Auntie Annies, Belfast
Friday, 24th September, 2010
"Destroying music, one song at a time": Few bands would have the temerity to stand by such a mantra, but The Alice Kona Band aren't a group known to conform. Shrouded in smoke in the first few moments of the set, it soon recedes to reveal four filthy street urchins who unleash even filthier punk at ear splitting volume.
But this time, we're not surprised at all. Noise mongers Axis Of declared they would cause "destruction... to clubs/bars/venues" on their facebook before heading of on their UK tour last Friday. And it seems they continued this rampage onto our blog...
So with our accusational hats on (obviously My Chemical Romance *must* have had a copy of the Omagh boys first demo on their tour bus), we're talking about songs that are blatant "rip offs" or perhaps just some "accidental borrowing". Let us know your pick by shouting us here, on the ATL facebook or ATL twitter and we will give y'all a shout on the show tonight...
McHughs Basement, Belfast
Wednesday, 22nd September, 2010
Should musicians work for our attention, or should a crowd give an act the benefit of the doubt? This conundrum seems to split audiences and bands down uneven lines, with no clear answer. It's nigh-on impossible for an acoustic to create an almost magical atmosphere when half of the crowd are chatting at the top of their voices about the football. The oft-used argument of "I paid to get into this gig, within reason I can make as much or as little noise as I want" seems to fall apart when their behaviour impacts upon the enjoyment of other attendees, much as it did at Heliopause's album launch.
Masons Bar, Derry
Tuesday, 21st September, 2010
I arrived at Masons a little early (eager beaver that I am) gatecrashing the end of the Panama Kings soundcheck! To be honest, I have a real soft spot for the band but I have seen them countless times before and assumed this would be "just another gig". I was wrong. The place wasn't exactly filled to capacity but all eyes were to the front as the guys started to play.
If I didn't give him that CD, the much discussed track wouldn't be played in Belfast that night. Simples.
Auntie Annies, Belfast
Sunday, 19th September, 2010
Opening tonight, shining their own lights as the house lights go down, are A Northern Light, relative newcomers on the scene, at least in this incarnation. They're a slightly strange bunch of chaps it must be said, with little coherence in their look, but it all comes together to make American tinged uplifting rock and roll. At times sounding like the Blue-collar rock of Bruce Springsteen, before going to Arcade Fire's kitchen sink approach, they're new, and still looking for their sound, but worth checking out their journey.
Masons Bar, Derry
Sunday, 19th September, 2010
Acoustic sets are the name of the game on the Nerve Centre stage tonight for the North West leg of Brendan Benson's Irish tour. Local lads, Chris McConaghy and Conor Mason, capably fill tonight's support slot, and their touching melodic harmonies set the tone for this laid-back, sit-down gig. Their half-hour set is a soft and sweet, easy listening affair rounded off with the head-sway-inducing Falling Out Of Touch.
Spring & Airbrake, Belfast
Thursday, 16th September, 2010
Tonight sees the Limelight complex thrown open for the penultimate night of Belfast Music Week, with the Spring and Airbrake hosting Belfast Calling.
A dapper John D'Arcy opens, leaving his Great Bunch of Lads sidekicks to watch from the audience as he takes to the stage for a solo acoustic set of stick-in-your-head, well crafted tunes. With soft little love notes - More Like Me - and sweet songs such as Scotty and Pop Tart that are both lyrically sharp and wonderfully observant, it's clear that it's D'Arcy's personality and wit are equally responsible for his talent and his music. A lightly vaudevillian touch and a keen engagement with the audience brings it all together without the support of his band.
The Barge (docked at the Waterfront Hall), Belfast
Thursday, 16th September, 2010
It feels like every other gig these days is celebrating the launch of something or other, so Skibunny and label Smalltown America have taken drastic steps to ensure their album is given the show it deserves: specifically, the show is on a barge on the Lagan, and it's free. So far so good. We descend into the hull, impressively decked out for the occasion with full PA and lighting rig, and are greeted by a woozy DJ set by Coney Island Sound, once of Olympic Lifts.
