Jeremy Corbyn, unicorns draped in neon lights and stellar musical performances were just part of the Glastonbury Festival and Getintothis’ Rick Leach was there.
Always different, always the same.
What John Peel famously said about The Fall could equally apply to the Glastonbury Festival.
Every year you think you know what you’re going to get and while some things are unchanging – Michael Eavis wrapping it all up by saying that it’s been the best festival ever, photos of the litter filling the pages of the Daily Mail, rumours of an Oasis reunion – Glastonbury always has the capacity to surprise and this year was no exception.
After a 2016 Festival that was dominated by the seismic shock of the Brexit vote on the Friday and mud that covered the whole site which summed the political quagmire we’re now faced with, it was with a certain dread that we headed back to Worthy Farm. Surely history couldn’t repeat itself?
It didn’t of course. Nothing could ever be the exactly the same as it was in 2016 and although there is a certain consistency about the Festival there are always enough changes each year to make it interesting.
It’s the practical things. It’s difficult to underestimate the effect that the weather can have on the place. In 2016, there had been a week or so of constant rain leading up to the Festival. This led to the whole thing getting off to a pretty grim start with traffic jams surrounding the site and tales of journeys taking three times as long just to get there. It got so bad that Glastonbury were advising people to turn around and come back the following day. Once on the site and for the full five days, the constant sea of mud made getting from stage to stage a time-consuming and energy-sapping marathon and trying to do anything without getting covered in mud was a challenge in itself.
However, this time it was different. We’d had a couple of weeks of unbridled sunshine right across the country; record temperatures. You know the score; “Britain sizzles” and “Phew! What a scorcher!” Although we took our wellies with us (just in case) we were hoping that we weren’t going to be pulling them on. We might just be lucky.
Searing Sheeran: hot Glastonbury sunshine predicted https://t.co/xO5laVidK0
— Guardian music (@guardianmusic) June 18, 2017
Things looked up even more as we stepped from the coach onto the hallowed fields of Worthy Farm and felt the dry and cracked earth underfoot. The weather forecast was good for the whole weekend and we just knew everything was going to be alright. It was time to think about all the music and to forget any mud. That was then and this was now.
Yet things were different and sadly (and rightly) the real world impinged on us as we entered the site. Following the recent atrocities in Manchester and London as well as the complete evacuation of the Rock Am Ring Festival in Germany a few weeks before, Glastonbury had advised everybody to pack light and to bring as little as possible with them. There would be full bag searches and an increased police presence on the site to ensure everyone’s safety. Grim times indeed.
It must be said that we didn’t see that much evidence of people bringing much less gear with them. Rucksacks were still packed to bursting and festival goers still wobbled to the gates laden with everything and more that could be needed for a few days in a field. We didn’t see anyone carrying a kitchen sink, but we wouldn’t have been overly surprised if someone had brought one along.
Despite all this, fears of long queues due to bag searches simply to get in didn’t materialise. It seemed to run like clockwork and although we were sure there were more police at the site doing more at the festival, it wasn’t that noticeable. Probably the best way. And for somewhere that has close to 200,000 people living and partying and doing things that they would not normally do for five days, Glastonbury still feels like one of the safest places to be. Long may that continue.
Now this is the strange or funny or sad or dispiriting thing, depending on your perspective. On the way to Glastonbury on the coach and as we entered the gates, we asked quite a few people which artist they were looking forward to seeing the most. One name kept cropping up. Ed Sheeran. Ed Sheeran. Ed Sheeran. It was like a mantra.
There were a few stray Radioheads and a couple of Foo Fighters but Mr S romped on home. This survey wasn’t conducted in a very scientific way it must be admitted and maybe the demographic of coach travellers skewed the results somewhat, but it was surprising. Who knew that there was so much love for him? We didn’t ask if anyone wanted to see Napalm Death or The Dead Kennedys; that would have been a leading question, yet we guessed they wouldn’t have polled that highly.
But we do know, and how, that polls can be highly unreliable. Even if Ipsos Mori had run a poll then you can be fairly sure Sheeran would have finished pretty high up. Maybe an exit poll at the end of the festival would clear things up; but that would be a few days ahead and there’d be a whole lot of music to hear first.
What this shows is that Glastonbury really is a festival like no other.
