Glastonbury Festival 2014 Review - Sunday

I'm awake early on Sunday and the decision has already been made with the friend that I am travelling with that we'll leave later on Sunday and get home in the early hours on Monday morning (I won't go into the details of what actually happened en-route home here).

I spend time packing up my tent, gear and taking it all back to our vehicle. It's really busy on foot today, especially at the main entrance where streams on Sunday day tickets (given/sold to local residents) are coming into the festival - some chronically under prepared for the mud around the site.

The day starts at midday with a trip to the BBC Introducing stage to see Furs. I'm really impressed. They are a band I've mentioned here a few times before but this is the first time I've caught them live and their set is fun and catchy, full of nostalgic vibes and tight melody throughout with heavier guitars than I perhaps anticipated set off by Elle's glorious vocals.

Next with a couple of hours free (I find Sunday's line-up to be the least inspiring of the three for my tastes) I take a trip around the festivals night-time hive of activity Shangri La, it feels like a really bad hangover in both decoration and the odd punter you see aimlessly walking around lost to the night before. It's not changed too much from the last time I was here in 2011 (I've never been here late, late at night, I don't think I'd want to)... It's a creepy carnival probably best not shown to your young kids!

I find Strummerville in a slightly different position than I remember it being and take the weight off my feet for a good twenty minutes. Sunday was the warmest, nicest day of the weekend so sitting on a comfortable sofa next to an open fire in early afternoon heat is not perhaps the cleverest idea of my life.

A few years back I can remember some late night live music around the campfire, I can see no sign of a repeat this year, if so, I hope I didn't miss anyone good.

After a brief trip to the circus fields it is back to the BBC Introducing tent for Lapsley. Glastonbury is most certainly not a Great Escape, that is new music really does not flourish here so I'm surprised that the audience is actually quite numerous, including fellow bloggers Breaking More Waves and Faded Glamour. I guess that makes Lapsley the equivalent of a buzz band!

Her set is littered with sound problems and I'm not the biggest fan of the pitch-shifted vocal. A (purposely) monstrous mutation of her natural, gorgeous vocals. The set is pretty good though, she is visibly nervous but her charm and smiles make that acceptable. It will be interesting to see if she can follow "Station" and make playing to crowds like this a normal part of her routine.

Next comes the days big event. The one everyone is talking about. The one hundreds of people are dressed in drag for. Dolly Parton. By now you've read hundreds of article about 'was she or wasn't she' miming. As one of the people in the crowd on this occasion I can genuinely say I don't care (although it does seem just a little too crisp). The show (for it was a show) was incredible, fun, amusing and the perfect highlight of the day (and arguably the festival).

Dolly, 68, bouncing around like she'd been on coca-cola all morning (or taken something somewhat harder) entertaining the biggest crowd of the weekend with her sparking personality, stories and songs. Sure most people only know "Jolene", "9-5", "I Will Always Love You" and "Islands in the Stream" but when you chuck in a song about Glastonbury mud, a rather long Bon Jovi cover and witty anecdotes throughout you cannot help but be enthralled. Just brilliant. Whoever booked her for the 'legend' slot deserves a medal.

It takes a while to get away from the Pyramid because of the vast crowds and I head to the more tranquil settings of the Avalon Cafe to see Only Girl. Early 90's R&B melody and modern soft-pop sensibilities combine for a stunning set of sparse electronic beats, keys and pure vocal, the new songs at the end of the set sound as good as the two I knew "Mountain" and "Bittersweet" and confirm Ellen as an artist we'll be hearing considerably more from shortly.

It's a beeline back to the Park next for what turns out to be my final act of the weekend St Vincent (I was originally thinking about seeing Alison Moyet but deciding it was getting late to to hit the road - I had work on Monday) .

I've seen Annie perform the St Vincent album a couple of times already so I knew what to expect, a marriage of the David Byrne horn influence and her own art-rock guitar shredding. It is exhilarating to watch, especially in the second half ("Huey Newton", "Bring Me Your Loves", "Your Lips Are Read" the closing trio of songs) when the rockier influences come out and amongst the theatrical feet movements and coordinated dance-moves, it's as she lets completely loose of the choreograph that you get to realise just how incredible Annie and her band are. The Guardian (five star) review calls her a "electro-funk Cleopatra". I'm happy with that.

We head out via the dystopia of Arcadia. After what we'd just witnessed, it's the perfect summation. Thank you Glastonbury.

Glastonbury Festival 2014 Review - Saturday

Saturday starts with an hour reading in my tent before a trip to the facilities and coffee. As I'm heading towards William's Green to see Dark Bells the heavens open. Really, really open. I take shelter in the nearby Yeo Valley yogurt stand and have one with some muesli, it tastes good and serves as an unexpected but good diversion. A brief rest-bite in the rainfall gives me chance to make the rest of the journey to see the trio mid-set. I see three and a half tracks of throbbing bass lines and intoxicating psyche rhythms which play to a sizable early audience (no doubt partly with thanks to the continuing rain).

