Pale Waves only released their second album last year, but with momentum in their favour they are back already with album number three. ‘Who Am I?’ was a huge release for the band, taking them to number three in the charts and taking them into larger venues and bigger festival slots.
Eighteen months later and the band are ready to capitalise on their hard work and push for greater success. With a date already set for the legendary Brixton Academy this November, could new album, ‘Unwanted’, be set to push them into arenas?
Well, opening with the epic, ‘Lies’, is a very good start for the album, and the pace doesn’t really ease as the group let their pop punk side out!
Across their three albums the band has now shown strong evolution and confidence in creating an eclectic mix of sounds. That being said each album has been distinctively a Pale Waves album with a familiar sonic undertone throughout.
With Heather Baron-Gracie at the helm their sound continues to feature an uplifting element despite the often dark and personal themes. This album fits a continued narrative of relatable music which helps to create a strong connection between band and listener.
Tracks such as ‘The Hard Way’, ‘Jealousy’ and ‘Reasons To Live’ have given a accurate view into the make-up of ‘Unwanted’ as a whole. If you’ve enjoyed the pre-release singles then you’ll love this uninterrupted tour de force of an album.
If ‘Who Am I?’ was the album to put Pale Waves on the map, then ‘Unwanted’ is raising their flag aloft and stating their ambitions for world domination!
KASABIAN – THE ALCHEMIST’S EUPHORIA – ALBUM REVIEW
To say that Kasabian’s seventh studio album, ‘The Alchemist’s Euphoria’, comes with a burden of added pressure would probably be an understatement. When one of the biggest bands in the country loses an iconic member then eyes will naturally be on what comes next, this is amplified when that iconic member is the singer!
Not to mention that it’s the nature of the world that we live in that those eyes watching are bound to be highly critical. No doubt, there will be many looking on and hoping to see Kasabian fail for various reasons.
Thankfully for the band they have already taken the time out to prove the doubters wrong in the live setting, with the band confirming that they are still one of the best live acts on the scene, the question is now turned to their studio output.
One of the reasons for Kasabian’s success over the years has been their adaptability and willingness to experiment. This works in their favour when reflecting on ‘The Alchemist’s Euphoria’, as whilst it doesn’t give the band a free pass it certainly allows extra freedom to explore their sound.
With guitarist Serge Pizzorno moving to the vacated lead vocals position, some clearly wondered if he would take the band down the more electronic route of his SLP side project. Alternatively would the band return to their early sound or maybe just continue on the path of 2017’s ‘For Crying Out Loud’.
The answer here is the one that probably should’ve been expected from the start – all of the above!
You can certainly feel the Pizzorno influence taking a bigger hold, there are nods to the early lad-rock leanings of the band and there are some playful festival favourites the likes of which emerged from the albums predecessor.
To an extent this is clearly Kasabian pressing the reset button. With ‘The Alchemist’s Euphoria’, the band has reassured fans that the past isn’t forgotten but the future remains one of exploration just as it would of done.
This album does what it needs to do to shore up the ship, but it almost leaves you now asking what’s next. This isn’t a forgettable album but it is a cleansing album to purge the difficulties of recent years and set up what’s to come.
You’ll likely have seen The Interrupters name gracing many festival bills over the past five years. You may also have noticed their name moving higher and higher up those line-up posters. Yes, there has been a slow but meaningful buzz building around the band for a while now.
It hasn’t been overnight success for the band and new album, ‘In The Wild’, is their fourth album; their debut self-titled release coming in 2014. As with many bands the pandemic came at the worst time as far as career momentum is concerned, with the hype surrounding The Interrupters fully taking hold.
Now then is probably the ideal time for the band to release a new album and get back on that horse, there has also never been a better time than now for you to jump on the bandwagon!
‘In The Wild’ sets its stall out early with ‘Anything Was Better’ and ‘As We Live’ which features Tim Armstrong and Rhoda Dakar. This is another anthemic riot of ska punk that will grab you by the hand and pull you onto the dancefloor.