There seems to be a whole swathe of people who go just to see the likes of Ed Sheeran or whoever is headlining the Pyramid; whatever or whoever is the pop megastar that year. In fact, that’s not wholly correct. They’re going because it is Glastonbury rather than whoever is playing. It probably is the first and possibly the only time they’ll go and they’ll be there with a bunch of mates. The music is quite irrelevant. They know that because it’s Glastonbury they’ll see a worldwide star somewhere along the line and they’ll have a good time. Music isn’t that important to them and you know what? There’s nothing wrong with that at all. We might be writing for Getintothis and for many of us, the concept of music not being a central factor in our lives seems absurd, but maybe some things are more significant than music. (As if!)
But we have to recognise that’s the way it is and Glastonbury always plays their cards right for festival goers like that.
They also seem to have it gauged right for the want of a better term, “indie kids” with a whole bunch of flavour of the month acts; you only have to look at the Peel Stage or Williams Green where, to pick three random acts this year, we had the choice of Lemon Twigs, Let’s Eat Grandma and Cabbage.
With West Holts picking up the world music/jazz/soul demographic, the Other Stage going for middle – level acts and The Park hoovering up the rest of the stuff, all bases seem to be covered. There’s the likes of the Acoustic Stage going for a slightly older crowd with quite worthy acts, Silver Hayes picking up a lot of dance stuff and of course this year Glastonbury brought grime a lot more to the fore with Stormzy, Wiley, Boy Better Know and Kano all with high-profile slots.
Once you factor in all the smaller stages, there really is something for everyone. It may not have the hippest cachet of other festivals or be as cutting edge as some-there is a dearth of wildly experimental artists at Glastonbury– but they don’t do too bad. Something for everyone.
In many ways, it seems to be a fusion of mini-festivals all on one site. Any of the main stages in themselves would work as a stand-alone festival with not too shabby a line-up. You do wonder however, whether there is much cross-pollination of audience between stages. There’s a risk in the long-term that it could all splinter off into compartmentalised genre-led stages and maybe this is something Glastonbury should be careful to avoid happening.
What was noticeable to us this year was a lack of the real old Glastonbury veterans. The hippies from way back in the early 1970’s. There were a few of course, but many less than a decade or so ago. Maybe natural evolution or just age is seeing their numbers decline. After all, many of those who were in their early twenties in 1970 will have hit 70-odd now. What was an essential part of the festival for years is kind of coming to a conclusion and this was reflected by a distinct lack old hippy bands such as Gong on the line-up in 2017.
And while we might have missed seeing Gong in 2017, there was still plenty to try to catch. What we did know is that we wouldn’t be able to see more than a sliver of what was on offer and have to live with our choices, for good or bad.
As it turned out, we did miss some acts that we wanted to see or should have seen, but the pay-off for that is by and large what we did see and there were some genuine highlights along the way.
It helped of course that the weather throughout the whole weekend remained dry for the most part with only a sprinkling of drizzle on the Saturday and Sunday morning and the dreaded mud never appeared. As neither did our wellies which were carted all the way down to Somerset and back without having to be used in anger. Or despair.
We therefore managed to scuttle around the site as much as we could but a large part of being at Glastonbury is that scuttling around, hoping that the next act you’re going to catch is something special.
After seeing Circa Waves play a rousing and very well-received not-so-secret show at a packed Williams Green on the Thursday evening, all anthemic and arms-in-the-air stuff, we were suitably warmed up for the festival proper. Of course, there’s stuff happening on the Wednesday and Thursday, but it always seems a bit like running up and down the touchline and getting ready for the main event. It’s a matter of wandering around and seeing what things you stumble across.
After a Thursday evening therefore of watching unknown brass bands play rousing jazz in small tents, a couple of rap acts and someone playing a bit of pub rock 12 bar blues as if we’d stepped back to 1976, we were ready for Friday.
Another dry day, but not without the burning heat of the Wednesday which had led to the John Peel tent being opened up just so punters would have somewhere to shelter in the shade. Our day began, in a musical sense, with Japanese noise band Bo Ningen.
Despite just saying that Glastonbury doesn’t really do anything too experimental, sticking Bo Ningen on the Park Stage at noon on the first full day of the festival is not exactly playing it too safe. As the long-haired and black-clad band soundchecked to the strains of Johnny Cash, Al Green and Gene Vincent playing over the PA at the same time it felt more than a tad surreal. Blue Gene Baby mixing in with instructions in Japanese must be said worked really well and it could have been something that we’d have been quite happy listening to for the following half-hour.