Afterward it's not too far to the Acoustic Stage, trying my best to dodge the increasingly sludgy conditions underfoot and Hero Fisher is playing as I arrive, there's not an acoustic in sight however with the quartet louder and rockier than I anticipated, Hero has a superb voice, bluesy, vibrant and the set is a perfect combination of energy and emotion.

It's midday and I've already seen two bands. I read, thanks to Twitter (mobile reception was great throughout the festival site), that Little Dragon are doing a 'secret' show in the BBC introducing tent so I hop-foot it across from one end of the festival to the other. The tent is a new one to me, bigger and in a slightly different location than I remember it.

Introduced by Lauren Laverne the band play a quartet of songs that are simultaneously broadcast on BBC Six Music, there's a large crowd of people who were seemingly in the know too. It's enjoyable with skittering percussion and a dancey electronic heartbeat propelling the attention holding lead vocal. However, it doesn't quite lift me off my feet.

Afterwards there is time to pop out and get a top-up of the water bottle and some lunch (it seems that Mexican is the choice of the weekend, seemingly every other stall has burrito's) before heading back to the same tent for Annie Eve.

This is more my 'thing', dripping with a similar, shimmering folk-noir sound to Daughter both beautiful and desolate, full of emotional weight and stunning vocals. The luscious layers of instrumentation added by her band make for a rich, enchanting half hour and the swelling audience size the perfect indication of how well it was received.

It is clash o'clock next, a toss-up between a band I've seen numerous times before in Warpaint and Kelis, I head outside and to the Pyramid for Kelis whom I'd never seen before, it was the right decision. I'm treated to what was arguably my highlight of the day.

"Milkshake" aside I cannot pretend to have known too much about Kelis or her music before this set but I can remember stepping into a shop in Brighton during the Great Escape and being impressed by a song that turned out to be from the latest Kelis record and this hour is similar to the memories from that.

Oozing with pure Motown vibes with Kelis' truly exquisite voice backed by glorious horns and harmonies. It's "Milkshake" that gets the crowd the most animated of course and there is another track I recall on hearing it live, "Millionaire" but these versions are not their pop originals, they are drenched in soul and the version of "Feeling Good" that book-ends the set is a complete knock out. The sun is out in force which also helps of course.

It's a long wait next at the same stage as a huge crowd descends to see Lana Del Rey, I'm interested to hear her, the first show since the release of album two. Somewhat surprisingly the set leans almost entirely from the debut (and The Paradise Edition) with the title-track "Ultraviolence" and "West Coast" the only tracks I recall from the new album. The screaming kids aside I remember enjoying the theatre of Lana's performance at Hammersmith Apollo last year but I don't think she handles the crowd well this time. The show is unfortunately nothing more than flat.

The allure and the atmosphere of that earlier performance seems lost on such a big stage and it ends up being somebody singing good songs well into a microphone with seemingly half interest in being there (despite Lana's repeated claim to be happy to be here). The crowd feel it too and only become involved with "Born to Die" about a half dozen songs in, they return to their slumber until "Video Games" near the end, thankfully "National Anthem" ends the show on a high point but it is an ultimate disappointment set to visuals that seem completely at odds with the ethos of the festival.

The dark clouds that form towards the end of the set give a better appraisal than I and by the time I am back at William's Green for Smoke Fairies any hope that the mud slurry would be baked in Summer sun is lost, there is torrential rain for a good half hour. Thankfully I'm in a tent and happy again.

Smoke Fairies are an altogether different animal these days, their earlier days of gorgeous harmonies and intricate guitar patterns are still apparent deep down but their sound is darker and more expressive with an electronic heart to tracks taken from their recent self-titled album. The odd sound gremlin aside, this set is as polished as any all weekend, dressed it bright white entirely inappropriate for the conditions it is a rocking version of "Hotel Room" that ends the set on its highest moment. I would have easily lapped up twice the set-length.

Back on the Other Stage next for Manic Street Preachers. I fall into the same criteria as much of the crowd, this is armed with an infinite knowledge of early Manic's material but next to none of their output of the last ten years.

Kicking off with "Motorcycle Emptiness" is the perfect way to vanquish any fears of listening to unknown tracks for an hour, The Holy Bible, 20 this year, forms the backbone of the set and resonates deep. Classics like "Your Love Alone Is Not Enough", "If You Tolerate This..." and the final sing-along of "A Design For Life" are amongst the highlights but the tracks from new album Futurology are received well and are full of promise.

I'm surprised we don't get to see Nina Persson who played the festival earlier in the day but perhaps it is because the band are joined by another Nina, Voss for a rather strange Kraftwerk-esque pro Euro-anthem. It's strangely enjoyable. It certainly raises a few smiles.

Clashes mean I'm late at the Park and Anna Calvi has already played half of her set. It's also strangely quiet (from the four times I went there this year, it seems the Park is the overlooked area).

Looking straight at the stage you wouldn't guess, Anna plays with aplomb and it is enthralling. Her virtuoso guitar playing and powerful vocal acrobatics have been longed talked about but I wasn't expecting so much rhythm and percussion. There's a girl playing all sorts of instruments I couldn't possibly name and I am compelled to stare at what she is doing. I wish I was here sooner.

