash affair. By the
explore their perspective with more activity, halfway point the stage is littered
vigour and energy. At face value, it’s lively, with paper and props – casualties from the
cheery and energetic stuff, but scratch the sketches that have gone before. Even the
surface and you find the wealth of obscure chairs they use throughout the show are bat-
pain and suffering they can’t seem to help tered and torn, this is not a sketch show with
themselves but revel in. Andrew Maxwell pretence or airs and graces, this is home-
Their characters thrive on harshly abusing Andrew Maxwell’s Supernatural spun and shabby like a warm old jumper.
each other, with rejection and betrayal playing Jonny is eager, slightly smug and a little
a major role in many of their sketches. They bit camp, Joe is stiff, bothered and delicate.
also like putting on hats... And quite right too. Together the pair are warm and engaging;
their youth adding considerable appeal to
their approach. Their relationship and style
is reminiscent of Fry and Laurie, well-man-

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pending time in the company of Andrew Maxwell just makes you nered and chummy but endearingly dys-
want to be his friend. You can’t help but yearn for a time when you functional.
can call him up after a shitty day and go down the pub together. Swiftly passing from sketch to sketch, with ongoing linkage as them-
He’s a beautiful medicine for a dreary life, always on hand with a witty selves (as if they ever really stop being themselves) the pair create a
anecdote or a wandering yarn. randomly blemished comedy landscape, nothing is perfect, everything
His cheery loveliness is encapsulated in the happy chuckles that spill is slightly untempered.
out as he performs. You can’t take these escaped giggles as conceited This double-act are carving their own niche in sketch comedy, incom-
or self-satisfying, he’s just having a good time, enjoying his job and tak- parable to any of their contemporaries. We’re sure to see a lot more
ing great pleasure in having an audience to bounce off. He revels in his of this great comedy pairing, and that is a very reassuring prospect
craft and it’s a joy to see. indeed.
 M W
usic, slapstick, cross dressing, an iceberg and the big- atson and Oliver just get better and
gest dancing peanut on the Fringe; there’s something better. Their wild fancies and cheeky
The National Student’s for everyone in Pluck’s latest offering! comedic playfulness continue to tread
The skilled string trio present a collection of tunes we know new ground whilst dancing joyously through the
Fringe coverage is and love in a comedy tribute to the famed musicians who played traditions of two-hander sketch comedy.
supported by: on as the Titanic sank. It’s a slightly silly yarn that they spin but There is not one dud, not a moment that misses
a very lovely one. A young lady disguises herself as a bloke in the mark as they throw themselves wholeheart-
order to sneak aboard the ill-fated ship and be with the man edly into their (often obscure) characters and
she loves. This particularly pleasant plot serves well in holding situations – their very animated faces, physicality
together many wonderful set-pieces where the performers show and vocal abilities are pushed to the limit, never
off their considerable talents and play about. reserved or restrained for a second. At times they
If you’ve ever wanted to see people playing violins while slip out of sketch personas and into characteri-
putting up deckchairs then this is the sations of themselves, reminiscent of a French
show for you! and Saunders approach to self-mockery and the
Pluck conceit that behind the performances and profes-
The Titanic Show sionalism of the partnership, a bitter and stubborn
rivalry bubbles away.
This is a master class in double-act perfection.

Watson and Oliver

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ell there’s a title that’ll grab your attention. It’s caught a fair bit of press at-
tention too, much to Laurence Clark’s amusement. I’m reluctant to label it
as such but this will be pigeon-holed as issue based comedy. As a stand-
up, you draw upon your life and experiences to feed your material. Comics often talk
about their nationality, gender, sexuality or race, but with Clark and his cerebral palsy,
it’s more of… well… an ‘issue’. Despite this, Clark brushes off any suggestion that his
role is to raise awareness, he’s a comedian, it’s his job to make people laugh and he
certainly does that… a lot.
You can’t escape from the facts though, watching Clark perform is a different expe-
rience, it demands a little more concentration in order to catch every word, and tough
shit, as Clark would say – there’s nothing he can do about that.
Through video inserts of prankish behaviour on the streets of London, Clark toys
with the general public and their preconceptions of a man in a wheelchair who can’t
speak properly. These clips follow a simple premise but consistently amuse and en-
tertain. Clark is tremendously cheeky, jabbing away at society’s sensitivities; teasing
and testing those who misguidedly mean well.
Clark is a stimulating, witty, intelligent and genial host who’ll compel you to examine
yourself and others; a genuine pleasure to spend time with.

P
hil Kay just rolls with it. Constantly receptive to any influence, more than any other come-
Laurence Clark dian around, you truly never know what you’re going to get from one second to the next.
Able to find joy and pleasure in everything, for Phil Kay the glass isn’t just half full; it’s
Spastic Fantastic! positively overflowing with beauty and wonder. Where mere mortals like us can’t help but allow
our lives and energy to be deflated from time-to-time by the things life throws at us,
Kay is ceaselessly overjoyed by life’s hiccups and blemishes.
He’s a free-wheeling livewire of comedy, overflowing with instinctive wit and bizarre Phil Kay
mental digressions, unpredictable to the end.

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att Green looks really young (perhaps twelve?), but he isn’t (he’s twenty- A Phil Kay show is all about impulse, and this can come from anywhere. It would
nine). So this, his debut show, focuses on how we all from time to time find only take something like a sneeze from the third row and he’d grab his guitar and launch sponta-
ourselves being treated like children. neously into an improvised song about nasal passages.
His set encompasses a range of topics taking in nanny- Phil Kay is the pinnacle of comedy excellence; you’d have to search a very long time to find
state warnings, dad pranks and sperm samples along the anyone on a par. In fact there simply isn’t anyone. He’s peerless. He lives and breathes this stuff,
way. He completes his show by revealing to his audience throwing his heart, soul and entire physicality into performing. Embracing life at every turn, he
exactly why he looks much younger than his years, and does nothing by halves. No-one does joy or sorrow like Kay. No-one does anything like Phil Kay.
in choosing to take this path he guides us in a rather seri-
ous direction. It’s not easy to derive laughter from talk
of ‘the big C’ and Green adequately recognises this. He

C
handles the self-imposed challenge well and doesn’t let
Matt Green ripes oh crikey! An acrobatic comedy country and western burlesque duo
the subject matter distract from the fact that this is a com- Grow Up Green no less. Not something you come across everyday… although some of
edy show. their close friends and relations probably do!!
Green has made a bold and brave choice in taking that This is a truly unique act; sassy, sexy and fearless - in choosing to join their
path in his material, and why not quite frankly, it’s his life, frivolity you’re truly running the gauntlet. There is every chance you may find
of course he should talk about it and he manages the yourself on stage with them. There is every chance you may find yourself wear-
task agreeably. ing their clothes.
Green holds the audience admirably, displaying a con- Burlesque acts have become increasingly popular and mainstream lately, but
siderable talent and ability. We can expect to see much no-one does it like the Wau Wau Sisters. Why take your clothes off yourself when
more of this youthful faced fellow. there is an audience to do it for you?!
With slightly incestuous undertones, they climb upon, grapple, stroke, lick, kiss
and manoeuvre
each other through

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an astounding
here’s a certain type of smile you get when you leave a Terry Saun-
show full of spec-
ders gig. That indefinable smile of fully-enveloping gentle satisfac-
tacular silliness,
tion. You want to hug strangers and do one of those happy jumping Terry Saunders seduction and
sideways foot clappy kicking things (whatever they’re called) as you wan-
der off into the sunset. Figure 8 songs. When they
launch into their
Saunders has created a very unique style, something bril-
big show-stopping
liantly fresh and simple, and no-one else is doing it. His mix of
routines, the acro-
stand-up and Jackanory story-telling is distinctive and wonder-
batic expertise on
ful.
show is positively
Armed with a bed sheet and a projector (plus an easel this
jaw-dropping,
year – no expense spared!), Saunders tells meandering stories
and for many of
of often lonely individuals; misfits and outsiders, and he shows
the blokes in the
us how they can find love and warmth in an unkind world. Aided
audience their
by his own projected illustrations his storytelling paints beauti-
jaws have already
ful pictures of humanity and destiny that would melt even the
dropped as far as
coldest of hearts.
they’re ever physi-
This year’s offering introduces Trevor; a man cursed by vi-
cally capable of
sions of other peoples’ futures, and of Adeline the girl he loved
going.
and lost – the girl without a future. It’s magnificent and charm-
ing and funny, Saunders’ broad narrative brush strokes sowing
seeds and laying down loose ends throughout the tale leaving
you yearning to discover the resolution. Then in his trademark
Jon Appleyard

style, when the many strands of the story finally come together
its all so wonderfully fulfilling.
I want my very own Terry Saunders. I could keep him in a cup- The Wau Wau Sisters
Don Spiro

board (a nice comfy cupboard, I’m not an arsehole) and bring

him out at bedtimes to tell me stories. You’ll want one too. After-Party
 Dan Antopolski

M
att Lucas and Catherine Tate have both made enormously popu-
Penetrating Gaze lar contributions to the world of comedy by lampooning chavettes
but we are yet to see a main-
stream parody posterboy for their chavvy

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an Antopolski has undergone ‘the change’. You male counterparts. Lee Nelson could well
see this happening to comics quite often, it hap- be that man.
pens at different times in their careers, its often Perfectly attired for the role, Brodkin
reflected in their manner and attitude on the stage, but takes the stage for an hour of stand-
its always most evident in the change of direction in their uppy banter in the guise of Lee Nel-
material. They can’t escape ‘the change’ or skirt around it son – baseball-capped and dressed Simon Brodkin
in three-quarter length Adidas tracky
no matter how hard they try. It’s triggered by parenthood.
bottoms he looks every inch the
is Lee Nelson
When your job centres around talking about your life
experiences it’s inevitable. It’s quite fascinating to observe despicable tosspot benefits-leach,
really, particularly with the blokes, it’s a bit like some kind right down to those little touches of
of stand-up puberty occurring. Elizabeth Duke bling.
Antopolski’s wily tangential approach and sense of sur- Nelson is so cheery and personable
realism is still intact but his routine now includes views that you actually find yourself warming
and observations on fatherhood. These family focussed to the character despite all his loathsome
meanderings still carry a clear Antopolski vibe but it is qualities. Lee Nelson has an eagerness
clear that this is a fairly different person we now see hold- and dumb fascination for the complexi-
ing the mic. ties and diversity of society whilst happily
Amidst the usual joys of Antopolski’s skew-whiff view making no constructive contribution to it.
of the world, he has become partial to a bit of rapping in He is so endearingly reckless and stu-
his act. These moments are an absolute delight, superbly pid; Brodkin brings the character to life
written with brilliant timing and delivery. with such astute ignorance and truly exposes just how two dimensional the
It’s quite right and fitting that he is partial to donning a catchphrase dependent Vicky Pollard and Lauren Cooper are.
cape; he is after all, a bit of a hero.

