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Month: August 2014

Festival: Dekmantel

1st – 3rd August

Amsterdam Bos

Dekmantel festival was hosted in the prime location of the Amsterdam Bos, a wooded area a short drive south west of the city. Entering was immediately thrilling upon being greeted by the wall of sound and colour that was the main stage. The UFO tent provided some much needed darkness in the bright Amsterdam day to enable an environment for bookings like Steffi b2b Answer Code Request at 3pm to work well in. Slightly deeper into the forest there was nestled The Woods, Boiler Room and Selectors stages – the latter the pick of the bunch with the surrounding trees enclosing it decoratively. The site was also pleasingly small without feeling crowded, with such an astoundingly strong line up minimal travelling time between stages was welcome.

It was at the Selectors stage that DJ Harvey performed the standout set of Friday. Some fine programming allowed the legend 3 hours to delight the crowd with his highly danceable disco crate. Elsewhere, Jackmaster and Oneman were throwing down a typically lively set, pulling out mixes such as ‘Stop Dat’ into ‘Giggle Riddim’ and closing on Toto’s ‘Africa’.

On Saturday whilst the forest area of the site was closed off as a precaution against the threatened storm, Bicep helped keep the summery atmosphere in place by playing tracks like Beesmunt Soundsystem’s ‘How I Wish and Caribou’s ‘Can’t Do Without You’ in a house laden set. Despite the metereologic storm not occurring, the UFO tent still nearly blew away under the strain of Rødhåd’s thumping techno masterclass. The Norwegian induced the most fist-pumping of any set across the weekend as the crowd quickly pieced themselves back together following the mind blowing performance of Shackleton’s exceptionally crafted live set of intricate sounds.

A Joy Orbison set is always hotly anticipated, but his previous week’s incredible essential mix ramped up expectation even further and he truly delivered. A number of the tracks from his lauded Radio 1 appearance were aired, sounding even better on the main stage’s formidable funktion one rig. Other highlights included North Lake’s acidic roller ‘Griswold’ and Daphni’s afro-house remix of ‘Ne Noya’. Dan Snaith’s headline slot that night clearly influencing the selection of DJs further down the bill.

Sunday saw Ben UFO do some sole selecting following his Hessle Audio Trio appearance the day before. At a festival with the calibre of bill and as clash ridden as Dekmantel there’s not many DJs I would stick around watching for a full 3 hours, but Ben UFO is one of those. His sets are always varied and interesting, no better exemplified by the ten minute salvo of Sizzla’s ‘Run Pon Dem’ into Night Slugs anthem ‘Icy Lake’ into Sound Stream. Perhaps only Motor City Drum Ensemble later that day in the Boiler Room drew a more fervent crowd reaction. The man responsible for one of the most loved Boiler Rooms was in equally fine form in his second appearance with joyous disco abound.

Huge credit must go to the Dekmantel team. In only its second year, the festival was remarkably assured in its organisation and execution. Problems at an event of such a scale are inevitable, but all potential disasters were dealt with expertly: Karenn’s forced pull out on Friday was resolved by finding space on Sunday’s bill for the techno two piece, measures against the predicted storm were in place and Tasker was sworn on oath to refrain from reloading Motor City Drum Ensemble’s selections.

And whilst the lack of a late license was perhaps not ideal – there’s not much like a rammed shuttle bus queue to stifle your buzz before an after party – the quality of the after parties quickly quashed this gripe. When your only issue is something that results in watching Ben Klock b2b Marcel Dettmann pummelling the main room of Trouw in the early hours of Monday morning it’s certainly nothing to complain about, and really demonstrates how fantastic a festival Dekmantel was.

Festival: Y Not

1st – 3rd August

Pikehall, Derbyshire

After trekking to Y Not Festival every year since 2009, I had a self-intervention and said I wouldn’t go in 2014. I would save my money and try out some smaller festivals instead… That didn’t work out.