I'm straight up the hill for Australian singer-songwriter / alt-folk should-soon-be star Courtney Barnett at the Crows Nest. It's a solo set that enraptures those in attendance, amusing anecdotes and repeated conversations with the crowd break up the music but no one cares, the audience is all having too much of a good time.

The songs are lyrically brilliant, if not of your usual subject matters, full of satire about buying houses and poor transport systems and those who arrive on the off chance will be making a note of an artist to check out once they return home.

I wasn't quite decided where to go next, I certainly wasn't heading off to Metallica. I decided (and correctly as it turns out) to give Bryan Ferry a chance, I've a soft spot for a handful of his tracks and some Roxy Music material too.

I begin by propping up the Brothers Bar and watch as Ferry (69 but looking almost twenty years younger than) swoon his way through a brilliantly smooth blues version of "Slave to Love". The set remains suave and sophisticated throughout, "Avalon" sees Ferry on top form crooning around his beautifully polished and tight band, the drums stand-out amongst the paired backing dancers whose moves (aided by the second Brothers cider) I stark to mimic. By the time he's gone through "Virginia Plain", "More Than This" and "Love is the Drug" the audience are putty in his hands.

Afterwards, a short side-step at the bar aside it's an early night and before I know it, the end of the weekend is almost with us.

Glastonbury Festival 2014 Review - Friday

Seemingly festival attendees like to arrive earlier and earlier each year with thousands now battering down the proverbial door to enter the site as soon as 'doors open'. I'm not one of them, I like to arrive the day before and slowly get myself ready for three days worth of standing on my feet all day watching music - I know it's not everything about a festival, but it is the reason I am at Glastonbury Festival after-all. Anyone who tells you festivals are not bloody hard work is doing it wrong, plus I'm too old to handle the alcohol involved and I'm not interested in drugs (that and vast numbers of people tend to piss me off!).

My arrival on-site just after Thursday afternoon is perfectly timed, just as the rain starts. I'm one of the thousands of lucky ones though to be here and one of the slightly less number of luckier people who have a 'hospitality ticket' (in my case thanks to helping to judge to Emerging Talent Contest) so I head to our campsite in good spirits, my tent is of the lazy/easy pop-up variety and I'm soon ready.

The first evening is spent walking around, re-adjusting to the lay-out of the festival and sitting around the Stone Circle. The only act I saw was Gibson Bull at The Rabbit Hole, at around midnight we head to the hospitality bar and end up staying, 'dancing' and drinking for a little longer than planned. Under foot conditions were still fine at this point.

I have a great nights sleep thanks to the beer of the night before and awake past ten am, a mild headache aside I'm set for day one of the festival, the headache is taken care of by a coffee but my desire to head to the Other Stage is dampened when I hear "I Predict A Riot" blaring out from afar. A secret Kaiser Chiefs set is one thing I can do without first thing on a Friday morning. Instead I take safety in the press tent, a surprisingly intimate marquee tent with rows of tables aligned and power points everywhere. I pay a visit here a handful of times throughout the weekend and it is always a hub of feverish activity. Papers' need to write their critical reviews from somewhere!

A short walk later (there is a handy short-cut from the Pyramid to see the first band of the day, Blondie. Like a lot of people I spent some of my teenage years listening to this band but I've not heard them at all for probably ten years and I'm surprised how easy the words come back to me.

Blondie are good and straight from the off I realise that guitar solo's are back. I'm assuming the younger looking chap on lead guitar was not part of the original line-up(!) but he's accomplished in front of the big crowd and takes over numerous time amongst Debbie Harry's arm movements and feet shuffles (armed with a rather terrible looking sandal / white sock combo!). Time has perhaps taken a little bit of a toll her mobility and range but certainly not her presence, oozing infinite cool and charm still armed with a voice that was compelling and strong.

They started with "One Way or Another", a song guaranteed to have the huge crowd singing along from the get-go, new songs were politely received and sounded pretty decent but lets face it, we were all here for the hits and boy did we get them, "Call Me", "Atomic" and finally "Heart of Glass" were all received with huge cheers even with the weather in typically indecisive mood, one minute sunny, the next rain, rinse repeat for an hour, this was the place to kick start the weekend.

After some food and a slow walk (still no mud at this stage) to William's Green I'm early for Summer Camp so head towards the front to get a decent slot - it's weird as a new music fan who normally spends his time seeing bands play tiny, intimate rooms to suddenly be thrust in front of thousands upon thousands of people and hundreds of feet distance between the stage.

Pretty much bang on time (schedules are pretty much kept to throughout) the band arrive and the set is great, slick and fun. Elizabeth and Jeremy have great voices and the musicianship between themselves and their equally accomplished band-mates is perfect, new tracks blend in with old with a sound slightly heavier live than I remember and by the last time comes around, the utterly superb "Two Chords" I'm almost bouncing up and down on the spot. A group behind me have taken that further and dance around with enjoyment written across their faces. It was most definitely worth missing the days sunshine for.