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ill and Greg are heading for greatness, which is fitting es he is… and he’s one of the best ones we saw

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because they’re pretty great. Their sketches range from this year. Mohammed injects the solo sketch genre
anielle Ward is the second most achingly uncomplicated to the beautifully absurd. Their
famous person from her school, with exciting elements of interactivity and his speed
genius is marked out by the sheer simplicity of their police interview
and energy is striking.
and her placement in this most sketch (an astonishingly straightforward yet brilliant idea) or the fact
revered of achievement charts is sure to He kicks off at an unrelenting pace with rapid character
that one sketch basically just consists of them counting to ten but
switches and lighting cues. Then it all starts to become quite
rise in the very near future. On the sub- works like a dream.
ject of one’s past catching up with you, uncomfortable, but
They’re an impressive partnership, highly skilled and incredibly tal-
luckily not for us.
particularly in the internet age, she revels ented; the powers that be in TV-land have recognised this and with
in the amusement of Facebook profiles of Zoe Gardner joins
a Comedy Lab episode (Blowout) already under their belts, they’ve him to take on the
old school acquaintances and finds delight also now clocked up an episode on Channel 4 in their Generation
and amusement in the curious statements role of candidate
Next season with ‘The Incredible Will And Greg’. These chaps are hot
and victim in a very
and behaviours of others. property and won’t be performing in Portakabins for much longer!
Working regularly as a writer on radio unconventional job
Will and Greg are tremendously likeable and through the subtlest of
interview with plenty
shows, and developing a career as a com- darting eyes or twitching smirks
edy panellist with a growing number of ap- of cringe-inducing
they develop a keen rapport with
moments of silliness
pearances on television, she has a strong their audience. Not too immersed
passion for topicality. Ward keenly reflects where you just want
in their work to show that they’re
to rescue the poor
upon current events in the news enjoying themselves, they are
displaying her reassuring re- lass.
clearly very good pals and aren’tMohammed’s im-
luctance to cling to practised afraid to let a little bit of corpsing
material. She makes no pressively clever
slip through the veneer (but quite
finale turns the
apologies for responding to frankly who can keep a straight
recent events off the cuff room into a para-
face when they’re having a Tun-
psychology lecture
and her skill and talent nock’s Tea Cake shoved in their
means she certainly and our host seeks
mouth!?!) which only serves toto discredit the no-
doesn’t need to. make them even more likeable.
She’s definitely tions of ESP and
one to watch, a mind-reading. Nick
big name of the Mohammed is a
future. character comedian but he’s also a magician and the
Nick Mohammed situation is amusingly turned on its head as an audience
Is A Character Comedian volunteer is exposed as a witch.
Sharp, clever, creative and very funny.

A
Will & Greg ndrew Lawrence has mellowed considerably compared to previous
years/incarnations (he’s not singing about eating his mother anymore!),
Danielle Ward A Sketch Show but the fear factor is still
Danielle Ward In Glorious Technicolor there bubbling beneath the surface.
He is much less scary this year, but Andrew Lawrence
when the bilious rants do come out Don’t Just Do Something, Sit There

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dward Aczel (winner of the 2008 Malcolm Hardee Award for comic originality) is an to play you get the sense that this is
anti-comic. This has to be one of the bravest stand-up performances I’ve ever seen. just a dormant volcano and death,
Beneath the ineptitude and overwhelming lack of effort, Edward Aczel is flying by the destruction, fire and rage will always be threaten-
seat of his pants. He’s taking his life in his own hands, and he doesn’t seem to give a toss. ing to strike when the mic is in his hand.
Every moment you’re expecting him to fail and die a miserable on stage death, but some- Lawrence has always traded heavily on self-
how he doesn’t. It shouldn’t work but it does. It’s awful deprecation; well to be frank (but perhaps a little
but it isn’t. unfair) he’s got a lot to play with in that area. Being
Aczel’s forlorn dead-pan delivery perfectly suits his im- ginger, pale, gaunt and slightly squeaky he knows
age. Chubby, shabby, scruffy, balding and weary; he’s a exactly how to attack himself before he sets his
walking talking shrug. sights on other victims.
Moments of slight discomfort fill his act as the audi- When he does fall upon a topic, people or per-
ence don’t really know how to receive Aczel. He prac- sons that rile him he launches off into long streams
tically encourages revolt by pushing the crowd further of hateful phrases and adjectives. It becomes
towards a feeling of disappointment. By the end you’re rather poetic as he stares almost trance like off
left a little dazed, completely unsure of whether that was into space, lost in the rhythm and catharsis of his
a well-pitched and very clever show or just an indolent seething revulsion. When he eventually comes
mess. I promise you it’s the former of the two. Aczel’s act round he seems slightly inclined to excuse his mo-
is a tight-rope walk from start to finish and it’s amazing ment of possession before resuming in his newly
that he never loses balance. found amiable and approachable mode.
Edward Aczel is one of the most daring and intriguing Lawrence is an inspired performer who gives
comedians around today, a brilliant contrast to all those you a reassuring sense that his material and de-
that show you how hard they’re trying. He’s working ten livery has been painstakingly tweaked, measured
times harder than most but you wouldn’t have a clue. and tested. His current choice of direction must
surely be a sign that he has set his sights on a
wider appeal and larger audiences but whatever
Edward Aczel he does next you can be assured that it will be
stimulating. Lawrence may have started purring,
Do I Really Have To Communicate With You? but he hasn’t lost his bite.
 Josie Long

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ichard Herring is a stalwart of Fringe comedy, an old hand. This year he delved
into his rather unfortunate childhood scholastic circumstance; his headmaster at All Of The Planet’s Wonders (Shown In Detail)
school was his dad. It’s such a veritable goldmine of comedic opportunity that
Herring can’t understand why he’s not gone here before.
It’s an impassioned set with Herring pleading for sympathy. He admits that despite
the headmaster dad thing, he had a pretty good childhood, and that he feels was
wrong. He calls out for understanding; his upbringing was unjust – it’s not easy
not having a hard childhood to blame.
In the arguments and comparisons he lays down in this plea Herring
dances gleefully on the boundaries of taste and decency. This isn’t just
shock tactic comedy like some of the [ooh-look-at-me-I’m-being] ‘offen-
sive’ comedians might employ; this is cleverer than that. He deliberately
taunts the audience with his material, testing their judgement by crossing
the line and then proving he hasn’t. No-one knows how to take it – is it ok
to say these things? The things he says should be completely abhorrent,
but they aren’t because they’re not, but they feel like they should be… oh
god it gets confusing. Uncertainty fills the room and Herring revels in it.
It’s an accomplished show from this
comedy veteran and comedians half
his age should take note. Richard Herring
The Headmaster’s Son

Jon Appleyard
Y
ep, Michael

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McIntyre.

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love a good quest. This is one of those charming
No theme, ith little to do during the day, many stand-ups find
documentary style comedy journeys where the per-
no subject matter, themselves at the mercy of their games consoles.
formers’ passion for the subject matter sweeps you
no title, just Michael Not Josie Long. She is embracing enlightenment.
along into an eager supporting role. You can’t help but
McIntyre. And that’s Fascinated by knowledge, she finds herself exploring a world
become absorbed by the ride, willing him to succeed,
all you need to fill of wonder and fascination.
wanting to lend a paddle.
the theatre frankly. She is attracted to big ideas, the huge unfathomable con-
Horne wants immortality. A modest aim if ever there
The man who’s cepts that shape our universe, but once she has latched upon
was. He wants to live forever within the pages of the
been likened to such ideas she can’t help but translate them to the everyday
dictionary; he wants to spawn new words. His energy
a noughties Bob and mundane. Her wonderful wit and imagination fills every
and enthusiasm for the weighty task he’s set himself is
Monkhouse has moment of this intelligent show.
unabashed and he’ll leap upon each and every opportu-
enormous wide- Long’s approach to comedy is a refreshingly creative one;
nity to slip his foetal words into the media - he leads us
reaching appeal. Michael McIntyre eagerly through months of unrelenting word planting…
her use of props in this show is delightful and ingenious. The
Michael McIntyre obvious time she’s spent preparing items with felt-tip pens,
what he fondly refers to as verbal gardening.
always gives an card and glue add to the sense of reassurance that this show
As with any truly engaging comedy quest, the peaks
excellent perform- has been constructed with a care and passion many comics
and troughs of
ance, ceaselessly can only aspire to.
his journey have
slick, forever fault- Its homemade comedy, put together cross-legged on the liv-
the audience
less. You could ing room floor and therein lies its beauty; its gripping, fascinat-
sighing forlornly
easily dismiss this ing and a real genuine pleasure.
and cheering at
brilliance as being well-rehearsed and finely tuned, every turn.
but this is a live and unpredictable medium and This was
you have to dismiss such dismissal the moment enormously
he goes off script. When opportunity or circum- Alex Horne captivating fun,
Russell Kane

U Gaping Flaws
stance instigates an adlib or complete digression nable to stand still for
he proves his absolute control of the stage and the Wordwatching with strong tim-
a second, he writhes
ing and brilliant
mic. He doesn’t hold a mic, I should add, prefer- humour. about the stage bend-
ring the head-mounted radio mic approach, thus Well worth the ing, twisting and convulsing. His curious gurning abnor-
allowing him to make the best of his very animated honk. mality is a beautiful thing though, as his show ‘Gaping
delivery. Flaws’ seeks to recognise. Perfection is not to be
It hardly needs saying, as McIntrye sold out, had trusted.
extra shows added and sold out again, but he’s In this lively, manic show, Kane takes the well-
quite plainly one of the very best stand-ups working worn conceit that Brits embrace the faulty and fear
today and absolutely at the top of his game. the faultless.
There are plenty of easy targets within
this fast paced set; comparisons between
American culture and our own for example
Ivan Brackenbury are staple ingredients but enormous fun
Ivan Brackenbury’s Hospital Radio Christmas Show nevertheless. But it is when he touches
upon racism and bigotry that Kane reveals
a little more of himself than we are used to