Please note - this conversation is reproduced as it happened online. All spelling and grammatical errors are simply down to Rigsy being an idiot.
Not universally regarded as the apogee of the diminutive one's body of work, but the first one to cut through on a personal level. Prince is utterly on fire on this record, as every pretty much playing everything and to a level beyond most jobbing musicians. 'Girls and Boys' is a genius wonky-pop ditty, whereas 'New Position', with the purple one himself on drums has one of the funkiest percussion lines, laid down in one take too. The album is in turns light and dark, experimental and mainstream, perfectly encapsulating everything Prince was all about just before the excesses of his hedonstic lifestyle compromised his art, seemingly forever.
The Menagerie, Belfast
Wednesday, 15th September, 2010
Fatigue is starting to hit Team ATL by this stage of Belfast Music Week, but the healing powers of music shall save us all. The relatively gentle Robyn G Shiels is a nice start for our shattered bodies. Indeed, all alone this evening, he seems wearier than us as his folky, country blues tells maudlin tales of sorrow reminiscent of Johnny Cash in his later days. Like Cash, or another dour man of great voice, Mark Lanegan, he seems fascinated by loss and religion, as he sings with a lying-in-the-gutter smile. Shiels acknowledges this though, with jokey references to "happy songs" and "disco tunes" like Hello Death My Old Friend. After the bittersweet set ends we, like the man himself, need a strong drink, both to toast and to drown.
So we had a great turn out from the Belfast electronic music community to the State Of the Nation Panel event at The Stiff Kitten on Monday.
We had a mixture of DJs, Producers, Promoters, Label Managers turn out to for a discussion i was chairing with DJ Paul Woolford, Creamfields WHP promoter Rich Mc Ginninis, music publisher John Truelove, Planet Mu label manager Thomas Quaye and Sean Robinson who looks after the label and management interests of The Japanese Popstars.
The Menagerie, Belfast
Tuesday, 14th September, 2010
War Hole are a fair wee bit of craic, you know. They have that sort of raw, messy, garage band sound mostly associated with west coast American bands (think less poppy, looser and slightly dafter Weezer, perhaps?), but almost more fundamental to what they're about are their premier bantering skills and stage presence. That's not to say that they put on a panto-type show, but they have an easy assurance and sense of humour that manages to be both self-deprecating and self-aggrandizing at the same time.
No Alibis Bookstore, Belfast
Monday, 13th September, 2010
"Welcome to the strangest venue in Belfast". Which No Alibis bookstore may well be until someone like The Killers end up playing somewhere like the Crumlin Road Gaol (insert your own joke about bands deserving to be banged up). Here we're not prisoners, although we're as crowded as any correctional facility, squeezed in for an intimate performance. As is acknowledged, a lot of us are here for the headliners, and they've taken the opportunity to expose some other talents to a wider audience.
The Menagerie, Belfast
Monday, 13th September, 2010
So here we are: Belfast Music Week is upon us, and it's fair to say it started with a bang. ATL arrives at a packed Menagerie just in time to hear Connor Kelly, an artist who cites his influences as David Bowie, Patti Smith and Allen Ginsberg. Kelly is an engaging performer, not afraid to speak his mind and wear his heart on his sleeve. This can lead him into dangerous waters, such as a rant on censorship which borders on libellous, but given that he is a virtuoso pianist, coupled with his strong yet fragile vocals stylings, it makes for an entirely enthralling performance fraught with passion and raw emotion. Definitely one to look out for.
The Black Box, Belfast
Sunday, 12th September, 2010
What a week it's been: from beard grooming to barn dancing, from black markets to body art, from vintage fairs to Villagers - the 12th annual Open House festival has seen it all. And finally things are drawn to a close in the Black Box with the Communion showcase.
Custom House Square, Belfast
Friday, 10th September, 2010
The arrival of Wilco in Belfast is surely one of the absolute highlights of a packed Open House festival programme, the revered Godfathers of alt-country having never played in the city before.