Afterwards it is the long walk back to the Other Stage for Haim, another huge crowd awaits and I'm not quite able to shake of the knowledge that just over two years ago I saw them play at Audio in Brighton with 150 people there and I was on the barrier, here I'm about half a mile way... Credit to the band for pulling it off without losing what they are, a jam band, combining pop hooks, harmony and rocking guitar sections. Haim have come so far in so little time and they deserve a lot credit for it. I might feel slightly disconnected standing at the back but lots of apparent newbies certainly do not.

It's starting to get dark before the end of Haim's set and eyes are averted to a rather ominous raincloud forming behind us, it creeps and creeps closure and bang thunder, rain and one mother of all storms. You've probably read much about it already but it hits the festival hard....

I'm already in the LeftField tent by this stage and thankfully dry and awaiting The Tuts, the tent soon packs out with people eager to avoid the torrential rain outside and on time the girls begin. It has been a while since I've seen them and they seem to have grown in stature and confidence ten times over (I guess a nationwide tour supporting Kate Nash will do that to you).

Their songs play to the perfect setting and then two songs in, in Billy Bragg jumps on stage telling them (and us) that we have to shut down because the festival cannot operate during a lightening storm. It's extremely unfortunate and for a good while people look around with puzzled, bewildered, amused faces (especially the girls) and a good deal of time passes with the tent entertaining themselves by singing along to some good songs (Queen and The Beatles) and some terrible ones (Kaiser Chiefs?!! - really?!) before the rain stops and sun returns. The girls start up again - to a smaller audience - and give it their all, tight, quick-paced, fun/intelligent pop-punk songs that offer a fleeting dose of fun.

Afterwards I head outside to assess the damage of the rain, at the moment it's mainly huge amounts of surface water waiting for people to come and churn it up into mud before taking a trek towards the top of the festival and the Park are to head to the Crows Nest for the first time over the weekend. A matter of minutes after I arrive All We Are start, they were due to play sometime earlier but seemingly the venue had suffered worse than others with electrical failure. The trio deliver an enjoyable set of groovy, dreamy soft-pop with shimmering guitars and smouldering dual vocals carrying a sweet, exotic flavour as their falsetto vocals channel the Bee Gees crossed with early 90's R&B. Lush.

Next I'm quickly back down the hill to get to the Avalon stage for Sophie Ellis-Bextor, they are running perhaps twenty minutes late so I need not have rushed quite so much but I find a good position and await with interest, it would be polite to say the audience here was the most 'mature' I've encountered thus far, perhaps Sophie's time on Strictly was wisely spent. There are multiple references to dancing throughout and the hour set is an absolute joy. Truly. The absolute highlight of the day...

With Ed Harcourt on piano and a full backing band adding rich, warming instrumentation and luscious strings what starts off as a set of sophisticated, timeless pop tracks with sumptuous melody and changing tempo becomes a disco party half-way through (and after a rather shambolic on-stage dress change) with the hits "Groovejet", "Take Me Home" and finally "Murder on the Dancefloor" all getting a show. It was incredible, way and above my pre-gig expectations highlighting Sophie's wonderful voice and charisma. Perhaps what I wasn't expecting was quite how funny/nice she was, coming across as really genuine, appreciative and grateful. It's a rare trait for a musician who has been in the game as long as Sophie to have (she mentioned the last time she was at the festival, 1998 during TheAudience days).

Beaming from ear to ear I head off towards the Pyramid stage (unfortunately timing and location mean seeing Lykke Li proves impossible) and get surprisingly close to the front for Arcade Fire, their set is wonderful, of course it is. This is a truly special band and the chemistry they give off during their performance is extraordinary. making each and every member of the audience feel connected and paying tribute to each of their four, incredible, albums. They must have felt pretty confident they were going to deliver as fireworks, historically saved for the end of a set here come at the beginning setting the sky alight before "Reflektor".

The new material almost treated on par with the old but of course the biggest cheers and sing-along moment of the day is saved for the end and "Wake Up". Every member of the crowd singing along to its refrain and continuing to do so as we walk away into the night.

I've got the long trek back to the Park next and the Crows Nest for my last act of the day TOY. They come on stage at 1am and treat the packed tent to a blistering hot and extremely loud (instantly putting my fears that the make-shift venue wouldn't be able to cope with the bands sound) jam set.

After an elongated instrumental the band crack into set that begins with "Kopter" and includes some of the finest moments from their second album Join The Dots, when I've seen Toy before the one I've never thought is "hmm, think I could with hearing more guitars here" but that is what we get as two more guitars join in on the title track and another jam. A complete triumph and I leave with my ears ringing but completely satisfied. The mud is a little more difficult to navigate as I make my way back to the tent avoiding the noise of Arcadia and the streams and revellers heading down to Shangri-La. I'll too old for that nonsense!

Glastonbury 2014 day one, you were a complete success.

The Great Escape 2014 - Saturday Review

Reviews of Thursday and Friday.