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seeing. He seems almost cautious of ex-
made a terrible error last year. With so
posing too much of his own ideology for fear
many shows to choose from, it’s impos-
of distracting from the frivolity of it all, but
sible to avoid random details influencing
he can’t not take a stand. Good for him too.
your choices. I am zany intolerant; this has
He recognises a grim future unless we act
been clinically proven by proper doctors and
to prevent the rise of intolerance and during
everything. So with my own personal health
these moments we see an aspect of Kane
and well-being in mind, one glance at the pro-
that is often shielded by silliness.
motional image for Ivan Brackenbury’s Hospi-
This year we’ve seen a growth in his talent
tal Radio Show sent me running for the hills.
and ability, he is insightful and his jerking, flailing physicality is unrelenting
I was a fool, a stupid fickle, flyer judging
as are his breathless speech patterns - he barely pauses for a moment.
fool. Will I ever learn my lesson? Probably not.
It’s a well polished set; ‘Gaping Flaws’ marks Russell Kane’s stand-up
Thank god Mr Brackenbury is back and this
ascendancy and for us he was very well deserving of his If.comedy nomi-
year I finally had a chance to see what all the
nation, which for him, as a lover of imperfections, must be terribly upset-
fuss was about.
ting.
Broadcasting live from the Fringe to his bed-
ridden listeners back in Chesterfield Hospital,
the ruthlessly hewn portrait of “I’m bonkers me”

T
volunteering invited us to become his ‘posse’ his is physical comedy jazz-rock fusion. Wild, unpredictable, bizarre, frenetic
for the day’s show, and it took little time before and occasionally confusing… actually lets make that often confusing… but in
all assembled were whipped up into a whoop- a good way.
ing and giggling frenzy as the broadcast un- With so many characters and only the two of
folded. them performing (Mark Chavez and Shenoah
Ivan Brackenbury (Tom Binns) is brilliant. Allen), the pyjama clad pair frequently deliver
The characterisation is faultless and Brackenbury is translated through Binns’ entire physicality. A very lines and then spin around or dash across the
simple but brilliant joke runs throughout the show as Brackenbury plays inappropriate dedications and stage to respond to themselves. It’s a bit of
tinkers with his jingles. So to speak! Its concept is so devastatingly simple but its execution shows con- a blur and there are so many delightful mo-
siderable technical prowess. ments and strands but a personal favourite
Sometimes you’re ahead of Brackenbury as he prepares to drop his next horrific funny-bomb, at other was their exploration of the complexities and
times, no matter how hard you try, you just can’t see where he’s going and he completely catches you by pitfalls of life without thumbs.
surprise. This is half the joy of the show as you mentally play cat and mouse with his material. Pajama Men
It has to be the best hour of live character comedy I have ever seen.
Versus vs Versus
W S
ith a large, clever and intricately manipulated set tephen K Amos can fill a rather big room, and oh boy
complete with spongy floor and padding in all the can he command it. He handles a large crowd like a
right places, Frank Woodley throws himself (quite true pro, managing laughs, chuckles, murmurs and
literally) into a masterful display of physical comedy. even boos with expertise.
He plays Louis, a kindly This year’s offering ‘Find The Funny’ en-
loner, who finds his body Frank Woodley courages us to seek out the humorous in life. Stephen K Amos
possessed by the ghost of a With more impending doom approaching in
young lady called Phoebe. Possessed various inescapable forms; it’s a pretty well Find The Funny
Woodley deftly flits between advised survival technique that we should all
the two characters signalled consider employing.
by swift changes in tone and Amos invites (or should that be volunteers) a member of
accent. With a sense of ghost- the audience to tally up the laughs in the show. On this occa-
ly spookiness in the air, his sion his choice of ‘volunteer’ slightly backfires as the elected
basement flat begins to take giggle-counter takes it upon himself to also tot up the number
on a life of its own and parts of of times Amos laughs at his own jokes, and its not that small a
the set swing and swipe at him number by the time we reach the end.
often threatening a hefty blow Despite being achingly mainstream these days, at times,
to the head. The timing and Amos treads a very fine line. He crosses this line occasionally
accuracy of such sequences and I’m not entirely sure that he is aware that he’s doing it
is sheer wondrous pleasure until he hears the reception his comments receive. He always
and shows the immense skill handles this well though and rescues the moment within sec-
and cohesion of Woodley and onds. But personally I do find some of his approach on racial
his technical team. topics to be slightly misjudged, unhealthy and old-fashioned.
Alongside the fabulous Nevertheless this is a joyful show, full of fun and brimming with
physical knockabout set-piec- laughs. You even find out how many.
es, Woodley litters the show

Claes Gellerbrink
with poignant interactions
between Louis and Phoebe

S
as their curious relationship tephen Grant should be
builds, plus a delightful little a household name by
musical number as he takes now but the cookie just
on yet another character. hasn’t crumbled
‘Possessed’ brings awe- favourably for
some clowning, supreme slapstick and constantly impressive him or us for
physical expertise with surprises at every turn. It’s an abso- that matter.

T
lute joy to behold. He was his was a truly exceptional show from The
almost a Pros From Dover (a M*A*S*H reference in
Top Gear case you were wondering – they’re not from
presenter and Dover!) three

N
ude is the title, and that’s exactly has his own unique men with an
what you get. Naked men… yes take on that (Richard Ham- impressive
mond using his own head as comedy pedi-
proper naked men, being na- Nude a plough) infamous accident. gree. They
ked, with no clothes on and everything.
The audience are welcomed into a He was also very nearly in The Office, can’t help
life-drawing class. Before long there it and he can’t even get himself to the top subverting the
is... Body hair, bell-end and bollocks; of Google search results for his own form, but not
male genitalia in all its dangling glory. name… he comes second – thanks to a in a conceited
Shrieks of disbelief and titters of embar- murderous American namesake. or audacious
rassment scatter the audience, and then Grant has plenty to say about coming way, rather in
it’s down to business. second and all forms of things labelled a warm, intel-
What goes through the mind of a nude secondary and the incredibly witty in- ligent and wel-
model in a life class? His inner mono- spired material never lapses. There are coming fash-
so many wonderful sequences in this ion that makes
logue is revealed as he struggles with
tightly packed hour: an interactive warm- you feel im-
The Pros From Dover
the insecurity of being on full show and
scrutinized. This then moves on into the up computer, the postal service, inven- mediately re-
wanderings of a mind simply left to pass tions, second class travel that isn’t called assured and
the time, holding the pose. second class, sporting failures and un- comforted
Rivalry rears its ugly head (if you’ll ex- derpaying bills – its no wonder he needs by their ap-
cuse the phrase!) when another life mod- a towel on hand to mop his brow. proach. Every sketch brings something new and
el enters the class and the two men find Stephen Grant is dependable, intel- different, attacking the sketch format from all kinds
themselves pitted against each other. ligent and really bloody funny. I’m look- of inventive angles. You just can’t help thinking “oh
It’s a brave performance from Owen ing forward to his show next year, as he that’s clever”… And it’s very, very funny too.
Roberts and Ciaran Dowd, and an as- promises that by then he’ll be legally al- There were so many highlights in this show; a
sured debut for them as a writing part- lowed to talk about his divorce!! Star Wars driving lesson in German, a sketch per-
nership. It’s an impressively uncommon formed half-staffed and the breaking of bad news.
show and quite unforgettable. Stephen Grant But my personal favourite (a press conference for
a crash survivor) was a gorgeous slow-burner that I
Second simply can’t bear to divulge any more details of (for
fear of ruining it if you happen to have the pleasure
Barry and Stuart of witnessing it yourself!), it grabbed you from the
start, then unfolded steadily and brilliantly.
Part-Time Warlocks This is fresh, brilliant, exciting and inspired vir-
tuoso sketch comedy.

T
here was a fair old bit
of magic on offer at the Doktor Cocacolamcdonalds
Fringe this year, and it
all gets slapped together un- Badly Ranted Thoughts Via The Magic Of Song
der the label of comedy, yes
there’s funny patter in and

W
around the tricks but they e’ve raved about him at various festivals for the last
shouldn’t all necessarily be three years and he’s finally and quite rightfully getting
labelled as comedy. These further recognition being retrospectively given the 2007
guys however, properly fulfil the promise of comedy to which they’re filed under, and Malcolm Hardee Award for comic originality.
they’re enormously accomplished magicians too. Its wrong, it doesn’t work and its awful – therein lies its brilliance.
I don’t know how old they are; they’ve been around for quite some time now, but With painted face, colourful pants and little else, Doktor Cocaco-
they still feel like cheeky little scamps – even with Stuart’s new beard. This is magi- lamcdonalds reels about the room knocking his equipment onto the
cians misbehaving, and its fantastic fun. They take great pleasure in toying with the floor and tripping over cables. It’s an absolute mess quite frankly…
audience, and take even greater pleasure in toying with each other. The pair are so and we love it!
much in tune with each other and clearly very close pals; consequently they can’t Admittedly, Doktor Cocacolamcdonalds is an acquired taste. Like
resist digressing from the script occasionally to try and throw the other or simply just lime milkshake, it shouldn’t work but it does. He may well have you
take the piss. putting your face in your hands from time to time; overcome by the
Matey banter and comic fluency aside, they are superb masters of their craft. cringe factor that is inescapable, but it’s absolutely hilarious.
Despite the inbuilt desire to convince myself that I know how each trick is done, His new material continues in the vein to which we’re accustomed,
nearly everything they do is unfathomable. There is plenty to amaze and impress and Ray – Man of Words makes a welcome return with his latest
too, I lost count of the number of tricks performed in this hour (well to be honest I poetic compositions, plus he’s introduced a brand new character
wasn’t trying to count them at all, that would have been ridiculously anal, but you known only as The Month Of January!!
know what I mean!) Unrivalled and as brilliant, exciting and bewildering as ever.
 Festivals 2008
ZOO8 Port Lympne Wild Animal Park, Kent, July 4-6
We’re sure you’ve all heard the stories about ‘Alarm Clock’ and ‘Girls and Boys In Love’
the biggest disaster in festival history (where have the crowd jigging with gay abandon,
no one died). Countless acts pulling out – no but ultimately it’s an unaffecting set one
Dizzee, no Friendly Fires, no DIOYY – hasty can take or leave, with the new material
line-up changes, tents being closed, VIP tent showcased providing more of the same.
sporadically opened to all, complete lack of
communication to the audience and general Delays
disarray from start to finish – welcome to Delays’ set is ironically delayed slightly by
Queue Thousand and Wait. monitor problems but it doesn’t stop them
exercising their crowd appeal from the off.
By the time we’ve fought our way through the They burst into a strong set of indie synth
biblical queues for tickets and camping then pop with showmanship being the key. The
to the main area, only for it to open four hours first to benefit from the full effect of the light
late (due to, it would emerge later, a four- rig in the onset of dusk, they shine live. The
hour sound check from Mark Ronson), the first spots of rain go unnoticed in the fiesta of
overriding adjective is already “shambles”. bouncing from both band and crowd, through
tunes like the joyous ‘Hooray’ and the epic
Fighting With Wire romance of ‘Valentine’.
Eventually the gates open and Londonderry’s
Fighting With Wire are ready to open the Gallows