However, after a bit of messing around, Bo Ningen started their set proper and it is fair to say that they were a bit of a revelation. Glastonbury had billed them as a “punk band” or something but they were as far removed from any punk by numbers routine that categorising them seemed ridiculous. A low and insistent bass rumbled from the stage, hitting us in the throat and stomach and although psych elements were to the fore, there was no messing around and nothing stretched out too much, Bo Ningen didn’t mess around and set the day up perfectly.
After catching a bit of First Aid Kit (ok, but a bit forgettable) at the Pyramid and Circa Waves proper set at The Other Stage (a surprisingly large crowd and very well received), we wandered back to the Park to see Mark Lanegan. With a voice that sounded like Bob Dylan had been gargling with gravel and a very tight band backing him, Lanegan’s lyrically grim tunes set to a fairly traditional rock/country background went down very well with by now a fairly full Park audience. We guessed that not many of them were Ed Sheeran fans.
The crowd remained and in fact grew even bigger for Angel Olsen, who continued with the warped country vibe. Her last two albums had been critically praised and for us, it was interesting to see how they would translate into a live setting. Very well it turned out and her self-effacing chatting with the audience blew what was, to be honest, the goth-like and overly serious performance of Mark Lanegan away. You get the feeling that whatever Angel Olsen comes up with next will be interesting and worthy of investigation.
There was a tba slot following Angel Olsen and rumours of a secret set from the Manic Street Preachers or The Maccabees were unfounded. Before they jumped on the Park Stage, everybody in the crowd seemed to know that it would be Elbow. Not very secret then?
Now this is the thing for us about Elbow. Guy Garvey seems like a really sound bloke. Every time you hear him on the radio he talks a lot of sense. You can tell that he is not some starry-eyed rock star, but someone who is into music like the rest of us and genuinely excited about new things. He comes across as the sort of person who you could sit down with and have a normal chat. We like Guy Garvey.
But there’s something about Elbow’s music that leaves us cold. It’s perplexing. We feel we should like it and even feel a tad guilty about not doing so. Yet for the crowd that late afternoon we were in a distinct minority. Elbow and Guy Garvey played all the songs that you’d expect them to, interacted with the audience very well as usual and left the stage giving most people a warm and happy feeling. Good on Elbow. We can genuinely appreciate what they do. That’s in large measure what music should be about; making people feel better, if only for a short time. It’s just not for us, that’s all.
You do end up having to eat while you’re at Glastonbury and sometimes the queues for the food stalls can be rather lengthy and time-consuming. This results at times in missing artists sets. But there can be a positive side to this if the set you miss out on is Sleaford Mods. Two shouty blokes who we know are well-liked, Sleaford Mods seem to divide opinion. We fall into the camp of if we want to see two middle-aged men ranting pretty incomprehensively, then we can wander down to any city centre pub at 11.00 pm on a Friday night. We don’t need to stand and watch it unfold in front of us on a stage.
However, from all accounts of people who did watch them they played a good set. We have to take that at face value. There do seem to be a lot of people who are Sleaford Mod fans.
And even more people who are Flaming Lips fans. This was the way Friday evening wrapped up, in a musical sense. The Flaming Lips returned to Glastonbury for the first time since 2010. Back then they headlined the Other Stage and in 2017, they were at the Park. Maybe it was a slight measure about the extent of how much their commercial appeal has waned a little; possibly since they seemed to have turned their backs a touch on the warped pop tunes heard on The Soft Bulletin, Yoshimi Battles the Pink Robots and At War with the Mystics albums. Since 2009, they have moved in a much more experimental way-certainly in their recorded output-and maybe do not have the pull factor that they had before. Yet we know they have such a large pool of great and crowd-pleasing tunes to fall back on, then the Flaming Lips were never going to disappoint.
This was music and a performance that was, as ever with the Flaming Lips, life affirming, happy and something that engendered a sense of togetherness within the audience. People sang along at the tops of their voices to old favourites such as Yoshimi and the Yeah Yeah Yeah Song and Wayne Coyne did his bubble walk into the crowd to the strains of Bowie’s Major Tom. No one seemed to mind too much about the couple of newer songs they played and rounding the set off with Do You Realize??? was always to be expected and was always going to work well.