Saturday you've arrived so soon, the final day of The Great Escape and the weather forecasters (unusually, of course!) have it wrong. Instead of rain Brighton is full of blue skies (the wind is still relentless). After breakfast, coffee and another Ben's cookie (yum) it's an early start at Boutique. I can't remember what this place was called last year but it's not your usual gig venue, a red lit basement with seedy/sexy ambiance. It's not exactly the sort of place you'd expect to see The Cadbury Sisters but here they are on stage.

They are wonderful too and deserve a much bigger crowd then they are playing too, combining heart melting vocals with ever changing instrumentation. Ranging from sublime harmonisation with delicate acoustic backing to soaring peaks of complex, shimmering guitars and percussion. Their set reaches an almighty peak on their final track (and most recent single) "Milk" and I'm already in line to buy their forthcoming EP.

Afterwards and into the sunlight. I decide to head to Above Audio next to check out Lay Low but I get it wrong and it's not actually Law Low on stage but a band I have never heard of before Mammút and so I stumble across my 'unheard before' band of the weekend.

Mammút are fantastic, as compelling an act I see all weekend and you really cannot take your eyes off frontwoman Kata throughout. One moment their set is beautiful, ethereal, calm and delicate before out of nowhere exploding with soaring peaks of controlled aggression. Even for somebody who doesn't particularly listen to non-English lyrics I'm hooked (they sing in their native Icelandic). I try and explain what they sound like afterwards to a friend and fail, I end up with a tired Bjork-cum-Evanescence. Thankfully you can just go and listen to one of their tracks at the end of this post.

Because Mammút were too good to leave by the time I get up the road to Blind Tiger Powder Blue are already in full swing and it's another great set - so many in one afternoon. The Canadian quartet bring a rich blend of simmering psyche rock and big, punishing beats to the table, it's a combination I can't help but adore and I instantly fall in love with the swirling guitars of "Go On Forever" and the darker mood of  finale "Run". It's played to a packed house and I'm not the only one impressed.

Afterwards we head down to the front and with the wind firmly in our faces try and track down where Blessa are due to be playing a 'secret show'. We find it by the Carousel, in fact they play under a carousel horse (I'm sure it's a first for any band).

They play a short stripped back set as a duo, I've no idea if the band have experience of this sort of setup before (I've not seen any acoustic videos from the band before) but removed from the 'full live sound' of the quintet you can hear Olivia Neller's vocal in true clarity, prettier and more intimate than ever amongst restrained electric guitar with the rendition of latest single "Unfurl" especially suited to the surroundings.

I leg it back to Blind Tiger next and have to queue to get into an afternoon show (something I don't think I've ever done before at The Great Escape, an indication of the growing popularity of the festival for sure) so I have to listen to about two songs of Mise En Scene from outside, another new band to me, when I eventually get in I understand why the place is packed out; it's raw, raucous fun and I'm impressed.

The band exude confidence as well, the trio happy to shred guitars and shout at the audience to dance along, it's loud, vivacious and commands attention from start to finish, glammy, grungey, ramshakle noise with vocals that are prettier than you'd expect, I add another band to my 'check out after the weekend' list.

Beer Update 11: £4.00 for a pint of Red Stripe.

I head to The Loft next with the aim of seeing Novella but it's after their set time and the band before them are just about to start, I decide not to stick around and continue with my plan and so it is off to The Mesmerist I go to check out local band Fickle Friends.

It's fair to say the place is rammed, I get a beer and stand tightly packed near the front. The band are good, it's hard to believe they only started at the turn of the year. The sound is tight and the melodies are sumptuous, an irresistible blend of jangly guitar and buoyant keys get the crowd shuffling their feet even in their confined space whilst the soaring vocals make me think of some of the finest moments in 80's pop. "Play" and "Swim" stand out because of their familiarity but the rest of the set is hugely enjoyable and a band confirm their potential.

There is time for a beer in the Fishbowl before I head to Audio to see Powder Blue for the second time today, I'm in time to catch the start this time and the set is more assured than their earlier one too, the more traditional gig surroundings and darkness of the venue suiting the quartet.

They seem more confident and they get a great reception, it's not hard to see why, a beautiful, hazy maze of layers guitars, keys and some punishing percussion. "Go On Forever" sounding exceptionally good live, it's so good I buy the vinyl afterwards even in the knowledge I'm carrying around it for the rest of the evening and the only real disappointment is learning Shelby is a Man Utd supporter!.

Next to Komedia and French For Rabbits, a band I've been wanting to see perform for a long, long time. Ordinarily when a band start off with their biggest two tracks ("Claimed by the Sea" and "Goat") you'd perhaps be worried about the second half of the show but not here, the duo-cum-quartet (with the addition of a touring bassist and Amos from Fanfarlo/ Sophie Jamieson on drums) blossom throughout, a gorgeous, soothing blend of swoonsome folk and soon you are carried far away from the dark, bleak surroundings of the studio bar and land somewhere much more suited to their gorgeous tones.

I stay at the venue and afterwards comes Young Summer, her vocals are good but I'm left longing for a 'real band' to support her (she is accompanied by an electronic drum kit and samples), perhaps then she'd be good but I stick around because next next it is Blessa performing in more traditional surroundings than earlier.