Danielle Goldstein
weekend with aplomb. With thunderous Having dedicated their set to “a fucking diva”
basslines and growly vocals you’d be forgiven (i.e. Ronson), there are sure to be no such
for mistaking this for early Foo Fighters or antics from these boys. The whole tent is
Feeder as they play a set firmly rooted in 90s turned into a danger zone as they thrash
rock. No synths or electronics here, just an out a whirlwind set of gutter punk fuelled The Cribs
unapologetic classic rock assault to amply test by pure aggression. The circle pit grows
the limits of the main tent’s PA. exponentially as Frank Carter stretches his
vocal chords to destruction through gut-
Dan le Sac vs Scroobius busting tunes like ‘Abandon Ship’ and ‘In the confused. They are instead offered the blues- captures the spirit of the song rather than the
In contrast the electro beat poetry of Dan Belly of a Shark’, standing atop a monitor to tinged rock n roll swagger of Marner Brown. letter, and the band’s philosophy as a whole
le Sac vs Scroobius Pip is heavy on the survey his domain like a skinny, ginger Lord of Most would be daunted by a frustrated and – just play it fast and loud and have fun doing
beats. Opening with ‘The Beat That My Heart Destruction. And just when you thought things sun-baked crowd wondering why they’re not it. Despite the ear-splitting feedback and
Skipped’, Pip’s delivery already has an edge couldn’t get any wilder, Carter encourages Hadouken!, but the Marner boys take it all distortion, when songs are this singalong – or
of anger to it, le Sac’s thumping bass adding the biggest circle of death most have ever in their stride, making the stage their own whoa-oh along, as it were – it doesn’t matter.
gravitas to the message-laden prose. ‘Thou seen for their cover of Andrew WK’s ‘Party before a word is even sung. While the die-
Shalt Always Kill’ of course gets the biggest Hard’, backing the more mild-mannered right hards leave, those desperate now to just see The news has spread by now that bands aren’t
reception, but it’s the super funked-up spoken to the canvas to bear witness to the visceral, anything good are not disappointed. If festivals getting paid and therefore are cancelling all
word cover of Prince’s ‘Cream’ to close the animal scene in front of them. Things are are about surprise discoveries then Zoo8 has over the shop. This combined with Sunday’s
set that inspires the first real hot and sweaty nearly stopped halfway through, but Carter’s managed to get something right by default. driving rain makes it a day for checking out a
movement of this sun-soaked day. Let the not having it, encouraging the band to play on Stand-out track ‘Up All Night’ is a modern day host of lesser-known acts in the smaller tents.
festive part of the weekend begin! and reminding everyone that “we’re not here ‘Ballroom Blitz’, while other parts of their set
to fight, we’re here to party,” proving that it’s evoke the likes of Zeppelin. It’s everything Jet X-Certs
Metronomy not about violence or aggression, it’s about got right the first time and while it may not last, Special mention goes to Aberdeen’s X-Certs,
Metronomy prove one of the highlights, release. By the end a genuine thank you it’s worth checking out all the same. a three piece Scot-rock act singing in their
despite a criminally small crowd and a goes out to the crowd for knowing that and, native accent obviously draws comparisons
complete failure of their characteristic chest- presumably, not killing each other. Hadouken! to Biffy, but such lazy observations shouldn’t
lamps in the afternoon’s direct sunlight. Eventually, after yet more waiting, frustration draw away from the passion and sheer
Their synth-led space rock is epic, catchy, Mark Ronson and sterling work from security who keep the intensity they play with. The singer’s yearning
resplendent with great hooks and eminently Roll up, roll up for the Mark Ronson Showband crowd entertained and watered, Hadouken! vocals bulge his neck veins almost to bursting,
danceable. The boys themselves put in a stoic and Revue! As usual he’s copping a lot of run on stage ready to go. By now the with a sound reminiscent of Taking Back
performance in the Kraftwerk tradition, but it’s shit from the “true music fans” for playing backstage problems are no secret and it’s Sunday’s more epic moments. The highlight
all showmanship one way or another, and by other people’s songs, but the spectacle and obvious they just want to get out and play, comes when same lead singer jumps the
next year they should be much further up the scale of the show is impressive as you’d exploding off the blocks with ‘Get Smashed barrier to take a snare drum into the middle of
festival billings. expect, and with the conveyor belt of guest Gatecrash’. the crowd for the final piece de resistance. It’s
vocalists taking the stage you can see that Replacing the “go back where you came from” an amazing display, and the small crowd aren’t
The Rumble Strips that soundcheck was probably necessary to line with “pay your fucking artists you C**TS!”, exactly sure what to make of it all, but leave
The Rumble Strips give a solid rendition of create this. Highlights include random singer the cathartic release of the day’s delay is knowing they’ve just witnessed something
their brass-tinged indie pop repertoire. The dude’s own song ‘Out of Control’, a cover clear, but they know who they’re playing for, pretty damn spectacular.
sax squeals as Charlie yelps his way through (quelle surprise) of Sugar Hill Gang’s ‘Apache’ not letting backroom politics dampen their
enjoyably light tunes like ‘Motorcycle’, while featuring Scroobius Pip and Rumble Strip’s characteristically riotous stage show. Playing The Holloways
Charlie Brooker giving his rendition of ‘Leap of Faith’, the mist of sweat is visible off The Holloways bring some happiness to the
‘Back to Black’. It’s certainly a bizarre the crowd. A rendition of Prodigy’s ‘Breathe’ main stage – how can we be anything but
scene that harkens back to the old doesn’t match up to the original, but these kids when they bring their infectious, light-hearted
showband days, but ultimately the are willing to go mental for it. Biggest hit ‘That pop into our lives? As if by fate the first clear
majority of the crowd seem to enjoy Boy That Girl’ closes and both band and fans, skies of the day show as they play the first
it. He’s not this popular for nothing, shirtless and sweat-drenched, are glad they’ve bars of ‘Generator’, setting the scene for some
you know. finally got what they were waiting for. skiptastic bopping through equally joyous
tunes like ‘Fuck Ups’ and ‘Two Left Feet’.
The Teenagers British Sea Power They’re the modern day Chas n Dave.
The teenagers are out in force for A less numerous but more mature and sedate
The Teenagers. Opening strong crowd replace the youngsters for festival The Hives
with ‘Starlett Johansson’, front- favourites British Sea Power’s set. Watched by So the weather’s improved, the crowd are
man Quentin Delafon oozes cool the Jarman brothers from the back of a stage suitably warmed up and those that are left are
Gallic charm. He may be above crowded with flags and shrubbery, there’s a lot ready to salvage something of the weekend
the age of consent but he knows of activity going on as they play their glorious by enjoying The Hives. Epitomising the rock
exactly what these kids want, and madcap indie tunes but it’s still ultimately n roll swagger that’s been only hinted at by
sending adolescent girl hormones unremarkable and unsatisfying. other young pretenders this weekend, front-
surging first as he approaches man Howlin’ Pelle Armqvist struts around the
the barrier, and then as he pulls Ash stage while the rest of the band play with an
screaming fans out of the crowd to Ash take things up a gear, exploding in rock energy that the crowd just can’t match. It’s
giggle their way through the female fury like seasoned veterans with a set full of been a long, draining weekend for most, and
vocal of ‘Homecoming’ on stage. By favourites, including ‘Kung Fu’, ‘Shining Light’ Pelle’s faux(?) conceit and calls for clapping
the time ‘Feeling Better’ closes, with and of course ‘Girl From Mars’. It seems an and shouting wear thin pretty quickly. It’s an
this much adolescent flesh throwing age since we last saw Tim Wheeler’s Flying enjoyable set, spanning the last three albums,
around it’s enough to make anyone V guitar raised in anger, but time hasn’t but collective energy is being saved for what
feel old, but this is The Teenagers’ slowed them down one bit, as proven by the everyone knows will be the finale: ‘Hate To
power – the sound of capricious youth; juggernaut chugging of new track ‘Itchy Burn’. Say I Told You So’. When eventually it does
the soundtrack to a long lost summer of Take a note, Hadouken! fans, this is the sound come, the entire crowd’s last reserves are
love. of my youth, and it’s still glorious. used to go bat shit crazy for three last minutes
of cathartic movement as reward for the ordeal
Marner Brown The Cribs everyone has been through.
Unfortunately first day teething problems prove Not nearly as tight or slick, but all the more
to be ongoing as the Tap ‘n’ Tin Tent is closed exciting for it, is the headline set from The If there does manage to be a Zoo9 then let’s
for structural repair due to Gallows’ raucous Cribs. Squealing their way through a set only hope they can learn from the bevy of
performance last night, plus more pull-outs packed with hits, the raw noise is almost mistakes made this year.
Mark Ronson mean a hastily cobbled-together running order indecipherable at times, even on big hits like
leaves the crowd at the main stage highly ‘Hey Scenesters’, but the unpolished nature by Phil Dixon
 Truck Steventon, Oxfordshire, July 19-20
Something feels a little skewed, there’s a weird Noah and the Whale
atmosphere I have never encountered at Truck You have to wonder why indie-darlings Noah
before – I have been queuing in a line of traffic and the Whale aren’t on the main stage. The
for over an hour, and am feeling a little daunted Market tent is filled to bursting. The modern-
by the burly added security (some with dogs) day dandies do a fine-line in traditional folk-
– I contemplate that with it’s growing popularity laments revised in the modern jangly-indie
Truck has lost its freedom and innocence. format. It’s a wonder exactly what the buzz
around this band is all about, folk isn’t exactly
Fonda 500 new and neither is indie, so an amalgamation
Luckily all fears are short lived as Fonda of the two probably shouldn’t get people this
500 shatter any mis-placed doubts with their excited – or maybe I’m missing the point!!
chaotic disco-indie mish-mash. Front-man
Simon burbles, sings and beat-boxes into the The Lemonheads
micro-phone over a mess of rock riffs and The day has gone a little limp and
juvenile electronics. Once again Fonda own unfortunately the Lemonheads aren’t doing
the stage with their complete disdain for the much to remedy that. Them playing classic
mundane. album It’s A Shame About Ray is an exciting
proposition and the tunes sound great, but
Little Fish nostalgia aside, if front-man Evan Dando can’t
The sunny start is soon shadowed by Little be arsed to perform he should have stayed
Fish’s staid, by-numbers alt-rock. Even in at home. Dando plays with all the enthusiasm
the blistering sunshine the two-piece leave and verve of a eunuch at an orgy, and it totally
me a little cold. The angst, aggression and ruins the moment. The band leave the stage on
fiery energy is contrived, pre-meditated and five separate occasions, and mutter ‘thanks’ a
ultimately embarrassing. Little Fish have ticked few times as their only acknowledgement that
all the boxes of the genre but forgot to put a crowd has gathered at all. The advertised
anything of themselves into either their music full performance of Ray is cut short as they
or performance making them a sick parody of miss out the brilliant ‘Rockin’ Stroll’ and decide
the band they wish to be. in their wisdom to skip their only major hit
‘Mrs Robinson’. The great thing about being
Green as a Primary at Truck is the bands seem to be as happy
Green as a Primary sooth with their uplifting to play it as fans are to attend it, it is a rare
and engaging electronic sound-scapes. Laptop event where everyone is happy to be alive…
driven beats and surges lollop over live post- this fact seems lost on slacker-dullard Dando –
rock instrumentation as guitar, bass and piano miserable bastard!
build relaxing swathes of ambient noise. The
performance is nothing to write home about but Mephisto Grande
the music speaks for itself. Green as a Primary A gospel choir brings angelic harmonies to an
act as one of Truck 2008’s exciting new finds. act fronted by a huge man who sounds like
Tom Waits, if Tom Waits had been gargling
Lovvers gravel and started banging out the hard-
Being a fan of grungy, grotty hardcore punk rocking sounds of hell. Like the Birthday Party
outfit Lovvers for some time I am drawn to and Slayer covering Christian songs this
their mid-afternoon set in the Barn for some perplexing act brings some distinct darkness to
antagonistic rock debauchery. They might not the light of the summer morning. Is it good, or
be at their confrontational best but still put is it awful... I’m stumped but it certainly won’t
on a show full of flailing energy and carefree be forgotten.
vigour. Lovvers blast out heavy hardcore tunes
coupled with an intelligent understanding Kyte