Musically this album is packed full of the upbeat ska infused punk that has garnered The Interrupters such attention. They really do seem to have perfected a mix of these genres that works to elevate that basic punk sound without reaching the potentially comical capabilities of ska.
Lyrically this a personal, unshackling record in which singer Aimee liberates her troubled past. It can be tricky to tackle difficult subjects whilst pumping out ska punk, but on ‘In The Wild’, Aimee and the Bivona brothers have managed to do so faultlessly.
There isn’t a bad song on this album and too many highlights to bother listing. Realistically the best thing for you to do, is go and find ‘In The Wild’ and press play. You won’t regret the time spent savouring these incredible songs and you will get to jump on that bandwagon just before the band takes that final leap to superstardom!
Festival season is in full swing, the weather is warm, and the women are setting the standard for football, in many ways life is good. Of course in many other ways things are tough right now.
Music has always been an escape from reality, and we certainly need a distraction right now, so as Y Not Festival open their gates for the first time in three years, it’s time for tens of thousands of fans to let their hair down and celebrate. That is once they can actually get in, with some enormous queues upon entry dampening early spirits.
Now, the last and only time I attended Y Not Festival was the fateful 2017 event which ended in cancellation midway through. I wrote a scathing review for another publication and swore never to return.
Well, watching from a distance the festival has put out some stunning line-ups since then, and organisational changes appear to have improved things and returned the events reputation to pre-2017 levels. This year is in fact billed as their first year back as an independent festival.
Having decided to give the festival a second chance on the basis of their 2020 line-up, I’ve since witnessed the line-up change multiple times for the worse based on my personal preferences. There is no doubting however the overall quality of the line-up at a tough time for festivals.
I’m interested to see how the event will progress and whether it can change my opinion of the festival after the 2017 debacle, so the huge entry queues on Thursday and Friday aren’t the best start.
Thankfully once inside, things pick up quickly! The general layout is well thought out in the main arena, with the main stage, the second stage (The Quarry) and numerous other attractions in the main section of the arena, and the third stage (The Giant Squid) and various other stages and attractions located in a smaller area.
This almost creates two distinct festival areas, with a busy walkway connecting them. The only issue here is that later on in each day this thoroughfare does bottleneck and makes movement very difficult. At one point on Sunday night, this reaches a near dangerous level as fans flood the area trying to catch an Oasis tribute band on one of the smaller stages.
Whilst I quite liked the two separate areas concept, in future additional access would need to be installed at the other end of the second area to avoid any disastrous incidents and make crowd movements flow better.
Now on to the music! Thursday is an add-on day and those to fork out and arrive early are given a splattering of acts to enjoy.
The first such act that we catch is Lucy Spraggan who does a great job in getting the audience into the spirit of things. Spraggan has the crowd singing along to the likes of The Proclaimers cover ‘I’m Gonna Be (500 Miles)’, and fan favourites ‘Last Night (Beer Fear)’ and ‘Wait for Me’.
Next, The Hunna grace the main stage and also deliver a crowd pleasing set. The band’s momentum seems to have stalled slightly, but that upwards trajectory is set to relaunch if the reaction to new single, ‘Trash’, is anything to go by. ‘She’s Casual’ and ‘Bonfire’ serve as a reminder of what the band is capable of, and leaves the audience fully pumped up for our Thursday headliners.
WATCH ‘TRASH’ FROM THE HUNNA ON YOUTUBE
The Hunna – ‘Trash’
Those headliners are indie stalwarts The Kooks. The band have been celebrating their debut album, ‘Inside In/Inside Out’, whilst they have also recently released a new album, ’10 Tracks to Echo in the Dark’. It’s no surprise then that 15 out of 21 songs tonight come from those two releases.
The new tracks manage to hold up well with the hits such as ‘Ooh La’, ‘She Moves In Her Own Way’, ‘Always Where I Need To Be’ and ‘Naïve’. All in all this equates to a fun headline show which sets the standard for the weekend to come.
Friday on paper is the best day musically for me heading in with a great mix of the new and established acts that Y Not Festival has managed to book so well.