The dark room is more suited to the shoegaze / alternative-pop sounds of the Sheffield quintet and their blend of dreamy vocals awash with chiming, anxious guitars sounds great. Brooding yet light, gloomy yet romantic, nostalgic yet modern, Blessa tick every box.

Beer Update 12: A Pint of Red Stripe for £4.10

Next I head of to Latest Music Bar to see the first band show by Eliza Shaddad, there have seemingly been a few scheduling problems throughout the day and there is only time to hear four tracks, Eliza plays the entirety of her forthcoming EP Waters and it's delicious, the title track especially suited by the addition of a rhythm section, it sounds enormous. Compelling and beautiful in equal measure, it makes for the perfect summation of the weekend and The Great Escape 2014. Musically one of the finest editions yet (there is the niggling suspicion that Brighton is at capacity about now and I hope the festival doesn't expand too much for next year, the festivals 10th year. I shall see you there regardless.

Beer Update 13: £3.00 for a can of Red Stripe

The Great Escape 2014 - Friday Review

I'm awake early on Friday morning, I paced myself quite well yesterday (here is Thursday's review if you missed it) and after breakfast I head to do a little bit of shopping. I purchase Joanna Newsom's Ys on vinyl, something I've wanted for a while before grabbing a coffee and a Ben's cookie and heading over to Sticky Mike's Frog Bar for the music to start a little after midday.

I'm here to see Wilsen play for the fourth consecutive day. The surroundings are somewhat darker than the previous two days (both in churches) and they are playing as a trio without the drummer they'd borrowed for their UK tour (of which this is the last) but Tasmin and band continue to impress me, today felt especially beautiful given the time and location, "Magnolia" impeccably delivered serves as the most gorgeous opening to the day.

To Audio next for a band I've featured lots here September Girls. I've seen them play at least a half dozen times before but they deliver the best set I've ever seen them perform. It's (wholly) the same material and the five piece still combine doo-wop harmonies, darkly psyche rhythms and pure pop but it's delivered with a less ramshackle approach and the professional, tight and non-nonsense approach really rubs off on the music. The place is packed and nobody seemed to be leaving. That's about the best plaudit you can get.

Afterwards I head towards Dome Studio and stop for a rest in the baking sunshine (honestly) and take in the songs from a busker playing in the street nearby. The set is mainly covers, some of which are hit and miss but there are glimpses of talent and undoubtedly a lovely voice. I later find her name was Stephanie O'Brien.

I quickly grab some food from Pompoko before bumping into Josh and Soph from Hella Better Dancer on my way into the venue to watch Honeyblood in the same location where I first caught the duo perform twelve months earlier.

(Stina picks up on it too) The crowd is noticeably larger this year and their sound has grown more confident, playing tracks taken from their forthcoming album at a furious rate, the catchy hooks and rumbling percussion of singles "Bud" and "Killer Bangs" met with especially appreciative nods of approval from the crowd.

Beer Update 7: £4.00 for a local craft lager (possibly the nicest of the weekend).

I meet up with a friend at The Mesmerist next but decide to go for a quick beer before returning to the same venue to catch Laurel. I'd not heard her before but was happy to go and listen when I heard a Lana Del Rey comparison and whilst obvious, it is pretty accurate. She plays pop songs with a dark, cinematic edge with a pretty vocal and her half hour passes well enough. I can't help but keep looking at the reflection of the crowds feet from the stage too.

Beer Update 8: I had a pint of Lanes Best but I can't remember how much it cost - it wasn't overly expensive.

Time for some food now and as we are in Brighton it'd be rude not to head to the front at least once for a chippy dinner, the relentless wind means that the task is somewhat more difficult than it should be and I refrain from walking along the pier or the beach and instead take shelter inside.

It's almost seven o'clock now and time for the evening session to begin. I head to see another band I've not heard of or listened to previously but one that I'd had recommended to me; Alvvays.

Once they being it takes me about five seconds to wonder how the hell have I not come across the Toronto quintet sooner, a sound that combines the bristling energy of Pains of Being Pure at Heart with Fear of Men's way with melody, it ace and amongst pop hooks and dreamy vocals I'm already booked to go and see the band whenever they next hit London (as well as writing up a proper blog on the band soon).

In the same venue next for Marika Hackman and I'm not sure if it's because she follows the care-free indie pop of Alvvays or my pre-gig expectations were too high but her haunting harmonies don't quite hit the magnetic heights I was hoping for, the voice is there and tracks like "Cannibal" sound beautiful but goosebumps don't quite arrive.

Beer Update 9: £2.00 (yes really) for a bottle of Becks. Prize for the most sensibly priced drinks certainly go to East Wing.

It's a short walk to The Tube next for Las Kellies, a band I caught up with about two and a half years ago now on one of their rare London shows and my love for the Argentinean trio instantly returns, a glance at their set-list reveals about twenty songs and you are left wondering how the hell they've going to fit them into a half hour set, they do and more too, continuing to play until a lady comes with a hastily made sign saying 'two more songs' (but the band don't see that and she has to change it to 'last song').