The Black Box, Belfast
Thursday, 9th September, 2010
As Moulettes kicked proceedings off on Thursday night, the Black Box resembled a noisy oven. Tickets were as scarce as gold dust and the venue truly was packed as the folk collective introduced their interesting slant on the genre, channelling Eastern European folk influences with a cheeky burlesque element thrown in for good measure. Unlock The Doors is a great little upbeat number with some driving percussion and wailing violin solos, including a prominent French bassoon part (perhaps the first time those words have ever been used by ATL).
Custom House Square, Belfast
Thursday, 9th September, 2010
So after Mumford and Sons super-hyped opening night and Iron and Wine's reverentially received gig, it's now time for alt-rock veterans Modest Mouse to show Custom House Square what they're made of. Things are looking grim though - a half empty hall and a scrum of semi-interested hipsters outside bode poorly. But it's early doors yet and a band with a pedigree like Modest Mouse should be able to pull it off...
Is it the best festival in the world? Given ATL reckons Glasto is just a little bit TOO big (and full of hippies) we honestly think there's a decent argument there. The non-music stuff at EP is genuinely incredible and seemingly endless. Here's a few notable moments from one of the best weekends of our collective lives...
Main Stage, Sunday 5th September 2.45pm
Describe in a tweet: Pleasant valley Sunday.
What Happened: Folk acts and the British media currently go together like a country horse and elaborately over-ornate and impractical carriage, but Stornoway could buck the trend of Mumford-lite clones who think that sticking a finger in your ear equals some mystical connection to the Levellers. Not the Brighton hippies, the actual historical dudes. Anyways, we digress. Stornoway are quite the homeknit tonic for battered heads that are by now hanging by a fine thread. Starting almost apologetically, the group's opening gambit, 'We are the Battery Human' is an emancipatory call to arms. We imagine their army wouldnt be very effective as an awesome destructive fighting machine, since the boys are all very polite and well mannered and would probably apologise to the enemy before handing over the country's gold and oil reserves. We digress once again, sorry. 'Fuel Up' and 'Here Comes the Blackout' keep the interest from drifting in the main and 'Zorbing' is the biggie prompting several doses of 'folk dancing' towards the back of the stage. Almost unforgivable.
Electric Dreams: We particularly like Brian's rather drole account of the book he purchased this morning from a shop in Stradbally. It involved a certain woman of the town being dragged up a hill until she died. It was probably the way he told it.
Ants at a picnic: There is an element to any folk repertoire that requires patience and at times it is apparent that this is an early stage in the band's development. Its not threadbare by any stretch, but in time the setlist will add a more developed sense and maturity.
EP rating: 7/10
Main Stage, Sunday 5th September 7.15pm
Describe in a tweet: Folksy lalt meets crowd. Crowd likes.
What Happened: ATL gets the feeling that Mumford & Sons are on the very verge of going intergalactic. It's been a sharp rise from festival line up fodder last year to one of the main attractions at EP 2010.
Eclipsing their folk peers Noah And The Whale in both success and tunage, Mumford has drawn the biggest crowd to the Main Stage so far. Marcus Mumford kicked the set off with a heartfelt version of Sigh No More, gently easing everyone into their distinct brand of folk-rock.
As the sun set over County Laois, the pace picked up a bit with the trad-infused anthem Roll Away Your Stone and suddenly everyone felt a bit closer. We'd nearly done it, the finish line was in sight and Mumford & Sons were on the sidelines cheering us on.
Electric Dreams: A particularly rousing version of The Cave stirred a great reaction from the Stradbally massive. Sing-a-long-tastic.
Ants at a picnic: Bit of a lull in the middle. The quieter songs were getting drowned out by the wind and the general buzz from the rest of the festival.
EP rating: 7/10
Cosby Stage, Sunday 5th September, 7.45pm
Describe in a tweet: 2010: A Funk Odyssey.
What happened: It's pretty safe to say that Liquid Liquid deserve the appellation "Legendary". The NYC punk-funk band are responsible for the song which provides most of the building blocks of Grandmaster Flash's 'White Lines' and the Glasgow club DJs Optimo named themselves after one of the band's songs.