It’s a new act we start with on the main stage as Lauran Hibberd brings her charismatic indie pop to Y Not Festival. The early risers are treated to a glimpse of a star in the making and those that make the effort don’t regret it. Hibberd’s debut album, ‘Garageband Superstar’ is out this month, and based on today’s showing it will be a breakthrough record.
Hibberd has featured previously on our ‘Discover’ New Music Playlist, and next we headed to the ‘Giant Squid’ stage for the first time to catch fellow playlist alumni Daytime TV.
Daytime TV showcase their incredible debut album, ‘Nothing’s On But Everyone’s Watching’, as they quickly blast out the likes of ‘We Can’t Be Friends’, ‘Hush’, ‘Ugly’ and ‘Zombie’. This is another band with a great future, and today they deliver the goods for the early crowd.
Watch our ‘Discover’ New Music Podcast with guests Daytime TV
‘Discover’ New Music Podcast – Episode 14 – Daytime TV
Continuing the run of fantastic young acts we catch MarthaGunn in the ‘Giant Squid’ and The Skinner Brothers in the ‘Allotment’. Two very different acts, but two more acts that make the very most of their time on stage, clearly winning over any fans not already converted.
We then return to the main stage for another newer act, but one that already feel established. The Snuts burst onto the scene with their debut album, ‘W.L.’, and have dominated festival stages this year. Today fans are treated to a look at what comes next with new songs ‘Burn the Empire’ and ‘Zuckerpunch’ sounding massive. Expect The Snuts to continue to climb festival bills over the next few years, and don’t be surprised when they are eventually headlining the likes of Y Not Festival.
The Pale White continue what has been a consistently brilliant day of music with a powerful set in the ‘Giant Squid’, before we head to the ‘Quarry’ for the first time this weekend.
Festival favourite and all round legend Beans On Toast assembles a huge crowd for a sing-a-long session. The heralded folk singer serenades his crowd with favourites such as ‘The War on War’, ‘M.D.M.Amazing’ and ‘On & On’. Really, there should be a law that dictates that Beans On Toast appears at every single festival.
Watch The Full Pelt Music Podcast with guest Beans On Toast
The Full Pelt Music Podcast – Episode 3 – Beans On Toast
Even before the major issues struck in 2017, one gripe I had about Y Not Festival was the apparent disorganisation in relation to set times. I worry next that perhaps this issue hasn’t been fixed as Manic Street Preachers fail to appear for their advertised start time. Eventually a message appears on the screens citing technical difficulties, and the band finally arrive almost an hour late on stage.
This of course has a knock on effect to our headliners Stereophonics, and also means when the Manics do arrive, they quickly depart again only playing for half their originally scheduled time. The technical difficulties seemingly continue to dog the band throughout their short time on stage, which causes more set changes on the fly. A lesser band may have given up, but Manic Street Preachers force their way through.
Stereophonics are a safe bet as a festival headliner, guaranteed to deliver the goods and give the audience a good time. That’s exactly what they do to close out Friday night, with a set mixed of hits and deep cuts from throughout their distinguished career.
The double header of of Welsh icons Manic Street Preachers and Stereophonics was a major selling point for many fans, so it’s disappointing that the technical issues leave a sour taste in the mouth.
Saturday soon arrives and we start off on the main stage for another double header of established acts. The Futureheads and Levellers bring the crowds in early as the festival rights the wrongs of last night. Both bands deliver solid sets which the audience lap up, and the party is in full swing as we head deeper into Saturday afternoon.
We refocus next however back to the fresh new acts that help to make this festival so appealing. Do Nothing, King No-One and the excellent The Mysterines all draw big crowds to the ‘Giant Squid’ stage and all three acts are able to produce perfect festival sets to the delight of the packed tent.
Sea Girls are one of the bands leading the new wave of indie and they are next up on the main stage, where they are greeted by an army of their fans. The band and fans then reciprocate energy for the next forty-five minutes and the result is a very enjoyable watch.