Hannah Morris
of engaging melodic hooks. They bound on Nu-gazers Kyte unleash epic ‘cathedrals of
stage, lay-waste to it and leave in perfect punk sound’ during an animated performance which
rock style. leaves no one in any doubt that this band
are extraordinary. Fitting in with the recent
Fonda 500
Rollo Tomassi revitalisation of the shoegaze genre Kyte bring
5..4..3..2..1…Rollo Tomassi are go! Waging surging electronics to the classic template
aural blitzkrieg on the Barn attendees the of complex arrangements - melding earth- morbid air to classic indie-pop twee-ness to exist in their own musical dimension blasting
Sheffield techno-prog-jazz-metal brats sound shattering beauty with neuron-goading noise. form a truly ethereal pop-sound. Like Francoise out blistering electronica, Autechre-esque
like the most violent teenage tantrum ever – if The breathy vocals and subtle percussion give Hardy fronting My Bloody Valentine at an indie- beats pinned to pounding live jazz-metal
you’re going to be an angry teen making angry the whole performance an otherworldly feel. pop gathering. drumming that is both experimentally
teen music it should sound like this. They look Kyte are a living testament to how moving live The ambience is ruined by some knuckle- challenging and danceable. Despite the
like petite, polite indie-kids and make the kind of rock music can be. headed and decidedly sexist heckles, but obvious limitations of the sound-man in
music that will have Christian nut-jobs holding the band being French don’t seem to fully handling the bands complexities this is the
candle-light vigils – all hardcore riffs, pounding Le Volume Corde understand. most exciting thing all weekend.
rhythms and screeched vocals offset by swirling Intelligent French-pop outfit Le Volume Corde
electronic blips and surges. Single ‘Beatrotter’ bring an air of Velvets’ bohemian cool to the Pivot The Nuns
is an insane math-metal juggernaut that lays proceedings. They are a band of random A garage-rock band from a sci-fi future The Nuns are one of those ‘only at Truck’
waste to my ears. juxtapositions bringing a seemingly dark, where the machines have taken over; Pivot bands that make life worthwhile. A female
garage rock super-group (made up of
members of amongst others Curve, Thee
Headcoates and Echobelly) dressed as ‘sisters’
covering tunes by legendary and underrated
60s garage act Monks – nothing could be
better! As the chanting brilliance of ‘Monk
Time’ blasts from the tiny stage the Monks
are recreated in all their glory and it shows
just how ahead of their time they were. They
play the comedy-card brilliantly in between the
chugging, fuzzy nuggets of garage gold. This is
the best sermon ever.

Maps
Maps shoegaze orchestrations now sound
bigger than ever. A vast almost omnipresent
aural tapestry unfolds from the Barn stage
amidst smoke and flashing lights as weird
images flash behind the band. The sheer
intensity of it all leaves me shattered, it’s like
being hit by a musical power shower. In an
explosion of noise they are joined by Ulrich
Schnauss and a member of Chapterhouse
for an extra special and fitting Ride cover and
Hannah Morris

leave the stage with sound reverberating round

the cow shed.

Chapterhouse
Shoegaze legends Chapterhouse make a
short reformation appearance but are cut off by
the curfew which makes the whole thing feel
like a bit of a waste of time – special but not
really worth the ‘special guest’ hype. This is
not a fitting end to yet another wonderful Truck
festival – but you can’t have it all can you?

by Chris Marks
Maps
 Latitude Henham Park, Suffolk, June 17-20
Beast meets man this weekend in the heart and starting a hundreds-long conga line. He
of Suffolk for the three-year-standing Latitude steered it towards the Vegan and Vegetarian
festival. Four-legged rainbows of wool hut where they all proceeded to shout
meander about their pens, checking their “Sausage roll” as Noble crowd-surfed his way
sheepish reflections in the lake and watching, out.
thanks to the weather, clean wellies trudge
past. Headlining the main stage, are Scot-popsters
Through the art-clad woodland Lykke Li can Franz Ferdinand. But unlike the majority of
be heard on the Sunrise stage. A peek through the other acts this weekend, they carry little
the trees reveals her dainty limbs sweeping new material, and though it’s always fun to
vivaciously through the air while her lungs take have a sing-a-long to ‘Michael’ or ‘Take Me
a firm hold of the audience. Now cross the Out’, their set is shadowed in last-minute-
water and you’ll find Robin Ince relaying his filler. They only gain a full field when Crystal
set for the sixth or seventh time this weekend, Castles finish up their volatile performance in
having taken up regular slots twice a day in the forest, with front-woman Alice Glass taking
the literary tent. Then pass the poetry tree and a leaf out of Noble’s book and throwing herself
stumble into the dark of the music and film tent into the hands of the clammy throng.
where Johnny Flynn is reading the Epic Tale
of Tom and Sue between his folk-laden ditties. Day two sees folk-disco sextet, Fanfarlo
Latitude sets out to provide variety to cater for stepping in for a poorly Ida Maria, showing
the desires of the kids that are dragged here off a skill for playing any instrument you lay at
by their music-loving parents, or the OAPs their feet. Sebastian Tellier meanwhile puts
who are looking for a festival they can still on a sexy stage show in the Uncut arena,
relax at, and of course the regular festival- parading around his voluptuous shaggy beard
goers who want a jam-packed weekend with tracks off his latest record, Sexuality.
they’re unlikely to remember come Monday Following him are the Mars Volta with 20
morning, and they’ve succeeded. minute long prog-improvs of shrill guitar solos
and heart attack-inducing drum beats. But
Closing the first night of revue is Irvine Welsh the real show is at the main stage with the
in the literary tent. His deep Scottish inflections Icelandic wailers Sigur Ros, who go all out
bound from the pages of his new book ‘Crime’, with a marching brass band in white suits -
leaving everyone in suspense when he ends including bowler hats - and set off confetti
on cliffhanging “scream”. Earlier in the day, canons during ‘Gobbledigook’ hefty enough
Ross Noble treated everyone to a singing to rival Muse’s live show. Their strange,
session when he managed to persuade language-less music is so absorbing that
the entire comedy tent to yell the whole of even the kids have stopped swinging their poi
‘Bohemian Rhapsody’ before diving into the around.

Danielle Goldstein
crowd
Another crowd-silencer is the petit squeaker,
Joanna Newsom. She has arrived early this
Sunday especially to fit two shows into her Sigur Ros
day. And the midday start hasn’t deterred
the hungover revellers, because there is a
substantial swarm hovering while she tediously Kele Okereke and Johnny Rotten. of rain begin to descend and front-man Paul
tunes her harp. Her childlike mannerisms are “I’m sorry we look like we don’t want to be Banks complains of the cold, but dressed
enough to make you blush with awe, but her here, we’re just tired,” said Philippakis. in black suits and dark glasses, they don’t
voice is the clincher. It hangs in the even hint at discomfort. They intertwine
atmosphere and you can To lighten the mood a bit Frankie Boyle tells singles spanning all three albums, such as
almost feel it drop every some cringe-worthy paedophile jokes in the ‘Slow Hands’, ‘Obstacle 1’ and ‘The Heinrich
time her fingers part the comedy tent that make you feel terrible for Maneuver’, with other gems. Banks’ Ian Curtis-
strings. It’s even endearing laughing, and Mark Thomas reads from his like drawl carries across the site, through
when she forgets her own upcoming book about the destruction Coca the forest, above the cars that are gradually
lyrics and you can’t help but Cola are causing. making their escape and lightly ruffles the fur
fall for her. on the grazing fluff balls that will be back next
But as dark begins to fall and the wormhole- year with the rest of us.
Foals just about make it in time to fall about esque lights that hover above the lake become
like puppets to their erratically paced math visible, the direction of feet starts shuffling by Danielle Goldstein
rock after singer Yannis Philippakis spent the towards the main stage to watch Interpol’s
night in a Spanish jail following a fight between shatteringly austere performance. Droplets
Foals

find a more special atmosphere anywhere on all comes together as a perfect performance.