When they emerge onto the Cosby stage, the tent seems full of every kind of percussive instrument known to man, and with a blast of rumbling bass, they treat us to a set of unsettling, sub-aqueous funk. The cultural melting pot of NYC provides the backdrop to their music, littered with paranoid narratives, and filled with Latin percussive rhythms. It's a hipster's paradise, and even the coolest customers are moved to shake their booty.
When they leave us, we're clearly hungry for more. Exiting the stage, we're told that they'll be back soon, or if we fancy it, we can move to New York with them. It's hard to think of reasons not to with an invite like that.
Electric Dreams: 'Optimo' is immense, but a startling marimba duel steals the show, with some insanely good playing on display.
Ants at a Picnic: At the start of the set, it's not always as tight as it could be, but given what happens later, we'll forgive them.
EP Rating: 7/10
Cosby Stage, Sunday 5th September, 6.15pm
Describe in a tweet: Sludgy blues on an expressway to hell
What happened: The Archie Bronson outfit seem like such nice chaps. Between songs they sound amiable, cracking a (terrible) joke, and thanking the crowd for coming to see them. So far, so good.
Then they start playing, and things take on a very different hue. Huge guitars drone and pulsate, sounding absolutely immense in their stature, whilst strange noises shift in and out of the mix. Very much in the mold of a band like Dead Meadow, these are songs to soundtrack your road movie into oblivion. This rock is evil, and it takes no prisoners.
As the set progresses, things really start cooking, and the band throw in some mesmerising drone funk, hypnotic repetitions drawing us further and further into their own heart of darkness. It's largely completely unintelligible, but it hardly seems to matter, as by the end we're prisoners of the band, sinking deeper into the abyss.
Electric Dreams: Bathed in red light, with monstrous drone-rock guitar cascading out of control, the band look like prophets of the apocalypse.
Ants at my picnic: The band's attempts at communication with the audience fall uncomfortably flat. They should really just let the music do the talking.
EP Rating: 8/10
Crawdaddy Stage, Sunday 5th September, 5.15pm
Describe in a tweet: Absolute carnage, total brilliance.
What Happened: Fight Like Apes make being in a band look fun. And dangerous. Bounding out in synchronised tracksuits (except for May Kay, who opts for a glittery black number), they immediately shift into overdrive, and rarely take their foot off the accelerator from there on in. How one group of people can have so much energy is quite beyond ATL at this stage, with May Kay and Pockets running around all over the stage like two hyperactive children in a playground.
It's high octane stuff, and it's surprising how familiar we are with many of FLApe's songs - 'Lend Me Your Face', 'Jake Summers', 'Hoo Ha Henry', etc...this is starting to feel like a greatest hits set. A smattering of material from their new album pops up throughout the set, sounding absolutely mighty alongside their more familiar counterparts.
But the real action frequently has little to do with the songs, FLApes being absolute masters of performance. Duelling with iron bars, leaping about all over the place, spitting water over each other (and the crowd), climbing over everything in sight, crowd surfing; if there's something to do, Fight Like Apes will do it. At one point, ATL is literally trapped beneath a tangle of Pockets and May Kay, half the band having decided to abandon the stage.
They finish off with 'Battleships', and by the end of the song, the entire stage has been trashed. If all bands were as fun as this, there's be no reason to do anything else other than watch them 24/7.
Electric Dreams: As Pockets sails overhead, and May Kay towers above us, we start to fear for our lives. It's exhilarating and reminds us that THIS IS WHAT IT FEELS LIKE TO BE ALIVE!
Ants at a picnic: It all feels like it's over too soon! I want more!
EP Rating: 9/10
Electric Arena, Sunday 5th September, 5.00pm
Describe in a tweet: Holy guacamole! Did that just happen again?!?
What happened: Two Door Cinema Club managed to pack the second biggest stage at Electric Picnic to the absolute rafters and proceeded to make everyone dance like complete and utter maniacs.