Our Saturday night is then spent back in the ‘Giant Squid’ for two bands that personify the festival. First up is a hot new band on the cusp of greatness in the form of Yard Act. This is a band that has been touring solidly and making a name for themselves. Today they put the spotlight on debut album, ‘The Overload’, which gets the entire tent bouncing along.
Lastly is an established act of indie folklore, We Are Scientists! The band finish out the night with a fan pleasing set full of favourites such as ‘It’s A Hit’, ‘The Great Escape’ and ‘Nobody Move, Nobody Get Hurt’.
WATCH ‘THE GREAT ESCAPE’ FROM WE ARE SCIENTISTS ON YOUTUBE
We Are Scientists – ‘The Great Escape’
It’s during this time that the heavens open for the first time. Back in 2017 it was the Saturday night when the festival organisers decided enough was enough, come Sunday morning the last day was cancelled and a disorderly evacuation of the site commenced.
One massive criticism of the event that year was a lack of foresight with heavy rain predicted well in advance, the site saw little or no preparation for the weather. It’s great this year then that prior to the rainfall we see straw spread at key points in the arena.
The result is that despite a night of rain, the arena is still in good nick come Sunday morning and we are able to continue with the high quality entertainment. Kudos then to the present organisers for taking proactive action rather than waiting until the horse has already bolted!
So, onto my first Y Not Festival Sunday! We again are on the hunt for new talent early on and catch both Marty and Cucamaras in the ‘Quarry’ and Baby Queen capturing the imagination of the main stage. All three showing that the future is bright.
Sunday really sinks it teeth in on the main stage with back to back performances from Amy MacDonald and Jake Bugg. Two more established acts with stacked back catalogues, two more artists that are able to deliver polished and well received sets as the shine really starts to break through.
After some sing-a-long action with MacDonald and Bugg, it’s back to the fantastic new music offerings as The Hara and Rews in the ‘Giant Squid’, and Vistas and Dream Wife in the ‘Quarry’ all deliver blistering performances which really rile up the audience.
Soon there is a great moment on the main stage where The Vaccines get to announce the incredible result of the Football mid-set. The atmosphere is electric as fans celebrate with more great music.
For us that great music sees us conclude our weekend back in the ‘Giant Squid’, firstly with Blood Red Shoes, who have released one of the albums of the year in ‘Ghosts On Tape’. Their belated set is an intense and ferocious explosion of rock which instantly enters the race for performance of the weekend.
Watch The Full Pelt Music Podcast with guests Blood Red Shoes
The Full Pelt Music Podcast – Episode 4 – Blood Red Shoes
That honour is hotly contested as across four days of music we somehow haven’t seen a bad performance. The pure quality on offer despite the multiple line-up changes since 2020 is a testament of the work of the booking team for Y Not Festival.
The last band of the weekend for us is Black Honey, who decide that the crown for set of the weekend belongs to them. They deliver an energetic yet majestic performance that is the perfect way to end what has been a great weekend.
I must admit scepticism coming into the event, and whilst I hoped that a great weekend would be had, I wasn’t sure. The organisers have rectified the issues of 2017 and have earned themselves a clean slate from me.
Whether you just want to chill at the main stage, or go hunting for the best kept secrets in the tents, Y Not Festival had it all this year. The ghosts of the past have been put to bed by the acts of the future!
THE KOOKS – ’10 TRACKS TO ECHO IN THE DARK’ – ALBUM REVIEW
The Kooks have been busy celebrating their seminal debut album, ‘Inside In/Inside Out’, on recent tours, but they are a nostalgia act just yet!
New record, ’10 Tracks to Echo in the Dark’, is the group’s sixth studio album, which isn’t the most prolific discography but is on par with most of their contemporaries. What the band has done however is deliver consistency with each of their previous efforts showcasing their talents well.
Over the course of these releases The Kooks have evolved sonically and the differences between that debut and this latest release are clear. ’10 Tracks to Echo in the Dark’ features the bands now signature expansive sound and bursts straight to life with opening track ‘Connection’.