The band have the best rhythm section of the weekend, thudding bass and frantic drums propel their tracks and the quick riffs "Perro Rompebolas" is a joy. I've a soft spot from tracks from their Kellies album and "Scotch Whisky" is the perfect summation of the set, fast, ferocious, fantastic and fun.

I walk briskly to Unitarian Church because next it is Broken Twin, one of my favourite discoveries of recent time. I arrive half an hour earlier than her planned set time to find a big queue. A lot bigger than I was expecting. I spend ten minutes clock watching, worrying and not moving before we are told the venue is running half an hour late. Nerves subside because I'm pretty sure with fifteen or so people in front of me I'd get into the venue in time (although the delegate queue on the other side moves with annoying frequency and makes them return). Soon enough you can hear the deafening rumbles of some ferocious percussion from outside that signifies the Oy set, and I wait semi patiently outside. After about 45 minutes of queuing (my longest ever at TGE) and the end of the Oy set I'm finally inside and get a seat on the second row. Not too bad.

Although the picture I've included here makes them look like a rock band Broken Twin are anything but, touching deep at your emotions as Majke spends much of her time playing a real piano to one side of the stage, the true chords bring out further depth in her haunting and intimate songs. "In Dreams" is my favourite track on her sublime debut album May, I'm not sure what the echoed microphone is called but Majke nods her head up and down singing into it as the entire church watch in silence whilst her band threaten to bring down the place. They never do of course and there's a restrained elegance throughout this shiver inducing set, I've said this before and I'll say it again, Broken Twin should be your new favourite artist.

I walk out of the church and reflect, I finally decide to head to a place I'd never been before Neighbourhood. I arrive and it's not a venue at all, it's a tiny pub and the stage downstairs is easily the smallest thing I have ever come across. I'm not quite sure how they managed to pull off the line-up of acts they had (Russian Red played her earlier today; someone who sold out two dates at The Lexington playing a place that can hold about 10 people if they have instruments!).

Not long after Femme comes to the 'stage'. It's fun, immensely so and it's pretty much impossible not to have a smile on your face. She plays four songs backed by a DJ who provides the beats and in possibly the smallest place you'll ever see her and you feel lucky to have been in the crowd. For a couple of tracks two dancers reduce the audience space further and it's impossible not to dance along as well. The people clambering around on the stairs for a better view must have agreed too.

The audience is asked to go upstairs so they can get the room ready for the next act who is Sea Change and one of the discoveries of the festival is found. I'd previously heard (and blogged) about "Let's Dance" and I actually summed it up pretty well last month when I said "full of lush soundscapes and bewitching atmosphere that should go down nicely in a dimly lit sea-front basement". 

What I wasn't expecting though is quite how good it would translate to this extraordinarily dark front-room (and quite how small the venue would be). It's incredible. Much darker and intense than I was anticipating beforehand with electronic rhythms, glitches and bass guitar combining around Ellen's ethereal vocals with new track "Bridges" hitting hardest. It sent chills straight through me, managing to sound absolutely enormous and transporting you to some massive dance tent. Imagine seeing Fever Ray in front of about 15 people -that's how good this was (apart from the idiotic drunk who somehow found his way into the room). The only complaint comes when the plug is pulled on the set for apparently going on too long, I could have done with another hour.

Beer Update 10: £4.20 for a pint of Asahi.

After a little walk I head to meet a friend and watch a couple more acts and have a few beers before bed. Neither connect with me but overall Friday was quite the spectacular day. I paid £39.50 plus booking fee for my TGE ticket. I received that much value in acts today alone.

The Great Escape 2014 - Thursday Review

I feel slightly brighter now, I'm not sure if it's because I'm away from the battering sea-front winds Brighton treated us to all weekend (although, Thursday lunchtime aside the weather was on the whole nice) or if it's a decent nights sleep or a day off alcohol (probably a combination of all three) but no sooner than it had seemingly begun, The Great Escape is over for another year. The next three posts will serve as my review, the highlights of my weekend and some general observations as we go along. The first one - on Friday and Saturday especially the day time alternative escape shows seemed busier than ever before. Friday and Saturday's review might be delayed, as I've previously mentioned, I'm moving house (in about an hour).

I arrive into the aforementioned rain. It's a terrible journey to Brighton too, problems on the railway lines mean I'm standing on a platform at Gatwick Airport for half an hour and then have to head to Hove and grab a taxi to town instead. The first thing I notice is the wind, boy, the wind. It's raining as well. A beautiful start.

After a bag drop and trip to the wristband exchange (which has moved to the Old Steine this year) it's a walk up to the station and to Green Door Store first to see Ballet School (I had planned on going to Blind Tiger but our lateness hindered that). The Berlin based trio combine big punching beats with an even bigger vocal and soaring guitars, it's a potent combination of 80's power pop nostalgia that rarely pauses for breathe and one which draws a capacity audience to a Thursday lunch time show, though perhaps a later show would have helped to get people dancing.

Beer update 1: £4.20 for a pint of San Miguel.