Indietracks Butterley, Derbyshire, July 26-27

earth at that exact moment.
Tonight the Church is the House of Hayman
and everyone is in worship.
In ‘Heartbeat’ they may have written the most
sentimentally beautiful, yet twisted love song
ever – the subtlety of the music and soaring
vocal harmonies send a shiver down each and
The Wedding Present every spine in the room (or at least it should).
Pulling into Indietracks aboard a classic steam- The Parallelograms Reputation and nostalgia aside, as usual the
train you enter a very special place – a place Tallulah Gosh mimickers The Parallelograms band’s each and every song sounds incredibly The Smittens
where C86 indie is bigger than Britpop, where are C86 indie through and through - all jangly similar to the last. The excruciatingly bad sound To The Smittens everything here is
tweeness, politeness and polka-dots are the guitar, twee intellectualism and even the in the metal roofed main stage shed makes ‘AWESOME!’ The New Englanders are a
norm. Indietracks is an oasis in the vast desert obligatory stand-up drummer. It’s just that the repetition hard to bear, with Dave Gedge’s ‘fuzzy-wuzzy DIY pop explosion’ who are the
of indenti-kit, mortgage indie for like minded they are obviously trying to copy the bands wonderfully insightful lyrics being lost in a total antithesis of the rock n roll ideal – an all
indie fans to shelter from the blazing heat of they love with no effort to be themselves, they sludge of sound that makes what should be the colour, friendly and polite bunch of friends
mediocrity. become a parody of the ‘scene’ and just sound weekend’s highlight a bit of a waste. peddling poor harmonies and ramshackle
It’s time to sit back with a glass of elderflower like a tribute act rather than one in their own rhythms that despite their obvious limitations
cordial and enjoy some REAL indie music. right. They even cover Tallulah Gosh to justify Winston Echo are so delightfully infectious you can’t help but
the thoughts going through my mind – they’re Echo is suffering from a hang-over and smile, many people even dance despite the
Slow Down Tallahasse not bad, just derivative (not in a good way) and the moving train isn’t helping matters, but heat. The band inform us of how much they
The shambolic Spectoresque pop-ambitions dull. regardless he exudes a nervous charm. His have loved the whole weekend, and their set
of Sheffield’s Slow Down Tallahasse is a fitting obvious modesty and awkwardness makes the embodies how I have been feeling – pardoning
start to the weekend, but the nice-enough Darren Hayman whole thing feel less like a performance but a the pun, I am smitten by The Smittens.
pop tunes are marred by over-stretched vocal Darren Hayman is an indie institution. gathering of friends, who laugh and joke with
harmonies that grate and don’t in anyway work. Crammed in the walk-in-oven Church it is him as he sweats through a run of gorgeous The Retro Spankees
The DIY-ethic is admirable but gives them a obvious that to last the whole set is going ditties. Audience participation includes making I’m disappointed by The Retro Spankees set
false idea of their singing abilities which leaves to be an endurance test, but it is worth the monster noises during ‘Dracula’s Disco Party’ not because of the quality of the performance,
them wanting. uncomfort. Hayman is engaging, endearing and and a mass sing along during the amazing which as usual is infectious and interesting,
his songs speak on levels that even the most ‘Never Be The Same Again’. but because the sludgy main stage sound
Shrag revered song-writers barely manage. His sense Echo finishes his set on the station platform, (the band have been moved inside, like so
Shrag have it going on!! Angsty riot grrl of humour makes the whole affair an event ending an experience which Indietracks was many other acts today, due to some technical
attitude, lush indie arrangements and a definite rather than a set, ‘And they told us playing in made for – small, intimate and comforting. difficulties at the start of the day) leaves them
love of The Fall that creates perfect artrock the Church wasn’t a good idea, they said it sounding a little normal. All the crazy nuiances
played with boundless energy. Each and every would be too small, too hot…well we showed Kate Goes of the Spankees sound are lost in the mix,
one of their post-punk pop ditties enthrals to them’ he says sarcastically. He informs us of Today Kate Goes to the Stone Age….the making the band sound like little more than a
the last note. Shrag even impress in their more the indie high-powers ‘xylophone amnesty’ Brummie wrong-pop collective amble out punk band, a really feckin’ great punk band but
quiet and considered moments, ‘Forty-five 45s’ where those turning in their instruments won’t from their caves, grunt and bang into some they are so much more. The new material sees
is beautiful and is an unparalleled and incisive suffer for their ‘crimes against music’ and tells of the most gloriously off-kilter music you are them push their twisted pop adventures into
ode to indie-fandom . us of his meeting with Wu Tang Clan, before ever likely to hear. Maybe it’s their re-shaping more ridiculous and exciting realms, and new
The band suffer for their art as I see the entering into a brilliant song about said hip hop of pop structures, their ability to flit between track about building a castle is a highlight. The
drummer carried out to the first aid trailer crew. styles or maybe their rather lovely eccentricity Spankees are one of the best live guitar bands
following the set after passing out through the He is so inspiring that by the end of the that makes the whole sublimely ridiculous set in the country but today they are let down by
heat – now that’s dedication! set, even in the deathly heat, the entire unmissable. A punky, reggae, screwy-jazz, pop the sound.
congregation is out of their pews and dancing party with added animal noises, squeaky toys
and singing along in unity – it would be hard to and child-like rapping – it shouldn’t work but it by James Thornhill
 Summer Sundae Leicester, August 8-10
Is it just my imagination or does every older gems like ‘Low happening’ and ‘Broken
medium sized town and city have a Bone’.
music festival this summer? Not that I’m
complaining, three days of great music on Supergrass
my door step, who would? This being my Opening with the recent blues-swagger of
third summer sundae experience I have a ‘Diamond Hoo Ha Man’ Supergrass seem to
good idea what to expect and, as always, the have lost none of their immediacy and energy.
weekender doesn’t disappoint. With constant sing-along classics like ‘Alright’
and ‘Late in the day’ they prove to be a great
Dead Slow headline choice and own the main stage.
Dead Slow make music reminiscent of some
of Britain’s best rock acts. This isn’t to say Maybeshewill
they aren’t original, far from it. With nods to Bringing an all together heavier edge,
Radiohead this is an extremely tight band that instrumental act Maybeshewill prove lyrics
have already amassed a collection of radio- aren’t always needed when the music’s this
friendly tunes. Dead Slow play an excellent good. With epic sound-scapes full of drama,
set, by this time next year they will probably highs and lows the presence of a singer
be on the main stage. would be extremely hard to successfully
integrate (and probably unnecessary).
Youth Movies
Youthmovies are an eccentric genre-jumping The Screening
joy to behold. Hard to pigeonhole, they play Chants of “Screeeeeeening” prove their
what can only be described as a clash of hometown fan base are out in full force,
progressive experimental jazz-esque bravely combine this with mid afternoon rain and
ambitious pop with some great post hardcore you suddenly have a huge group of people
moments. Their set leaves an impossibly high waiting to see one of Leicester’s most hyped
benchmark for the rest of the weekend. bands. With a mixture of new material and
older anthemic tracks like ‘Diem’ and recent

Ollie Millington
Fight Like Apes single ‘God Save The Queen’ (nothing to do
Fight Like Apes give 110% throughout. From with the punk classic) the band are clearly
the start singer MayKay makes the stage at home on large stages and mainstream
her own. With the energy of the Yeah Yeah success is surely only around the corner. If Howling Bells
Yeahs and the punch of an eighteen wheeler you like your indie fast, punchy and anthemic
full of keyboards this is a band impossible these Leicester lads’ might just be what you
to ignore. A cover of McClusky’s ‘Lightsabre have been waiting for! taped on, this set is a special happening. Murphy has a costume change for every
Cocksucking Blues’ is a highlight that single song. Mixing some great dance, RnB
certainly leaves an impact. Danny and the Champions of the World Henry Rollins and electronic influences she blasts through a
Featuring members of many great bands Henry Rollins’ spoken word set is an highly energetic and polished pop set.
Noah And The Whale including Mercury Rev and the Magic amazingly involving experience. Early on
The indie-folksters draw a predictably large Numbers, Danny And The Champions of the crowd are treated to a vivid description Natty
crowd. With almost constant airplay of their the World must be the largest band of the of how the US government tries to stop A former recording engineer, Natty plays
new single ‘Five Year’s Time’ the band seem whole weekend. Bringing all their musical people visiting certain parts of the world, the kind of summery and easy going reggae
undaunted and play a great set with their backgrounds into one cohesive effort can’t and how America is viewed in these places. infused pop music perfect for a summer
trademark folkish sounds. have been an easy operation but it’s clearly As his performance progresses it would be festival. Bending Jamaican influences
paid off. With more than a slight nod to late easy to assume this is all a pre-conceived effortlessly to suit his own style of lyrical
Howling Bells sixties and early seventies psychedelic stand-up routine but time and time again delivery it’s clear this is going to be an
The Australian four piece make their Summer Californian rock they pull off a memorable the aggression and distain in his voice and exciting year for Natty.
Sundae return and prove my fond memories set. They even have a giant deer/moose-like mannerisms suggest this is all heart felt,
correct. Providing intoxicating cinematic creature onstage with them waving to the off-the-cuff and honest. If you get a chance The Whitest Boy Alive
backdrops for the PJ Harvey-esque vocals of crowd throughout. to see him live, it’s well worth the time. You The European group rip through a
their painfully attractive singer Juanita Stein might just come out feeling more alert and staggeringly engaging hour of off kilter dance
the band fly through a blinding 45-minute set. Foy Vance interested in the world around you, which can music. Their unique 100% live dance music
This is atmospheric rock at it’s best. Old-fav Laptop-pop troubadour Foy Vance is possibly only be a good thing. has the large crowd in the palm of their hands
‘Setting Sun’ is definately the highlight but it’s the surprise of the weekend. Singing into a for an hour.
not an easy choice with their new material microphone only a few feet from the floor and Roisin Murphy
sounding epically brilliant amongst other playing an acoustic guitar with a child drawing Never one to under dress for a performance by Ollie Millington

Get Loaded Clapham Common, August 24

Bank Holiday weekends are often known bands on the planet. Today in front of an
for being a bit of a let down weather wise, eager audience they do not disappoint and
thankfully this one day urban festival managed pile through a set of familiar songs such as
not to suffer from this pitfall. ‘Latchmere’ and ‘About Your Dress’ as well as
recently penned songs which indicate a more
Ipso Facto sonically adventurous second album is on it’s
Recent Mute signings Ipso Facto appear to way.
confuse much of the crowd. They aren’t like
normal bands, they are a million miles away Supergrass
from being what may be considered a standard Supergrass are keen to show that though their
“landfill indie” act, so much so that they could youthful exuberance has been stripped away
cause some people to start quaking in their they still have an ear for a good pop song.
well heeled boots. While others bands of their era have slipped
Their sound is haunting but songs such as by the wayside, Supergrass have managed
‘Ears and Eyes’ and ‘Smoke and Mirrors’ lack to keep on track by releasing a fine stream
instantly identifiable choruses. Occasionally of albums that never dipped below the line
they veer into sounding like Electrelane where marked acceptable. So it’s not really that
organ lines swirl around unconventional almost surprising that today they dip into the majority
theatrically touched drum patterns. Yet overall of them with songs such as ‘Sun Hit’s the Sky’,
it’s a performance which is ice cold, devoid of ‘Movin’ and ‘Richard the IIIrd’ receiving the
emotion and almost robotic in execution. warmest of receptions.