— Rachel (@ifyou_dontshine) June 28, 2017
We wandered off to the sound of Louis Armstrong’s Wonderful World playing over the PA after the Flips left the stage. This is something they always do and that Friday evening more than a few people were singing along to it as well as we drifted off in different directions. A wonderful world indeed.
Saturday morning and we awoke to the sound of drizzle on canvas. Could this be the end of summer? Was it time to break open the wellies?
No. not at all! We were made of sterner stuff than that. It was simply a bit of drizzle. A shower and one that quickly faded away while we watched Whitney play a stunning lunchtime set at the Other Stage. It might be pushing it a bit too far to say that the sun-dappled tones of Whitney’s music, evoking soft and gentle West Coast light had something to do with the weather taking a turn for the better, yet it was so good that it must have played a part. Someone remarked to us that they ‘had just seen their favourite new band’ and we had to agree. We knew that the Whitney album was good, but this set was something else. One to be treasured for a long time and a definite highlight of the whole weekend.
British Sea Power did what British Sea Power do; played a well-received set to a bunch of devoted fans and in doing so, seemed to win over a few more hearts and minds.
We then managed to hurry across the site to hear the very tail end of Thundercat’s set; possibly the final ten minutes or so. It was ok, but not the revelatory experience we’d hoped for. Maybe we’d missed the best part.
BBC Radio 6 Album of the Year artists BadBadNotGood were next on our agenda and they were well, GoodGoodNotBad. (Couldn’t resist that one.) There’s always a risk that with such relatively complex music as BadBadNotGood come up with in the studio then things don’t translate smoothly in a live setting. It can either turn out to be a bit of an unholy mess or go the other way and end up being too bland. However, they seemed to have it spot on-still bringing up those tricky rhythms which made the album such a breath of fresh air yet playing it all so adeptly and in such a relaxed manner that you couldn’t help but tap your toes and smile. Another highlight and not just for us from the reception they got.
However, while BBNG were banging out their jazz-inflected, post-bop Canadian tunes, something else was happening elsewhere on the site and something that would be remiss of us not to mention, if only in passing.
Way back in 2016, Jeremy Corbyn cancelled his appearance at Glastonbury the day after the Brexit vote. His leadership of the Labour Party looked very shaky and he couldn’t make it to Somerset. He needed to stay in London.
Yet as we know, things have changed quite a bit in the past 12 months. The whole political landscape has changed. The Tories are really on the back foot after calling what was possibly the most ill-advised election in history, winds of change are sweeping Europe with the election of Emmanuel Macron and though we hate to say it, it seems like anyone can get elected anywhere. (See the US as the prime example of unlikely political events.)
Following the election and the slashing of the Tory majority, the Labour Party and Jeremy Corbyn have been ecstatic. It seems a mere matter of time-maybe only a few months- before the Tory government will collapse and Jeremy will be setting up home in Downing Street.
It’s been generally accepted that the relative and totally unexpected success of Labour was down to the youth vote. Where better for Jeremy Corbyn to turn up therefore than the Glastonbury Festival, awash as it is with youth voters?
So this year he wasn’t going to simply appear in a Q & A at the Leftfield Tent, but had been invited by Michael Eavis to pop along to the Pyramid Stage and give a bit of speech before Run The Jewels did their turn. Like we say, many things have changed in the last 12 months.
A few years earlier at Glastonbury it seemed like every other person was wearing Rolling Stones t-shirts ahead of their headline appearance. In a strange twist of fortunes, this year Jeremy Corbyn t-shirts were similarly ubiquitous. His name was chanted at random shows at the festival to the tune of the White Stripes Seven Nation Army and by the time he appeared before a packed and adoring Pyramid crowd, things had reached a state of near hysteria.
It’s patently obvious that there’s been a sea-change. People are much more engaged and that’s especially true for younger voters. There’s a feeling that things can be different and above all there’s a sense of hope. You feel that things will not and do not have to carry on the way they have before.
We probably heard Corbyn’s name mentioned during the festival in passing more than any other band or artist. “Did you see Jeremy Corbyn?” was a common refrain rather than “Did you see Radiohead/Foo Fighters/Ed Sheeran…” etc. There was a genuine excitement that he’d been there and had stood on the Pyramid and by all accounts, given a rather rousing and inspirational speech.