After it's a new venue to me, Brighthelm. It's an unusual place, the front has a day centre, down stairs there's a pre-school and in the back there is a sizeable room that looks like it usually hosts amateur theatre. The first act I see is someone I'd never come across before, Aimee Gould. She's a young singer songwriter who takes to stage with a male counterpart and the duo harmonise throughout. Aimee's voice has a soft, pretty feeling similar to that of Emily and the Woods and there are indications of future potential throughout, especially on her recently released track "Don't Let Go".

Afterwards I quickly head to Pompoko (I head here for lunch every day, one of the two places - the other being Ben's Cookies - that I wish I could clone to my hometown) and back to Brightelm for the next act Wyldeck.

The first thing you notice is the hair - there is a lot of hair on stage but soon I discover an accomplished band, their darkly hypnotic rhythms are compulsive and have people in the crowd dancing around like they've found themselves in a Clint Eastwood movie.

A bloggers mini convention occurs before The Night VI take to stage and soon I'm hit by the first really swoon-tastic moment of the festival. A set book-ended by the fabulous singles "Thinking of You" and "Sienna" highlights a band with an infinite amount of potential, shimmering crescendo's, beautiful, soothing harmonies, a devastating lead vocal, catchy hooks, it's a set that has it all.

Beer update 2: £3.50 for a can of Becks.

I head back to my room quickly to check in and drop off my bag, I'm not really a fan of carrying stuff around all day!

Next to the main area of the festival and to the green, very green surroundings of the Heineken Stage. As you walk in you wonder where the stage is, there wasn't really one. A speaker in the corner of the room gives the game away and eventually it's joined by a microphone. I'm here for Eliza Shaddad and soon she plays amongst the unusual surroundings, on the whole the audience are obliging and remain quite as her soft, devastating tones fill the room and sounds never more beautiful than on "When We". Eliza later tells me she'll play her first ever band show on Saturday night and I make a note in my diary (in my head).

Beer update 3: A pint of Heineken for free. I think I got lucky and had a drink when Heineken were handing out freebies. I'm not one to complain! (it didn't taste very good).

I was left wondering where to start the evening but agree with my friend that we'd give Norma Jean Martine a shot, I'd not heard her before but we head to The Coalition shortly before she enters the stage and I'm impressed. Very impressed in fact. A young American (though from her soundcloud page I learn she is perhaps living in London now) who's piano led pop is made for the radio, joined by bright guitars and precise beats there's an instant quality to her music and her voice is quite lovely too. I make a note to listen to her properly once the dust settles on the weekend.

Beer update 4: £4.40 for a pint of Staropramen


I head outside and battle the wind to head to The Warren, a venue tucked away behind the shopping centre and find a mini world tucked away, more reminiscent of a Glastonbury area than a venue at The Great Escape.

I'm here for Russian Red who starts bang on time (I found most venues to be very punctual). There are a few technical problems and Lourdes seems somewhat more business like than her fun-filled headlining show on Tuesday (at London's The Lexington) but I'm still putty in her hands and I absolutely adore both her voice and her new direction, the rockier full band sound of her latest record is my favourite of her three records and the only thing I am disappointed with is that the show finishes after half an hour. I do like precise half hour sets, about the perfect length to showcase a band and for them to grab your attention but when you are seeing an artist you really like who doesn't often play in the UK, you can't help but want more.

Beer update 5: £4.00 for a bottle of Carslberg

I only intended to call in on Wilsen next (after all I'd seen her perform on the previous two days) but Unitarian Church is running behind schedule and I arrive in time to see the whole set. The acoustics of the church suit the restrained, shimmering atmospheric of their music perfectly and Tasmin's luxurious tones have rarely sounded so crystal clear, the audience are deadly silent and it's a joy to watch, especially when it comes to "Anahita", their perfect set closer.

I leg it up the road and get into Green Door Store just as Tennis begin, it's not often that you see a band with a couple of albums under their belt and you say this; the set highlight was a new track. I'm not sure what it was called but it was fantastic, a real edge to it, one that sounded bigger, brighter and catchier than anything the band have done before. Again, it's a band that have too much material you want to hear over a half hour set and there's naturally disappointment that we don't get to hear "Marathon" and more tracks from their debut but I leave happy I made the trip.

I quickly scoot across the road to the Prince Albert to see Arthur Beatrice and after some time queuing on the stairs whilst the previous band play I enter and find myself perfectly positioned at the front.

What follows is the highlight of the day (and probably the weekend too). A 45 minute set drawn from their wonderful record Working Out that is refined, restrained, elegant and brilliant. A mic stand failure aside everything is delivered with perfectly honed skill and I am left wondering why the band are playing a tiny, roasting pub room when there is a venue like the Corn Exchange down the road (not that I mind seeing them in a small venue of course). This is a band who should be playing to bigger crowds, hopefully they'll find the success they deserve soon. Go and listen to them.

Beer Update 6: £4.10 for a pint of Red Stripe.

It's now past midnight and I head to Sticky Mike's Frog Bar to see Claire, however, the band before are really not my thing and I can hear bed calling. I think the decision to retire early was the right one. Overall day one was a great start to the weekend where I managed to see almost every act I wanted to.