Soulwax Iggy Pop & The Stooges

Certain bands belong to the night, when the This leaves Iggy Pop & The Stooges to close
sun is glowing outside them performing just the days festivities and of course they do
seems wrong, Soulwax are one of those bands this in style. Charges of them being parodies
best suited for when the day is drawing to a of their former selves have in the past been
close. After a hefty delay they appear suited, levered against them but tonight they put on
booted and being more than keen to tell us an explosive show that silences any doubters.
that though it may be Sunday the weekend Songs such as ‘1969’ and ‘Real Cool Time’
never dies. It’s extremely difficult to tell what are the kind of songs most bands dream of
guise these Belgians are in today, elements of writing and when the first few notes of each
the standard traditional Soulwax sound stands are aired tonight the audience are thrown into
proudly alongside equal sized electronic and a mad scrambling sea of bodies. Distorted
remix efforts; the ram packed tent is thrown guitar riffs, thundering rhythms and blasts of
into a frenzy when they drop into playing Daft sax collide fiercely while Iggy marauds his way
Punk’s ‘Robot Rock’. around stage. ‘No Fun’ sees the ante upped
further with Pop encouraging people to join
The Hives him onstage, the audience responding and
The Hives deliver an energetic set full of security not sure how best to react, as bodies
charismatic between song banter, archly poses climb over the barrier half are being grabbed
and of course stripped down raw rock ‘n’ roll. by the neck and escorted away the other half
Songs such as ‘Walk Idiot Walk’ and ‘Hate To scrambling through successfully before matters
Say I Told You So’ don’t fail to bring a smile to are soon returned to normal. Security may not
many a face. have been happy but The Stooges left making
sure everybody else sure was.
Mike Burnell

The Maccabees
The Maccabees make a return visit to their
home turf as one of the most promising by Nathan Westley Soulwax
 for the gates to open The Futureheads set a striking resemblance to comedian Russell

V Weston Park, Staffardshire, August 16-17

goes down well and proves a great opener.

Alanis Morissette
Set opener ‘Uninvited’ begins without
Brand, lead singer Ian Watkins struggles
to keep his shirt on his back as the buttons
seemingly undo themselves throughout the set.
Both this and the ill band mate are discussed
Morissette onstage, singing half from the wings at length. I confess, I was a previously a bit
Goldie Lookin Chain onset of the rain. Having rightfully earned their then entering to huge cheers and promptly sceptical despite enjoying some of their older
Suitably dressed in their trademark track suits adoration from UK festival crowds they bring beginning head banging her way through the singles but their performance certainly changes
and fake gold GLC give the crowd a predictably a more danceable edge to the first day. Today second half, and the majority of the nine track my opinion.
light-hearted performance including some of the band seem more energetic than usual. set. Having made her entrance the Canadian
their best known material such as ‘Your Missus Expectantly ‘Ready for the Floor’ ‘The Boy from provides more than enough evidence to explain Roots Manuva
is a Nutter’. Having seemed flash in the pan it’s School’ and monster single ‘Over and Over’ go her status as the biggest selling female rock For some unknown reason Roots Manuva is
now becoming evident that there might just be down a storm. artist. With her powerful vocals truly putting the given the shortest stage time of the weekend.
some longevity in their comedy rap routines. previous day’s big female star Amy Winehouse Proving no problem the majority of the
Love them or hate them it’s hard to deny they Kings of Leon well and truly to shame her set is a testament Londoners set, backed by two DJ’s (one with
know how to make crowds smile. Penis jokes Once again the Followill boys give a truly to strength of her seven album back catalogue. a sax) and another MC, is made up of new
and comedy slurs aside, they manage to pull remarkable festival show. It’s hard to believe material leaving crowd favourite ‘Witness’ till
off being an 11-piece rap group performing to it was five years ago they exploded onto the Stereophonics last. Despite what many say UK hip hop is long
backing tracks quite well. world with their debut EP. The set opens with ‘The Bartender And The from dead and its undisputed lord proves this
As the set continues the wet masses are Thief’ and consists of predominantly older fact categorically.
Amy Winehouse treated to plenty of the singles that have led to material including personal favourite ‘More Life
Despite everything that’s happened to her such adoration. From the incendiary squeal of in a Tramps Vest’. The band’s 70-minute set Muse
recently I am still hoping Winehouse will pull a ‘Charmer’, the anthemic chorus of ‘On Call’ and is nothing short of brilliant. The lack of more Despite being unable to bring a purpose built
grand performance out of the bag. their newest classic-in the-making ‘Sex On Fire’ recent material doesn’t seem to bother anyone UFO because of health and safety issues Muse
She does not. Kings of Leon give one of the best sets of the as the crowd sings along to nearly every word. manage to bring some huge satellite dishes
Arriving on stage half an hour later than her weekend. complete with laser lights that reach out across
band she really doesn’t seem interested in Maximo Park the crowd. Not breaking with their traditions
anything let alone performing. After listening to Verve Erupting onstage with their usual energy they also bring the most impressive stage show
a few songs it becomes clear this is not going Taking to the stage with his famous swagger Maximo Park start out with “Girls Who Play of the weekend with far reaching lasers and
to be a performance to remember. Well, not Richard Ashcroft doesn’t seem deterred by Guitars”. New track ‘The Kids Are Sick’ features a multitude of flood lights and flamethrowers.
for the right reasons! She may have made her predictions of a no show, or by the Kaiser the band’s trademark keyboard parts and hints The set consists of 15 epic field-fillers including
mark singing about not needing to visit re-hab Chiefs ability to take the biggest crowd. It has at a more laid back slower direction. Front- ‘Dead star’ ‘Newborn’, ‘Feeling Good’ and
clinics but now it seems like a visit might be to be said, they are a great band but hardly man Paul Smith gives a blinding performance. the ever so slightly over the top monster tune
the best idea. It’s going to take a lot to repair the most uplifting to watch in the middle of a The band seem to be going from strength to ‘Knights of Cydonia’. It’s true at times their
failures like this. Maybe it’s time someone told torrential downpour. strength and this performance will certainly songs border on being a bit O.T.T but when
her “No No No”. have gained them some new fans. On days they bring this much energy and extravagance
Kaiser Chiefs like this it’s clear they are fast becoming one of to a cold wet park in Staffordshire no one can
Reverend and the Makers Stealing The Verve’s thunder the Kaiser’s seem the most interesting and exciting bands in the really complain.
Sheffield electro-indie stars Reverend and at ease playing in strong winds and heavy rain. country.
The Makers don’t disappoint. Having all the With every song receiving euphoric reactions Prodigy
cultural and current issue awareness politicians Ricky Wilson’s claims that “We can drown out Newton Faulkner Whilst Muse bring prog-rock and lasers, the
seem to lack, the band’s leader Jon McClure is anyone” don’t seem far off. A brilliant end to Winning the award for the most chatty Prodigy bring the dance across the other side
definitely not one to hold his tongue. Between the very wet and (almost completely) great performer of the weekend Faulkner speaks of the site. Their 90-minute set is a break-
recent singles he informs the crowd of his first day. Only a twenty minute wait with about between every song, sometimes just a neck speed, adrenaline-filled trip back to the
disdain for modern celebrity asking people to 10,000 others queuing for campsite access in little introduction and in other cases like excesses of nineties rave. Belting out classics
seek answers to important issues instead of such heavy rain on a river like path could put a his ‘Bohemian Rhapsody’ cover giving an such as the classic ‘Out of Space’ alongside
autographs. Their performances are regularly damper on the euphoric feeling. explanation of the songs origin. With his newer material such as ‘Spitfire’ they prove
peppered with little between-song spoken word incredible acoustic guitar skills on show it’s they are still just as relevant and enthralling as
diatribes and V is no different with a particularly The Futureheads clear that he has an unstoppable ability to they were in the early days. Prodigy obviously
angry and seemingly heart-felt dig at the Drawing a large crowd relatively early in the make any song his own. stand up well against the biggest UK rock band
entrenchment of tabloid racism. day the Sunderland four piece kick things off in out there. A great end to a very wet and very
fine form,.They play an ostensibly greatest hits Lost Prophets entertaining weekend.
Hot Chip set including a certain well known cover and Performing a high profile festival with a
Bringing their infectious electro dance Hot recent single ‘Radio Heart’. Despite opening to member missing can’t be fun for any band but
Chip provide a much needed refuge from the a crowd that had been made to wait for hours Lost Prophets don’t let it deter them. Showing by Olllie Millington

Offset Hainault Forest Country Park, August 30-31

Die! Die! Die! imagine they ever will.
A dose of punk energy comes from Die! Die!
Die! Spending more time breaking through the Chromehoof
barriers into the crowd than on the stage their The 10 piece were always bound to have a
singer certainly leaves his mark. Spanning big sound but it is surprising just how colossal
the divide between bands like Black Flag and it all is. With a musical armory including
Sonic Youth the band give a raw and engaging violins, a cello and an array of others they
performance that is much talked about over the are a math-inspired, death metal band, with
rest of the weekend. some orchestral additions and a soul singer.
Progressive? They most definitely are, in the
The Strange Death Of Liberal England best possible way.
From the outset it’s clear this isn’t a band you
can pigeonhole – orchestral and atmospheric Gloria Cycles
with all the best elements of Arcade Fire Brighton’s Gloria Cycles plays half an hour
and Clap Your Hands Say Yeah the band of great indie-pop. With a little vocal-duty
defy any and all musical logic. They have an swapping and some really catchy choruses the