It could be argued that he had a bit of home advantage, speaking at Glastonbury. Not exactly preaching to the converted, but not too far from it either. An audience comprised largely of younger people and older but left-leaning liberal voters were never going to give him a hard time. What will be harder of course for Corbyn to do is to convince the people, or the sort of people who weren’t at Glastonbury, that this vision is the right way to go.
There is a risk that the all the adulation and all the hope and promises will fade away and be forgotten. The Corbyn t-shirts will end up like the Rolling Stones ones, mere mementoes of a hot summer day at Glastonbury in 2017. We really hope not and we pray that things have really changed. Time will tell.
A combination of crowds around the Pyramid after Corbyn and the Other Stage for Liam Gallagher led us to search out something different. It was hard however to escape Gallagher’s booming vocals; everything seemed to have been ramped up. We wandered up to the top of Pennard Hill for a bit of respite and even up there we could hear his flat drawl as if he was standing right next to us.
We ended up in a very strange conversation with some very posh people-they were all called Justin or Tabitha or something like that.
“Oh, who’s that?” they asked.
“Liam Gallagher,” we replied.
They looked blank.
“Liam Gallagher. Oasis.”
“It sounds like someone doing cover versions,” they said.
“It’s Liam Gallagher. Out of Oasis.”
They shook their heads and shrugged.
One of them thumbed through the programme.
“This Liam Gallagher isn’t on until 7.45.”
“No, he’s on at 17.45. Like now. Quarter to six,” we explained.
They looked at each other incomprehensively.
We were really on a hiding to nothing if they couldn’t understand a 24-hour clock and didn’t know who Oasis were. We gave up and headed back to the site with Liam still belting out Rock and Roll Star across the Somerset fields.
Splitting the next two acts we wanted to see, we managed to catch the first half of Thurston Moore’s set in a pretty sparsely attended William’s Green and the second half of Chris Difford and Glen Tillbrook in the Acoustic Tent.
Moore, alongside stalwart Steve Shelley on drums and Debbie Goodge of My Bloody Valentine on bass, did what you’d expect him to do and did it quite well; Sonic Youth-y type stuff and much trashing around. As for Difford and Tillbrook; well, they’re never going to let you down with the quality of songs they have at their disposal. Audiences for both of these very different acts appeared to love them in equal measure.
Next up were The National on the Pyramid.
There was a bit of clash of fans as we headed to the Pyramid. Not in any scrappy way but simply in a traffic-jam sense. Katy Perry fans were heading off in droves as National fans went in the opposite direction. We figured there isn’t that much of an overlap between the two sets.
We had been a bit concerned in advance that The National may have been swamped a little by the sheer scale of the Pyramid and that their songs could fall of deaf ears. Those fears were put to bed as they played, for us anyway, one of the outstanding sets of this or any of the other Glastonbury Festivals we’ve been to.
They were magnificent and risky. Maybe this is what music should be about; taking risks. And The National certainly did that by playing a set not full of crowd-pleasing favourites-which they could easily have done-but second song in, playing five songs in a row from their forthcoming album.
This wasn’t a case of flogging a new, recently released or soon-to-be released-next week record as the album won’t come out until early September, but a band who seemed proud of their new work and wanted to share it with us. They played these new songs with a confidence and self-assuredness which seems to sum up what The National are all about. It’s a case of them laying things out for an audience and crediting us with an intelligence that we don’t always need to hear the (admittedly great) true-and-tested songs all the time. We can make our own minds up. And we did, and we loved it.
— The National (@TheNational) June 24, 2017
They wrapped up a too short a set with another brand-new song, Turtleneck, all passion and anger and much more of a harder type of tune than they turned out for 2013’s Trouble Will Find Me album. Turtleneck is a song to make the hairs on your neck stand on end; it really is that good. If they carry on the way they are doing, and getting the reception they did that Saturday, then The National are sure to headline Glastonbury somewhere along the way.
We figured whatever we saw next was going to be a bit of a let-down and in any event, we didn’t hang around for Foo Fighters but instead popped along to see Warpaint headline the Park Stage.
This was a wise choice. Warpaint’s set got better the longer they played and from a small audience at the start, the Park was full at the end. We were unsure if this was due to people fleeing from the Pyramid yet Warpaint more than did themselves justice as headliners.
Sunday morning saw things start off in somewhat of a surreal fashion as we were treated to the sight and sound of Michael Eavis himself standing on a stage with the Avalonian Choir and warbling his way through the hymn, How Great Thou Art? A sort of song of praise and somehow quite fitting for a Sunday morning.