At just over half an hour this isn’t a long album, which I feel helps it maintain the listeners attention. There is much ground broken on the record, now that you’re really expecting or wanted experimentation from The Kooks in 2022. That said there is enough here to fend off that nostalgia scene for a little longer.
The band do appear to have found their groove which is far removed now from the sound that broke them into the mainstream. Of course, those songs still exist and feature heavily in their live shows but if you are expecting another ‘Inside In/Inside Out’ from The Kooks you’ll be disappointed.
Expectation therefore is key when approaching ’10 Tracks to Echo in the Dark’, something which the slightly ostentatious title does assist with. This was never going to be the so called “classic” Kooks sound.
That’s not a bad thing though and this isn’t a bad album by any stretch of the imagination, it just needs a little perspective. The album isn’t a bad way to spend half an hour, but it won’t leave much of a lasting impression either.
To say this week has been hot would be the understatement of the century. So, whilst the opportunity to cram into a sold out UEA LCR in Norwich isn’t the most appealing; doing so to catch indie rock royalty Kasabian play an intimate headline show makes it unmissable.
The dust has firmly settled on the well publicised line-up change in the band, and massive slots at the Isle of Wight and Knebworth this summer have just solidified what fans discovered on the bands return tour last year – new look Kasabian remain one the best live bands on the circuit.
This show was originally set to be part of their lowkey return tour, but illness saw the show postponed to now. The show is in effect now a small warm-up for their headline set at Tramlines this weekend.
The band are given a hero’s welcome from the pumped up audience as they arrive on stage. The atmosphere in the venue tonight is as hot as the weather has been and it all goes off as Kasabian kick off with ‘Club Foot’, ‘Ill Ray (The King)’ and ‘Underdog’!
Sweaty bodies are everywhere as the band continue to showcase their reinvigorated live show. Newly minted frontman Serge Pizzorno stalks the stage like a man possessed, he controls the crowd with natural ease as he steps out of the shadows to the forefront of the band.
Kasabian always were a phenomenal live act, and the line-up switch doesn’t change that. The genius step that the band has taken is to add The Music frontman Rob Harvey to their live line-up. Harvey fills the huge void left by Pizzorno in his previous role and adds a whole new level to the groups sound.
Nobody can doubt the quality of their back catalogue with tracks like ‘You’re In Love With a Psycho’, ‘Shoot the Runner’, ‘stevie’, ‘Empire’ and ‘Vlad the Impaler’ on offer tonight. What the band does in the studio next will be interesting but new tracks ‘CHEMICALS’ and ‘ALYGATYR’ show they still have plenty to offer.
Any doubt that Kasabian remain a viable live entity has been dispelled and come this winter, the band will once again be gracing arenas across the UK.
They sign off this evening with an encore of ‘Bless This Acid House’, ‘L.S.F. (Lost Souls Forever)’ and ‘Fire’. It’s been a night to remember for the audience and another statement made by a reinvented and rejuvenated band.
DEAF HAVANA – THE PRESENT IS A FOREIGN LAND – ALBUM REVIEW
The entire career of Deaf Havana has been rather stop/start with vulnerabilities and insecurities often holding back; ironically though it’s also those same traits that have made the band such essential listening in the past.
The band has had many highs but their previous effort, ‘Rituals’ and the touring that followed saw the band perhaps at their lowest. The band clearly had high hopes for the record and hoped the pop direction and polished visuals would contribute to their greatest successes, only to be demoralised when the album fell flat and the bands momentum actually faded instead of escalated.
Watching some of their final UK shows on that album cycle, it was clear there were issues. The passion appeared to be gone and it felt as though the band were simply going through the motions. It was not really a surprise then at the end of last year that James and Matthew Veck-Gilodi revealed that the band had planned to split in early 2020.
Instead the duo announced that they were now the only remaining members but that new music was coming. That new music comes now in the shape of the bands sixth studio album, ‘The Present is a Foreign Land’.
