Carling Weekend Leeds Festival - Saturday

Leeds Festival Review

I missed out on, or avoided Friday whichever way you choose to look at it. From consulting the line up I missed what was likely to be diluted sets in both length and setting by Devandra Barnhart and LCD Soundsystem due to the binary split which Mean Fiddler would have effected with an NME ‘Nu Rave’ tent and a Kerrang ‘emo/classic alt. rock’ main stage, oh well.

Saturday...
had, despite the most undeserving headline act since ‘the darkness’ (Razorlight), the best main stage line up in all the years I’ve been coming to Leeds festival. It all started with ‘the pipettes’, (5/10) who, at midday are a slightly strange proposition. Later on in the tents there would have been many dancing, shape pulling smiling faces but this early, on a main stage they are just pleasant, if occasionally slightly grating 50s-esque pop. Oh and minus points for not playing ‘ABC’.

The re-positioning of the Carling tent, tucked away in the far corner of the main stage field is useful in terms of convenience but is when we first enter seemingly bunged up with people loitering, uninterested in the music who would normally be sat down at the main stage. Little did I know at this point that they were awaiting the Kaiser Chiefs ‘secret’ show. The band I had come for ‘Turbofruits’ (7.5/10) were met with mostly a crowd of bemused mainstream music fans that mostly from them on paid them little notice. Their loss, as the two members of be your own pet and an additional bass player ripped into a great little set of hard psychedelic garage rock, in the vein of early ‘Modey Lemon’ material and when they picked up the pace there was a pleasing resemblance to the ramshackle punk of ‘the Coachwhips’. Jonas has a surprisingly good voice, showing off his range on the cool as hell ‘volcano’. This was an enjoyable knock about set by a band that deserved a more attentive crowd. At this stage I wisely left the tent oblivious to the unannounced Kaisers lurking backstage. Even if the decision had been made consciously it would have been the right one, abandoning the beery leery side of Yorkshire culture for the more sophisticated literate side of it in the shape of The Long Blondes (6.5/10).

They take to the stage to a genuinely good reception and a general atmosphere within the crowd that this is where the days music really kicks off. It starts well, I’d heard several bad reports of their live sound but these seemed slightly unfounded in the face of the guitarists strong playing and good lead vocal. Songs such as ‘Giddy Stratospheres’, ‘Weekend without make up’, ‘Lust in Movies’ and ‘Once and Never again’ Stand out but overall the set though solid enough is a little uninspired and same paced. Good but not great.

The crowd builds, anticipation mounts in the surprisingly intense sunshine that graces Braham Park for Gogol Bordellos (9/10) set. Their set is one which is hard to write about in retrospect but was utterly exhilarating and entertaining at the time. When they emerge on stage it is a carnival of variety and boundless energy. The songs are fast, ‘not a crime’ is a great punk song with added jig elements accompanied all the while by a mean violin line. This is a band in which everything seems so chaotic the mix of influences, the bands personnel, the on stage antics and yet it is bound together by the presence of Eugene Hutz and the driving purpose both lyrically and musically of the songs. Each song is a highlight of movement both on stage and in the crowd, hands clap along, this is music to be celebrated. Sure ‘start wearing purple’ is the anthem deservedly so but the triumphant end ‘think locally, fuck globally’ almost steals the show, this band are both genuinely interesting and unashamedly fun a mix which is to be rejoiced during those euphoric sweaty live moments. A quick run over to the Carling tent for a reminder of what was the only drawback from Gogol Bordellos all conquering main stage set, namely that the majority of Blood Red Shoes (7/10) had to be sacrificed. This band sound better than ever, a testament to their virtually total, on the road existence, they are tight, the sound is big and the tunes are developed and purposeful, they depart all too quickly but this band are destined to develop a devoted following and be a treasured British band operating most likely, with menacing glee, just below the mainstream.

Up next The Gossip (6.5/10) sound lacking. It’s all good technically, tight drumming, a good guitar who can switch from electric to bass and a singer who can actually sing as well as she can scream. But this band are only a shadow of the band I saw play a full on intense danceable punk show two years ago in a tiny top room of a pub. Since then the heaviness has been reigned in, and so the dynamism between the group and Beth Ditto has been lost, she has the range to sing over the most intense riffs and beats but all too often the others appear to have slipped into the role of being her backing band. She is such a media presence and outspoken ‘celebrity’ now that they seem to have lost the cohesive band identity they once have and merely placating those teenage fans with Ditto-centric moments before the finally, impressively, but predictably ‘standing in the way of control’. This band are definitely capable of much more, they weren’t bad, but with the history, back catalogue and individual band components they possess they need not be trading on her media stature and one hit wonder-ism.