Two years on the bounce we’ve seen Liverpool’s own She Drew The Gun at Sunday lunchtime at Glastonbury. In 2016 they played the John Peel Stage as Emerging Talent winners; this time they were playing the Park and under their own steam so to speak.
— she drew the gun (@shedrewthegun) June 25, 2017
It’s difficult to understate exactly how good this band are. They really seem to have come into their own in the last eighteen months or so and along the way have picked up a lot of fans. Certainly it was a lot busier than we expected for them and it was far from being a homegrown audience. Every song seemed to ring true and in particular Poem, and Louisa Roach and the band appeared genuinely touched by the well-deserved cheers they got throughout their set.
From one set of GIT Award winners to another.
All We Are absolutely nailed it in front of a very appreciative audience, again at the Park Stage. Not only have they a sparking brand new album, Sunny Hills, just out, but they’ve got tunes and a stage presence beyond belief. As some complete strangers remarked to us, “Why aren’t this lot on the Pyramid?” Indeed. And they will be.
— rick leach (@rickjleach) June 25, 2017
After toddling along to see New Zealand’s The Veils play an enjoyable but slightly Nick Cave/ Birthday Party derived set and walking away from an immensely disappointing performance by Jagwar Ma (like a bad Happy Mondays tribute act.) Both these Antipodean acts were playing in a tent. It was a glorious and sunny Sunday afternoon and as we used to be told when we were children, “Why don’t you go out and play?”
That advice still runs true and with that ringing down the years we ended up at the Pyramid to see a bit of Chic. To be honest, we weren’t expecting that much. We knew it would be good but not as good as it was.
Since coming back from Glastonbury the one question that people keep asking us was whether we saw Chic. Not only did they completely wow the crowd at the Pyramid, but seemingly the television audience as well.
They were polished of course. Nile Rogers would never do anything to shabby yet he struck the right tone and never once veered into cheesy disco chops. It was eleven great songs in a row. Bang, bang, bang. Opening with Everybody Dance, I Want Your Love and I’m Coming Out and topping it off with the classics Le Freak and Good Times left everybody with massive smiles. Chic and Nile Rogers were simply brilliant on that sun-drenched afternoon and we’re crossing our fingers for a return, headlining fixture in 2019.
Chic and sunshine! I love Sundays at Glastonbury! WOW! pic.twitter.com/OjfuvolQ6k
— Sarah Jones (@sarahfoleyjones) June 25, 2017
Although we wandered around for the remaining few hours after Chic, it did seem in many ways that the weekend and the festival was over. Good Times had finished.
The next time anyone would be back at Worthy Farm for music and good times would be in 2019. Two years hence.
How things will change, musically and indeed in a wider way, who knows.
It will be a different world, we do know that. Yet Glastonbury Festival will still be there, full of joy and happiness, musical performances to make you drop your jaw in wonder, surprises and laughter.
We can’t wait.
Getintothis’ top picks of the Glastonbury Festival 2017
- The Flaming Lips on the Park Stage
We could have seen Radiohead at the Pyramid but when you’ve got the chance to watch Wayne Coyne being wheeled onstage astride a giant unicorn covered in flashing neon lights how can you resist? Bet Thom Yorke didn’t do anything like that.
2. Anderson Paak & The Free Nationals on West Holts stage
Although he may have come out with ‘are all the sexy ladies here?’ and ‘you all look sexy!’ comments (clearly Anderson Paak’s eyesight not reaching as far as this writer), the mixture of jazz, funk and hip hop served up at West Holts went down a treat and marked him out as a natural successor to the much-missed Prince.
- The National at the Pyramid
A band taking things forward so much. A massive step-change.
- All We Are at the Park Stage
This was life-affirming, fists-in-the-air, lump-in-the-throat music. It was one of those performances where you turn around at the end and say to yourself, did I really see that? We want to see All We Are again and soon.
- Bo Ningen at the Park Stage
Again-did we really see that?!!! They may have been singing in Japanese but that dubby, psych and drone inflected guitar-shredding show kicked things off so well.
- Chic at the Pyramid.
Good Times. Good Times. Good Times. Repeat as necessary. Which is as often as possible.
- Whitney at the Other Stage
Our new favourite band. Why didn’t you tell us they were so good?