It’s been a turbulent musical journey from their post-hardcore debut, through their folk rock and alt rock albums to the pop sound of ‘Rituals’. The first question for me was, which Deaf Havana would appear on this album, and secondly would whichever version appearing be any good?
LISTEN TO ‘GOING CLEAR’ FROM DEAF HAVANA ON YOUTUBE
The brutally honest lyricism of their finest work presents itself instantly on the opening track, ‘Pocari Sweat’, and their peak ‘Those Countless Nights’ vibe comes out on early highlight, ‘19dreams’. Soon enough some of those folk influences emerge, before the pop sound makes its presence known also.
The answer to that first question clearly being, E. All of the Above! This certainly feels like a fresh start for the band, a new beginning, but one that recognises just where they have come from.
On the second point of quality, this is leaps and bounds ahead of the poorly executed experiment that ‘Rituals’ felt like. This feels more like the band that many tipped for huge success. The pop sensibilities are here to stay but they have been intertwined with the sounds that made you fall in love with the band.
Whereas ‘Rituals’ felt forced, ‘The Present is a Foreign Land’ feels like the natural evolution of Deaf Havana. This band is far too good to disappear, so let’s be glad that they’ve emerged from this latest change still with important things to say!
It’s hot, hot, hot! It’s British Summer Time and the hot ticket this year is a two night stay from Seattle icons Pearl Jam. Oh yes, Hyde Park in London is packed in like a giant sweaty sauna with a delicious soundtrack on offer so let’s dive straight in.
This is another event to have suffered multiple COVID postponements but finally the gates upon on a sweltering hot Friday and diehard fans man the barriers and merch stands as they await the arrival of their heroes.
Whilst the Pearl Jam name sits atop of the banner this weekend, there is actually a packed undercard to enjoy as well. First up for us is Simon Townshend on the main stage who plays a decent opening set despite appearing more concerned with the fact Eddie Vedder was going to join him for a song, but couldn’t. When not awkwardly obsessing on the matter, Townshend showed why his own musical pedigree was actually sufficient. Very odd!
Townshend is followed on the main stage by The Murder Capital, who turn the intensity up a little. This is a band that has been winning man plaudits since their 2018 inception, and with performances like this you can see why.
It is then over to the ‘Hard Rock Rising’ stage where the fantastic Daytime TV make an early bid for performance of the weekend. Our recent ‘Discover’ New Music Podcast guests stop early attendees in their tracks, as they pause to savour the likes of ‘We Can’t Be Friends’, ‘Ugly’ and ‘Zombie’. Expect big things from this group.
WATCH ‘UGLY’ FROM DAYTIME TV ON YOUTUBE
Daytime TV – ‘ugly’
Perhaps it’s the sunshine, or the atmosphere and sense of occasion but there are some great sets this afternoon. Both White Reaper and Cat Power entertain the masses on the main stage, whilst sandwiched in between over on the ‘Birdcage’ stage are LIFE. LIFE attract a big crowd to the small stage and certainly make the most of their time on stage as they showcase their upcoming release, ‘North East Coastal Town’.
The quality of the line-up shines through next with a run of Fatherson, Pixies and October Drift before our headliners Pearl Jam. Fatherson first deliver a superb set on the ‘Birdcage’ stage which spotlights latest album, ‘Normal Fears’ with airings of ‘Better Friend’, ‘Dive’ and ‘Love For Air’.
Pixies are a major draw over on the main stage and they don’t disappoint playing a crowd pleasing set featuring ‘Gouge Away’, ‘Where Is My Mind?’, ‘Monkey Gone to Heaven’ and closer ‘Debaser’. Stood in the early evening sunshine, this is surely the definition of the perfect festival set.
Tucked away on the ‘Birdcage’ stage however is perhaps the perfect opportunistic festival set. That is in sense of a band grabbing their opportunity and their audience with both hands and dragging them kicking and screaming into a moment.
One of those moments that you walk away from and say, “wow”, that you tell your friends about. The band in question is October Drift who deliver a typically visceral experience for the audience, not least when singer Kiran Roy climbs a literal tree mid song.