What an evacuation of the space in front of the main stage as the gossip finish, showing how one band who are in fashion right now does not share a great deal with one band who were in a similar place 6years ago. When Jimmy Eat World (7.5/10) take to the stage a very relaxed fanbase has gathered to dance and sing along to a band who are so remarkably solid live that you are assured of their dependability. This might be boring if it wasn’t for the songs themselves which are brilliant cuts of alternative rock with big pop hooks, to be sung along to, danced with and enjoyed in their beautiful, whistle along simplicity. The fact that they are playing a second show later today means that we get an interesting main stage set list which offers both ‘lucky Denver mint’ and ‘blister’ off the brilliant clarity, ending fittingly with ‘the sweetness’ Jim Atkins high fives the entire front row before departing, this is a band both having and generating a great deal of fun.

Interpol (8.5/10) appear on stage and it seems too bright, surely it has to be night before these squires of darkness can venture out of their urban cave. For various reasons this is my first live experience of Interpol, something I have been pining for since ‘PDA’ first lodged itself within my consciousness back in 2001, so this Saturday afternoon on the carling festival main stage is not quite the idealic/apocalyptic setting in which I always imagined I would encounter this group. The outdoors stage also does not aid their sound, atmosphere escapes and the sheer minimalism of their sound is squashed further to detrimental levels. Yet, in spite of this and in spite of a set list which panders overly to both the new record and antics this is a set to be treasured. Paul Banks baritone delivery is a joy to behold, Kessler and Carlos D interweave guitar and bass lines and Sam Fogarino beats on mercilessly as a steel structurally backbone to it all. ‘Obstacle 1’ is a moment, they ooze class, effortless and almost dismissive the singles come and go before out of nowhere the wonderful ‘not even jail’ erupts and all is bliss for 5minutes, with barely a word they vacate the stage. So much wrong and yet so much right, inappropriate but also fitting, a band who I love by candlelight in dark rooms CD at a low throbbing volume, I just revelled in seeing it all live just once.

Kings of Leon (7/10) were my big surprise of the day, having started their career as the epitome of a style over substance band; they have improved, evolved and written some songs that translate well to this big stage framed by now in darkness. In fact it easy to forget, until they are laid out in front of you like this in a festival setting just how many memorable tunes Kings of Leon now have in their arsenal. The sound is top notch as well, their countrified garage rock sounds muscular without losing any nuances of the recorded material. In truth they have the biggest and best sound of the main stage all day and the crowd respond very energetically, especially to the rockier moments from their second album. ‘On Call’ is a mighty festival anthem and as Caleb’s voice booms across the field it is obvious to everyone present that this is a band that have truly come to assume the position in which they were initially slightly prematurely placed. They definitely deserved their main stage slot and it could be argued that the out and out headliner spot would have suited them even more.

Thankfully by the time I make it to the Carling tent the painfully overrated Jack Penate has already left and a fair sized crowd assembles to await Patrick Wolf (6.5/10). This set makes it perfectly apparent the degree to which Patrick has crossed over to the mainstream this year. Gone is the brooding ghostly figure of ‘Wind in the Wires’ and gone even more so is the haunting music from that album. It has been replaced a day-glow cocky fellow who obviously does actually believe his own hype. The set itself is quite enjoyable even in spite of the ultra over the top Patrick wolf-ites who pogo along to every song like it’s ‘be your own pet’. I mean seriously we’ve only got a basic drum beat, some violin and keyboard going on here, the reaction is so unbelievably over the top for the type of music being produced on stage. It seems this crowd reflects Wolf’s new close minded, conceited and selfish approach and he feeds off them as they do off him. It’s not a pretty mix. Oh and ‘the magic position’ is absolute juvenile sexless garbage. Songs like ‘the libertine’ serve to remind us how far he has fallen.

Jimmy Eat Worlds (8/10) second set is if anything is slightly better than their first, we get ‘a praise chorus’ followed by ‘crush’ to open, pretty special, a very interesting mix of really old stuff and the soon to be released album this is a set purpose built for the dedicated fan. After the beautiful ‘For me this is heaven’ I bow out contented, I’ve seen enough and am fully soothed by this intimate one off jimmy eat world show. It is a testament to their back catalogue that even 2hours into playing time today they still hold everyone in the tent entranced one minute and rocking the next.