Instead, I once again found myself being drawn to deepest darkest Derbyshire along with roughly 10,000 other people. The festival was sold out, and the site had morphed to cope with demand. Sure, there were still all the same stages and bars, but with some nice extras added on, including a load more food stalls and a funfair complete with Ferris wheel.

The festival has grown up a lot since my first year, so it stands to reason that it has become a little bit more corporate. I still reserve the right to complain though. Sure, there are still bars that sell local ales, but the main bar, Dolly Dagger’s bar, has gone all Hobgoblin, and it seems like the big-festival-bar staple has well and truly taken over.

Y Not’s main selling point was always its bands, though, and by the time I got there the staggeringly diverse bill was already in full swing. Kicking off my festival was Sonic Boom Six, who commanded the crowd like DJs at some futuristic rave. It wasn’t even teatime yet, but they had the crowd going mental, and set the tone for a great weekend to come.

Another Friday highlight was the ever-brilliant Spector. Their set included triumphant outings of a few of their early singles like indie disco staple ‘Chevy Thunder,’ as well as some great-sounding new tracks.

Closing the first real day was White Lies, who I must admit I used to be a little bit obsessed with, so my hopes were high. I was in no way disappointed. Their music is atmospheric enough on CD, but when it is coupled with a great live atmosphere, and ethereal light show, it was simply jaw dropping. As well as tracks from their well-loved debut, they took the perhaps risky decision to show off some of their more lesser-known songs too. It paid off though, and the good mix of tracks just added to the atmosphere.

Saturday was a day of brilliant bands, almost none of which were on the main stage. Starting off the day was Beans on Toast, who is definitely on my shortlist for best live act. He led the crowd in sing-alongs about chickens, Glastonbury and poverty. Sure, there were some little slip ups, but if you were expecting Jay McAllister to be technically perfect then you’re completely missing out on one of the best parts of his show.

My only trip to the main stage on Saturday came in the form of a trip to see Catfish and the Bottlemen. I can only see good things in these guys’ future, and their Strokes-esque indie rock almost seems to be built for stadiums (or the Derbyshire countryside).

You know earlier on, when I called the bill ‘staggeringly diverse?’ I wasn’t joking. Saturday night saw Dizzee Rascal on the Main Stage going head to head with the Blackout, who were headlining the Giant Squid. I personally opted to see the Blackout, and I don’t regret it at all. Their set was completely electric – explosive, loud and full of unbridled energy that literally brought the whole tent to their knees.

Unlike some of the other bands across the weekend, the Blackout actually acknowledged the crowd. Even more than that though, they made the whole gig feel special. Rather than giving a few lame high fives to the front row frontman Sean Smith opted to shatter the ever-increasing fourth wall between act and crowd. By the end of their second track he was right at the back of the tent serenading the sound guys and starting mini circle pits, and it just got more mental from then on.

On Sunday the sun came out, and despite some close calls, decided to stay. It was a pretty chilled day, and it seemed like everybody was resting up for the main attraction, Mr. Frank Turner, along with his Sleeping Souls. The charged act sure was a change of pace, but everybody seemed up for it. In fact, the folk-punk singer seemed to have the crowd in the palm of his hand, and big-hitters ‘Recovery’ and ‘Photosynthesis’ create huge sing-alongs, with almost everybody joining in.

As the band plays their final chords, a melancholy comes over the site, and you can almost hear hearts breaking that such a great weekend is over.

I should stop resisting, Y Not is here to stay.

Katie Burns

Review: Edinburgh Fringe Festival – 2 Minute Reviews

Foil, Arms and Hog: Loch’d.
Underbelly, Cowgate. 10pm August 15-24.
Tickets: £10/11

I should begin with a confession – I am not the biggest fan of sketch comedy, and so am probably not the ideal audience member for Foil, Arms and Hog. However, the Irish trio provided the audience with such a vast variety of sketches that even I, a sketch sceptic, found a large amount of their performance hugely entertaining and funny. From an Irish mother lamenting her son’s sobriety to a ‘Deer Hunting’ inspired, audience participation game, the three comedians created a huge array of characters and scenarios which kept the audience cackling from start to finish.