WATCH THE FULL PELT MUSIC PODCAST WITH GUESTS OCTOBER DRIFT
The Full Pelt Music Podcast – Episode 10 – October Drift
It’s then finally time for Pearl Jam to take to the main stage much to the delight of those diehard fans still stood stoically. BST is typically a very corporate event with an often stagnant atmosphere, but the Pearl Jam fans help to bring some life this year.
There are upsides to these highly polished BST events such as the good facilities, but a downside can be the various VIP sections sucking the life out of the crowd. Thankfully they have minimal impact this weekend with fans clearly desperate to catch their heroes after a two plus year wait.
Pearl Jam for their part do exactly what they need to do, which for the most part is just play. Vedder does regularly take time to engage the audience but it’s the music that really does the talking tonight.
Friday’s set list is well received and features the likes of ‘Even Flow’, ‘Jeremy’ and ‘Alive’, before a finale of ‘Rockin’ in the Free World’ with guest John McEnroe!
WATCH ‘ALIVE’ FROM PEARL JAM ON YOUTUBE
Pearl Jam – ‘Alive’
There can be no complaints from fans with the band on form, the weather absolutely cracking and the undercard on fire. It’s good then that we get to do it all over again on Saturday!
The weather is again relentless hot as we arrive on day two. There is a sense of déjà-vu with fans again getting in early to stake out their spots and pillage the merch stalls.
Today is different however as we have a wholly different undercard, which starts for us today on the ‘Hard Rock Rising’ stage with Tigercub. The Brighton band help to blow off any cobwebs and get the day started right, with a good rocking!
We are then back down to the main stage for The Last Internationale who have proven themselves to be an incredible live act. Today is no different with vocalist Delila Paz orchestrating the performance from the front. The band’s tight bluesy rock goes down perfectly as the mid-afternoon sun beats down, and day two is already picking up where day one left off.
It’s another day of darting between stages today due to the excellent booking across the stages. Both The Wild Things on the ‘Hard Rock Rising’ stage and Imelda May back on the main stage continue the streak of solid performances next.
WATCH ‘SEVEN’ FROM JAMES AND THE COLD GUN ON YOUTUBE
James and the Cold Gun – ‘Seven’
Next we head back to the ‘Birdcage’ stage for another recent ‘Discover’ New Music Podcast guest, Welsh rockers James and the Cold Gun. The band has been honing their craft supporting various acts over the past year and recently undertook their debut headline tour. Each show that we’ve caught from the band has been better than the last, and again today they hit new heights with a hard hitting show.
Johnny Marr belatedly takes the main stage next and rattles through a set mixed with solo material and Smiths classics that go down very well with the baying audience.
Back over on the ‘Birdcage’ stage Petrol Girls blitz their short time on stage leaving a trail of both awe and bewilderment. Those that get it, get it and those that don’t, don’t; either way the band make an impression, which is all they need to do both musically and politically speaking. Perhaps a little out of place amongst the BST elite, but an important set at a fragile time for this country.
Soon enough it’s time for Stereophonics to grace the main stage and showcase why they could probably headline this venue themselves with the right undercard. Stereophonics are national treasures that can still pump out quality new material. They are also of the best live acts around, so of course this performance was bound to be a huge success.
New material such as ‘Hanging On Your Hinges’ and ‘Do Ya Feel My Love’ more than hold their own amongst mega hits like ‘Have a Nice Day’ and ‘Dakota’. Sing-a-longs aplenty as the band set the stage for the grand finale.
WATCH ‘HANGING ON YOUR HINGES’ FROM STEREOPHONICS ON YOUTUBE
Stereophonics – ‘Hanging On Your Hinges’
Before Pearl Jam do their thing for a second time, we pop back to the ‘Birdcage’ stage one final time for Whispering Sons who are perhaps the only underwhelming performance of the weekend. Not bad for a festival whose undercards are usually a little tedious. Bravo to the booking team for these two days of fantastic acts.