Sunday

Missing the first acts on today was never going to be a problem but thankfully come 12.30 I’m ready placed in the radio1 tent awaiting Brakes (8/10), who do not disappoint. This band seem almost custom made to play festivals where their upbeat but impressively genre spanning racket showcases the deficiencies in some of the more one dimensional bands that surround them on the bill. So gloriously short and sharp punk attacks such as ‘Cheney’, ‘pick up the phone’ and ‘porcupine or pineapple’ are placed alongside cool sleek danceable ‘all night disco party’ and countrified strolls like ‘hold me in the river’. The sound’s perfect, Eamon howls and they pretty much have to be escorted off stage as they transgress their stage time, all the while to a rapturous reception.

Having said that there isn’t much drop off when The Noisettes (7.5/10) take to the stage ten minutes later. They have a strongly devoted fanbase worshipping at the (bare) feet of lead singer Shingai Shoniwa as she skips from piercing shrieks to soulful croons. The overall sound is not as heavy as I have come to expect from previous live experience of the Noisettes, but it barely matters because the songs stand up strong and that voice just carries it all. ‘IWE’ is a sharp shifting bought of screechy feedback indie; ‘Scratch your name’ and ‘Don’t give up’ both lead to frenzied crowd response. Shingai steps up onto the barricade singing above the crowd, she has truly become an icon of the increasingly myriad aspects and appearance of the underground British rock scene and their set and the fans response here reflects that.

Dan Le Sac vs. Scroobius Pip (8.5/10) are a revelation in the dance tent, superb from start to finish, the duo playfully begin ‘thou shalt always kill’ early on in the set before stopping the track and proclaiming that they “know you’ll all leave if we play that now” before cheekily attesting “we’re not stupid we’ve done this festival thing before y’know’. Stupid is something that they definitely are not, Scroobius pips educated, literate and complex flow is a constant stream of ideas that the audiences grasps at trying to take it all in as dan le sacs, scattershot, imaginative beats interweave playfully amongst the words. So yeah many people in the tent, me partially included were here for THAT single but found so much more. Content which could be preachy comes off as enlightened, songs which could be depressing become celebrations of not only content but victorious story-telling, ‘angels’ in particular. ‘Letter from God to man’ is at the least the equal to ‘thou shalt not kill’ (though the latter is a brilliant highlight as the crowd take up the ‘just a band’ refrain with great aplomb). ‘Beat that my heart skipped’ allows are more carefree musical bop along to finish what was a surprisingly great set, appreciated by the strong crowd in attendance.

The Shins (6/10) on the mainstage appear to be having sound problems, little were we to know at this point that this was an issue that was going to continue for the rest of the day. Anyway the Shins performance itself was pretty solid if unspectacular, larking the sparkle of their recorded material. Still the sun was out and they succeed in being a brilliant background sound to lie on the grass and relax in this briefest hint of British Summer.

It had been over a year since I’d last seen Foals (8.5/10) and having being slightly unimpressed on that occasion I was seeing them now more out of curiosity at their recent surge in popularity and the divided opinion of them in hipster circles. But wow, what an improvement! Having once thought they were merely a poor mans ‘Youth Movie Soundtrack Strategies’ attempting to be ‘Battles’ I instantly had to reformulate this view as the set kicked in. Yes this is jerky and abstract but no longer it seems, just for the sake of it, the song had drive and real bite. This was a progressive post-punk master-class, utterly danceable and yet well worth standing back and admiring purely in chin stroking technical terms, ‘Balloons’ the future single is a high point but there simply is no drop off point all set long. I’m now a believer and the album produced by the godly Dave Sitek of ‘TV On the Radio’ can’t come soon enough.

Tired from all this involuntary jiving to Foals, Angels and Airwaves (3/10) win out over a long walk anywhere else and yes you probably guessed it, they were pretty shocking. Some of the finishing songs resembled a retarded take on ‘Bon Jovi’ thankfully they were pretty ignorable, except for the excruciating between song ‘fuck’ laden banter. Tokyo Police Club (4.5/10) are an improvement but not much of one. This band just never seem to get going, their brand of slightly kooky indie rock just comes off as inconsequential. The best moment of the set is when tambourines are pointlessly thrown across the stage mid song. There really is just nothing very much to get excited about, so yes they’re Canadian but this doesn’t mean they should be so celebrated, While saying this they’re not bad specifically just undeserving of much attention currently with these songs with which they’re currently plying their trade. Like the dull bits of ‘clap you hands say yeah’ before something interesting happens this is a band who seem very limited in their aspirations and stunted in their application.