Ollie Millington
enormous sound in places and then they turn band could easily be going places by early next
it upside down and add some folk-esque sea year. Festivals should be about discovering
shanty brilliance with new single ‘A Good Old something new that you like amongst the Wire
Fashioned War’. Given some time and a few more well known artists and in Gloria Cycles I
open minds they could just become a national certainly do.
treasure. If you ask in certain circles, they with their engaging skipping rope routines, the Gang of Four
already are! So So Modern band’s performance is a definite one off. Looking through any music magazine in the
Bringing a nice slice of electro-inspired funk last couple of years it would be hard to find
Young Knives laden dance music So So Modern supply a Blood Red Shoes one that hasn’t constantly referenced Gang
Young Knives have carved a place for their great marriage of synthesizers, two guitars and Often weakly compared to The White Stripes of Four when describing new music. Tonight’s
tweed-clad pop-punk offerings and have long an excellent drummer. It’s surely not going to this two piece are a pleasure to watch. So performance is not one of my highlights.
surpassed the ‘ones to watch’ accolade. Having be long before every indie club in the country the group consists of a girl and a guy… the It is a good, professional and well crafted
lost none of their trademark humour with their is pumping So So Modern out across the comparison is tenuous at best and ends performance but maybe it’s just the sheer
increased success the band treat the crowd to dance floors. While every one of their songs there. Be it the confident enigmatic vocals and amount of influence they have on modern
between song banter almost as entertaining is easily distinguishable from the next their set guitar of Laura-Mary Carter or Steven Ansells’ music or some unrealistic expectation I had
as their music. They are on fine form with a flows brilliantly and almost feels like one half incredibly passionate drumming and vocals sub-consciously formed. I’m not saying I
mixture of older material and newer nuggets of hour long track. Definitely one to watch, So (the two trade lead vocal roles constantly) it’s don’t like it, there are some borderline great
genius such as ‘Turn Tail and Run’. So Modern prove that they’re not just another clear they have the real x-factor. The highlight moments but in general it all seems a little flat
electro band, but one who bring the party and is probably ‘You Bring Me Down’. With the and a little routine. Do I like Gang Of Four?
Wire manage to perform consistently. energy of the Subways and the power of a Yes, on record I love them, but live they don’t
With most of the bands onstage during the juggernaut hurtling downhill with no brakes, really hold up.
weekend owing a fair chunk of their sound Hot Club De Paris BRS make it clear they aren’t one to be
to post-punk legends Wire their set is highly Going against the trends at the moment Hot confined to fashion fads. Prinzhorn Dance School
anticipated. It is clear how much the band Club De Paris make beautiful afro-beat infused With their sparse stripped-back style and their
have been imitated in recent years. A trip punky angular music. Constantly described as The Maccabees trademark momentary silences in songs such
down nostalgia lane this is certainly not! The outsiders and at times inexplicably un-popular, Clearly one of the most loved bands of the as ‘Space Invader’ this is not a band that waste
18-track set opens with ‘Our Time’ and as the band seem to have no problems pulling a weekend the crowd seems ecstatic throughout instruments, playing a newly constructed drum
they progress they prove that while there are big crowd. with make-shift signs appearing declaring their kit together the two piece are a real sight to
many imitators and adaptors emerging there is creator’s undying love for the band. It’s easy see, facing each other and swapping guitar
still only one Wire. They may not be the most Neils Children with SKIPtheatre to see how they are so loved, their beautifully roles with the greatest of ease they simply
visually stunning band of the weekend, but Having come a long way since the days of ‘I crafted songs offer a welcome honesty. As make great music and don’t mess around with
Wire don’t need to be. Performing a chunk of Hate Models’ the band have developed a much the fantastically delicate ‘Toothpaste Kisses” adding un-needed elements. Featuring three
newer material from their last album Object more confident and more ambitious sound comes to an end it’s clear they were a great new songs, the first untitled, the second being
47 alongside the classics; the request shouts that’s more indie post-punk than their origins choice for Offset and more than capable of “Too Much Time On Your Hands” and the third
came thick and fast from the front few rows would suggest. It’s not a change for the worse providing one of the best performances of the again untitled the band are the perfect end to
throughout. While most bands with such a long by any means. Joined on stage by dance weekend. a weekend of interesting, diverse and in some
history are content to just spew out greatest performance group SKIPtheatre, who had been parts surreal examples of today’s music.
hits sets Wire certainly don’t and it’s hard to keeping crowds amused outdoors previously by Ollie Millington
 Leeds Bramham Park, Leeds, August 22-24
The Leeds Festival 2008 line-up has a ‘shambles set which includes exclusively
distinctly American feel with US big-guns post-Libertines material is a massive high
Metallica, Tenacious D and The Killers all to end the second day.
appearing, it provides extensive quality. 
Driving up the M1 it’s a daunting task Be Your Own Pet
sifting through the band list to decide some Playing their last ever show on British soil
sort of itinerary. trashy teen gutter-punks Be Your Own
Pet are coming apart at the seams live
Pendulum on stage. They are under-rehearsed and
Due to a late arrival drum and bass giants thoroughly shambolic, and are in death
Pendulum are the first band that I manage what made them so bloody exciting in life
to catch and they do not disappoint.  You – being a true punk rock fuck you. This
pretty much know what you’re going to get may not be their best performance to date
with Pendulum, adrenalin-filled drum and but it is one of pure energy and is a fitting
bass, and this performance is no different. testament to their in-your-face youthful
‘Slam’ and ‘Tarantula’ are the two stand out abandon.
tracks, as the weekend gets off to a great
start. MGMT
Leeds is currently having its mind-
The Last Shadow Puppets expanded by the neo psyche-pop sound
With an hours break, the NME Stage is of MGMT. From colossal Pink Floyd-esque
again the setting for a storming set, this wig-outs to rousing glam-pop stompers
time from Arctic Monkeys’ front-man Alex the band drag the sounds of the outer-
Turner’s side-project, The Last Shadow reaches back into the acceptable realms
Puppets. Having the extra dimension of of pop – which may be why they have such
the backing of a full orchestra the band’s a large crowd onboard for sounds which
cinematic pop sound is greatly enhanced.  are usually inaccessible to most. The
If Turner decides to call time on the Artics good vibes erupt in a joyous outpouring of
and concentrate his many creative talents appreciation during the new Flaming Lips
on this lot, I don’t think anyone would pop majesty of ‘Time to Pretend’. The band
complain. even prove that overblown theatrical guitar-
solos can sometimes be fun, if you don’t
Metallica take yourself to seriously.
Not being a Metallica fan does hinder my
enjoyment of their performance slightly.  Vampire Weekend
I may not be the best person to pass The New Yorker’s particular brand of afro-
judgement on the metal giants but I leave beat inspired, academic-indie has set
the arena feeling a little disappointed. It 2008 alight as one of the best new pop
may be a simple case of over hype, or sounds around. With this fact expectations
maybe Metallica really aren’t all that good. in the packed tent are high. Oozing pure
happiness the music covers the assembled
Babyshambles crowd in a blanket of euphoria. ‘A Punk’
The highlight of Saturday is undoubtedly is still one of the tracks of this year and
Peter Doherty’s Babyshambles.  No shows, causes a spine-tingling sing-along. In
drug-addled performances and riots are this case do believe the hype, Vampire
clearly behind the band as they perform a Weekend are a class act. Dirty Pretty Things
crowd-pleasing hour long set to a packed
tent. Appearing at the same time as festival British Sea Power
favourites Rage Against The Machine may The Brighton groups appearance on the Seasick Steve down the best. The set shows the band’s
have daunted many other bands, but if it main stage early in the day leaves what is Seasick Steve is a revelation, his pure progression and how their new dance-
is affecting Doherty and his mob then they usually an exceptionally brilliant live band primal blues is one of the most powerful infused direction translates brilliantly to the
are hiding it well. The 13 track set sees seeming a little non-descript. Marred by sounds known to man. Stripped of live arena.
the band at their punk-laced best. The the usual main stage sound issues, the pretence, fashion, fads and other such The after-dusk slot allows the band to
sing-along anthem ‘Albion’ is poignantly ethereal beauty of their indie-epics drift off hindrances this is rock at its heartfelt best blind with an elaborate light-show, which
dedicated to the memory of 16-year-old on the breeze and at times it sounds like and it’s all the better for it. Now armed with keeps the crowd’s attention despite the
fan Daniel Squires, who tragically lost his there isn’t a band playing at all. a drummer (and not just a wooden crate usual mainstage sound woes – with Kele
long battle with bone marrow cancer. The for percussion) his sound is beefed up to Okereke’s vocals taking precedence over
the max and puts other ‘rock’ bands in the the often inaudible drums.
shade. Seasick can do no wrong, and ‘Cut
My Wings’ is a undoubted blues classic. Manic Street Preachers
Taking the decision to miss headliners The
Dirty Pretty Things Killers we head to the NME stage for
Having loved Babyshambles the night Welsh indie gods the Manic Street
before it seems only fair to watch Doherty’s Preachers.
ex-band mate, Carl Barat and his band James Dean Bradfield and the
Dirty Pretty Things. Despite the poor- boys prove the right decision. 
quality of their second album they have Including hits from their
enough quality tuneage to carry off a extensive back catalogue the
blinding set, with ‘Bang Bang Your Dead’ band bookend what is a great
and ‘Tired of England’ being particular weekend, with a fittingly
favourites. A surprise and suitably heavy strong set. 
cover of Nirvana’s ‘In Bloom’ is a welcome
addition to the set. by James Randall

The Raconteurs
The energetic blues-rock of The
Raconteurs is a huge highlight.  Seeing
them perform the untouchable ‘Broken
Boy Soldiers’ live is a musical must.  The
hour long set is flawless from start to
finish providing perfect rabble-rousing
rock n roll taking in tunes from the
band’s two exemplary albums.

Bloc Party
Promoted up a time-slot due to
the quality of last year’s set, Bloc
Party prove they are going from
strength to strength. Despite
a heavy focus on tracks from
Weekend in the City and new
album Intimacy it is the band’s
indie classic oldies ‘Banquet’
Babyshambles
and ‘ Helicopter’ that go
Seasick Steve