To top it all off? Pearl Jam of course! Yes headline set number two from a band that always mixes things up. This weekend in London that means two nearly entirely different setlists, a real treat for fans.
Night two highlights include ‘Elderly Woman Behind the Counter in a Small Town’, ‘Black’, ‘Yellow Ledbetter’ and an impassioned speech from Eddie Vedder on American gun culture prior to an airing for ‘Throw Your Hatred Down’ with Johnny Marr.
Closing out the double header with a cover of ‘Baba O’Riley’, Pearl Jam have reaffirmed their status as one of the most vital bands of the past 30 years. Their legacy is built and they have legendary status, but there still feels like there is more to come.
These two days have been a delight with quality performances from top to bottom, plus British Summer Time came through with not a rain cloud in sight – could we have asked for any more?
After two years of waiting, Arizonian emo icons Jimmy Eat World finally arrive at what Jim Adkins refers to as his favourite venue to play. That love is reciprocated as Brixton Academy is packed tonight as fans await their heroes.
Those in the venue early are greeted by opening act together PANGEA from Los Angeles. A promising start soon begins to plod as the heat takes hold. It’s been a hot one today and as this set continues, fans begin to wilt.
Anticipation rises again for our main support act, The Get Up Kids. The influential group are given a good forty five minutes to play with, but this may end of working against them. Again the set starts well, but soon becomes samey and tiresome, with the general lethargy of the audience not exactly helping to create an exciting atmosphere.
With a crowd devoid of vigour, and energy sapping, tonight needs a kick up the rear end. Thankfully for everyone Jimmy Eat World are ready to do just that and start off their performance with ‘Futures’, ‘Pain’ and ‘Bleed American’.
Suddenly the venue finds its voice and our headliners are able to revive the flagging audience. There is a connection between Jimmy Eat World and their fans and that means even new tracks such as ‘Criminal Energy’ from latest effort ‘Surviving’ are savoured.
The first two bands time on stage dragged, but our headline set flies past, which is always a good sign. This is a band that knows what the fans want, and they simply plough through their fantastic back catalogue.
Obvious highlights come from the sing-a-long moments such as ‘Big Casino’, ‘A Praise Chorus’, ‘Work’ and ‘Hear You Me’. The whole set tonight flows well though and by the time main set closers ‘Sweetness’ and ‘The Middle’ are aired the crowd are refreshed and able to let loose.
An encore of ‘Get It Faster’ and ‘23’ brings an end to what has ultimately been an enjoyable night which was well worth the wait!
Shinedown’s stock continues to rise album by album, with their previous effort, ‘Attention Attention’, being the first to crack the UK Top 10. They just performed a huge main stage slot at Download Festival and later this year they will headline Wembley Arena for the first time as part of a UK Tour.
Yes, their trajectory in the UK finally appears to be matching that of their homeland so it would be a good time now for the band to release a top quality album wouldn’t it?
Well, within a couple of tracks it’s pretty clear that their seventh studio album, ‘Planet Zero’ is just that. With 20 tracks, including 7 short interludes, and sitting at just shy of the 50 minute mark, I did have my trepidations, but the album simply breezes by.
Everything that has got Shinedown to this point is present with thronging guitars and soaring vocals met by moments of melancholic captivation. This is also an expansive album however with the band continuing to explore the further reaches of their signature sound.
This means that there is a pleasing familiarity to the album whilst your interest is routinely piqued. The themes on this conceptual release are highly relevant, daring and thought provoking which engages the listener from the beginning with ‘No Sleep Tonight’ and ‘Planet Zero’; all the way through to the records climactic run of ‘Daylight’, ‘The Saints of Violence and Innuendo’, ‘Army of the Underappreciated’ and ‘What You Wanted’.
This is the second album to be produced by bassist Eric Bass following ‘Attention Attention’ and that dynamic appears to work well for a band who have always appeared direct and assured in their self-belief and faith in their artist approach.
‘Planet Zero’ is peak Shinedown and the album does exactly what the band need it to do at this point in their career. They may be seven albums in now, but the future remains very bright for this empowering band.