4 stars

James Bran: Invisible Badminton & Other Dreams.
Espionage, Cowgate/Victoria Street. 12.30pm (midday) August 1-24.
Free.

James Bran’s Fringe performance combines haikus, a dream/food diary and an interval involving a game called ‘hat-sketball’ (in which the audience essentially throw tennis balls at the comedian’s head). Admittedly, that description perhaps does not do Bran’s show justice – his eccentric yet understated style of comedy draws the audience in and remains engaging and personal throughout. Despite performing at the back of a pub behind a make-shift wall, erected only for the duration of the festival, Bran’s set definitely ensured my Edinburgh Festival experience started with a good old giggle.

5 stars

Dan Cook & Gareth Cooper.
Cowgatehead. 2.30pm August 15-25.
Free.

This hour long show was split into two, and Dan Cook took to the stage initially. Cook’s delivery is energetic and powerful – however, it sometimes seemed as if the punch line had been lost somewhere in the midst of his exuberant personality. Gareth Cooper, in stark contrast, uses a David O’Docherty inspired mixture of monotone and musicality to create his comedic persona. This style works incredibly well for him, however he was unable to sustain it consistently for the entirety of his time on stage.

3 stars

Festival: Beacons

7th-10th August

Skipton, North Yorkshire

Despite an impressive tally of musicians, you would be forgiven for arriving at this year’s Beacons Festival in a tentative mood. Weather warnings were in no shortage, as the remains of hurricane Bertha struck across the British landscape, whilst the arena scale was surprisingly slender. Yet festival spirit prevailed, as musical eminence and Yorkshire ales, along with tea, arts and wellies ensured a festival well worthy of attendance.

The festival hosted an impressive cross-section of musical genres, as well as a varied selection of arts. Following the firmly well produced album Immunity, Jon Hopkins produced one of the weekend’s most vibrant sets. His big beat, steel-bending sounds could easily have descended into chaos, but they remained refined and coupled with crystal-clear ambient breakdowns produced an impressive set. Although the accompanying inflatable balls initially created a playful atmosphere, the fun wore off as tall crowd members, myself included, became lightning rods for the spherical pains. Daphni also shaped a delightful two hour set and happily waded through a range of genres, each to the joy of the crowd. His single release of ‘Can’t Do Without You’ under alternative moniker Caribou has certainly set the tone ahead of his upcoming Our Love album. The gentle, atmospheric bells of Four Tet’s ‘Human Once Again’ also made an appearance, as tender female vocals calmed the Resident Advisor stage with one of the mellow tracks of the past year.

Live performances came in contrasting forms, as Daughter calmed the Friday night in deep breaths, whilst Metz and the Fall bombarded the remaining weekend. Leeds’s own Nightmares on Wax drew in the crowd, but whilst the drummer may have been in time, the beats coming through the speakers were more intricate and far crisper than his actions suggested. Despite this, their hip-hop grooves were entertaining.

The Sunday main stage was rounded off in what can only be described as stereotypically Jaar-fashion. Darkside have entranced audiences across the world this past year, as their live show has surpassed the quality of Psychic. Make no mistake the album is to the highest calibre, but the live combination of Jaar and Harrington expands on the album’s footing to create a body of music that inhales, tastes and feels its way into the audience. No doubt, Darkside would make a worthy round off to any festival.