Bloc Party (5/10) cap off what has been a pretty poor couple of hours of music, their thin reedy sound is unsuited to the main stage except on more expansive songs such as ‘like eating glass’. Their set is full of too many inconsequential slow or mid-tempo tracks, the only thing that redeems this set is a solid ‘banquet’ and a pretty impressive run through of ‘Little Thoughts’. Nothing off the new album really strikes hot compared to the best of the early stuff. In my gut I knew I should be somewhere else at this point in time, Silversun Pickups would have been ripping it up in the Carling tent with the choice of Biffy or Battles to follow.

Instead I worked my way further forward to a spot 10yards in front of the sound stage/desk and awaited The Arcade Fire (7/10) a bizarre intro tape plays and rather unceremoniously they take to the stage and begin with ‘Keep the Car Running’, an overriding sense of disappointment, the sound just isn’t good enough, they sound lumpen and one levelled, they sound mortal. The stage and the setting contribute to robbing one of the best bands I’ve ever seen live of virtually all their intensity and dynamism and making them, dare I say it, ordinary. However, crucially ‘The Arcade Fire’ are not blameless in this fall from grace, why are all the instruments turned down so low? They used to be an orchestral powerhouse, as deep as the sea and capable of an amazingly dynamic but also cohesive sound. Why is Wins Voice so high? His vocal was in past live experiences, just part of the overall sound, not the key feature, as he doesn’t actually have the range to be the focus, part of the problem lies in the ‘neon bible’ material which live is one paced and unexciting, a few handclaps hear and there does not redeem the overall sterile delivery. Only ‘Intervention’ really stands up live of newer songs, a signal that they can adapt to playing bigger stages with a song suitable for them without sacrificing their own core sound. Nevertheless, a set which includes ‘Tunnels’, ‘Power Out’ and ‘Rebellion (Lies)’ is never going to be bad, just an extremely disappointing one. Two years ago this band were so intense and vital making a mockery of the efforts of lesser bands, today they looked thoroughly exhausted and sunken eyed, no longer able to connect with an audience far vaster than anything in the original dreams of the bands conception.

!!! (9.5/10) Are for me something of a mirage of a live band, each time I see them I leave knowing that I have never seen a better band live, but it takes a repeated experience to fully bring back the knowledge of why exactly that is, and it is to some extent, something which can’t be described. The way it feels when the six instruments throb and buzz in front of you while Nic Offer screams into his microphone before the beat descends into a blissed out dance groove that makes not dancing (even with ultra tired legs at this stage of the festival) impossible. So here they are again, they are missing at least one if not two core members, they play barely any hits, instead choosing jams and quite obscure cuts from the latest album and yet it’s utterly euphoric. I never seen a band who can reach the point of a song where everything explodes and the audience lose their minds and yet then a minute later find another level that results in even further heightened delirium. The worst of the 4times I have seen them and yet still better than anything I have seen any other band do in a live setting. Technically superb while utterly flamboyant and music that makes you gasp in shock and awe while also wiggling your arse this way and that, they are the embodiment of live music perfection.

Nothing would be able to top that and The Red Hot Chilli Peppers (4/10) particularly were never going to come close. Then again no-one needs them describing as you know exactly what they will sound like, except imagine it with a plethora or inconsequential ‘funk’ jams between each song. Imagine ‘Otherside’ as a pinnacle of the slow songs and ‘by the way’ as good and main stage filling as it got through their whole set, which even that was tempered by the fact that Kledis seems to value that song so little that he couldn’t even remember the words.

So to the Carling Tent and Hot Hot Heat (6.5/10) who are a fair improvement on what is happening on the main stage, playing to a mix of loyal followers and casual attendees, just looking to escape the ultra banality of ‘The View’. To be fair if you’re hear down front and looking for a good time Hot Hot Heat will make you dance and shout and they still sound fresher than many bands this weekend despite the fact that most of these songs are 5years old. In fact they seem freer and more dynamic than the last time I saw them 2years ago as their popularity peaked. This nothing to lose type setting brings out the best in ‘get in or get out’ and ‘no not now’ both toe tapping and smile inducing, they are a band who still have the potential to once again ascend the rock hierarchy and show the fashion bands of the last few years how to truly make indie music with a danceable pulse.