Make no mistake: Beacons was a festival in an all-encompassing sense, as diverse cultures of food mixed with the pale, brown and golden ales of Yorkshire. Late night French cinema, as well as The Simpsons and Fear and Loathing also allowed for comforted ends to each day. Greater capacities in these areas would make for an improvement next year, but although the festival was small, quaint even, it allowed for ease of access both to and within the arena. Where one could traverse a major festival and seemingly never find the end, Beacons’ rugged arena reflected efficient planning. Where Beacons was small, it made up for in its kind and pleasant atmosphere. No doubt, the festival blues will have set in, as we look forward to future escapades in North Yorkshire.

Preview: Top 5 Acts to see at Bestival

Major Lazer

Famous for their live shows which have to be seen to be believed, Major Lazer are without doubt one of the must-see acts of Bestival this year. Diplo crowdsurfing in a zorb ball, champagne being sprayed into the crowd and thousands of people with their tops off and swinging above their heads are all normal sights at the circus-like performances by Major Lazer. The trio – led by world-renowned DJ and producer Diplo, alongside Jillionaire and Walshy Fire, use their electro- and dance-driven take on Caribbean sounds to create a carnival wherever they may be and will be sure to have the Bestival crowd jumping whatever the weather.

Tropical

On the Saturday night the RBMA stage will be taken over by ‘Tropical’ – a musical concept run by JME (CEO of UK collective Boy Better Know) showcasing the sound of grime music alongside uk bass. With grime scene stalwarts JME, his brother Skepta, Logan Sama, Elijah & Skilliam, Slimzee and Plastician all featuring on a bill that reads like a who’s who of grime music, this is sure to be an interesting and incredibly rewarding aside from the usual music found at UK festivals. It will be exciting to see how grime translates to a festival stage but i have no doubt it will do so successfully, especially since the lineup is bolstered by UKG legend DJ EZ and man-of-the-moment Preditah with brother C4 on microphone duties.

Jackmaster and Oneman present ‘Can U Dance’

Following a sensational show at Parklife Festival that I was lucky enough to bear witness to back in early June, along with a small number of other festival shows including Exit Festival and the spectacular ‘Essential Mix’ aired on BBC Radio 1 live from Glastonbury, Jackmaster and Oneman once again join forces on Thursday, headlining the Numbers (glasgow-based label run by Jackmaster and co) takeover on the RBMA stage. That ‘Essential Mix’ can still be found on soundcloud and comes highly recommended. The mix perfectly encapsulates the raucous mixing, high tempo and varied selection that traverses multiple genres and styles – all things we have come to expect from two of the UK’s finest DJs and tastemakers in their own rights, but things which seems to increase exponentially when they are combined to present Can U Dance. This may well be set of the weekend.

Outkast

A must-see list wouldn’t be complete without a headliner, and this year hip-hop supergroup Outkast will grace the Bestival main stage on the Friday night. Comprising Andre 3000 and Big Boi, who have both also achieved acclaimed solo careers, Outkast are back to deliver their signature take on hip-hop after 8 years apart. Expect soulful, singalong choruses and hooks from Andre 3000 broken up by gritty but fun rapping from Big Boi. Songs such as ‘Ms Jackson’ will undoubtedly have the entire crowd singing the words straight back to the stage, hands aloft. One potential worry is that hip-hop can sometimes translate badly to huge outdoor stages, with sound often being a problem. However previous experiences at Bestival suggest the soundmen are more than capable of tailoring the speakers to rap acts.

Bicep

Last year ‘The Port’ was the standout stage at Bestival. A 100ft boat with a booth cut out of the middle, adorned with dancers, a killer sound system and enough lights and lasers to induce epilepsy. Bestival announced the stage’s return this year with some of the biggest names in dance music billed across the three days it is running, however one name slightly further down the list on the Saturday is sure to provide a highlight of the weekend. Bicep are a Northern Irish duo whose productions range from deep-disco collaborations with Simian Mobile Disco to heavy techno bangers to euphoric, hands in the air house records. Whatever time they play and whatever flavour of set they provide, Bicep will no doubt be met with huge appreciation by the crowd and the stage will only add to the whole experience.