And what a memorable performance it was for the North Down lads. By the time they'd got stuck into their second song of the day, Undercover Martyn, there were literally hundreds of people sprinting towards the Electric Arena, suddenly the whole tent was rammed and it all just kind of kicked off. 'This is the life', 'Come Back Home and 'Something Good Can Work' followed, and I swear ATL didn't see anyone not dancing their socks off.
It was a special performance to top off a great year for the guys and they made sure everyone watching them enjoyed the moment too.
TDCC made the most of the energy in the tent, topping off the set with a thunderous version of 'I Can Talk'.
Electric Dreams: An Irish tour in December this year, announced on stage. Have that.
Ants at a picnic: A few technical hitches threatened to break up the flow.
EP rating: 8.5/10
Main Stage, Sunday 5th September, 1:30pm
Describe in a Tweet: The Crusties are out in force!
What Happened: There's a distinct popularity of horizontal listening or mellow bopping when ATL arrives at the Main Stage. Bonobo are creating the perfect vibe for the tender heads today, with fairly non intrusive beats allowing people to relax or fall victim to its infectious grooves and rhythms.
The drummer is astonishingly good, belting out intricate jazz and hip hop beats, while musicians come and go on stage depending on the song - bass, keys, sax, flute. Much is mixed live, flowing like a DJ set but with the beauty of a live band. Andrea Triana joins them on vocals for 'Stay The Same', and the picture is complete.
It's not really necessary to 'watch' Bonobo on stage, but they set the vibe for an easy Sunday morning...
Electric Dream: Watching the drummer's immaculate style.
Ants In My Pants: Hardly the most exciting to watch live. Great musicians making no fuss.
EP Rating: 7/10
Cosby Stage, Sunday 5th September, 2.00pm
Describe in a tweet: Electric Picnic delivers the goods again as we stumble upon greatness.
What happened: Sometimes, with so many styles, genres and gimmicks knocking about, it's good to get back to the core of things - the song. O Emperor are a band who strip things back to the very essence of what they do, and focus on delivering classic songwriting, in the most accomplished manner possible. These songs sound timeless, recalling the dramatic dynamics of Villagers, the psychedelic rush of Mercury Rev, and the laid-back atmosphere of 'Wish You Were Here' era Pink Floyd. It may not be an especially fashionable sound, but the quality of the performance is staggering, with everyone in the packed Cosby tent captivated by what is happening on stage.
It's still early days, but O Emperor seem to be the lord of all they survey. Now it's time to find a few more subjects to rule.
Electric Dreams: New single 'Don Quixote' finishes with an absolutely unforgettable display of melodic guitarwork. Then it all ends in a shimmering psychedelic crescendo, leaving us to hear the sound of many jaws hitting the floor.
Ants at a Picnic: The band came on a little earlier than billed, depriving us of more of this delectable performance.
EP Rating: 8/10
Electric Arena, Sunday 5th September, 1.30pm
Describe in a tweet: Woozy psychedelic soundtrack for your 80s prom date.
What happened: This was always going to be difficult. Neon Indian's debut album, Psychic Chasms is one of the jewels in the crown of the emerging 'chillwave' sound (which is, sadly, the worst name for a genre EVER), but the album's sound relies heavily on discreet textures and sounds, rather than directly on the strength of the songs themselves. And so it proves to be a problem when most of these dynamics are lost in the sound mix, leaving just the barest hint of what makes the album such a contender for 'album of the year'.
That's not to say that it's bad, as the band plough on ahead regardless, a mixture of MGMT-esque psychedelia and Kraftwerk style electronica. It's as if we're hearing the soundtrack to a long lost John Hughes movie, and each song has that nostalgic feel, a whispered memory of long hot summers and stolen kisses. Once the band manage to translate that hazy, half-remembered sound of the album to a live setting, expect Neon Indian to be the band on many people's lips.
Electric Dreams: 'Deadbeat Summer' comes closest to capturing the grandeur of the album, all shimmering textures and sing-a-long pop hooks.
Ants at a picnic: It's still early in the day, but there's a distinct lack of atmosphere in this cavernous tent.
EP Rating: 6/10
B-bar, Saturday 4th September, 6.30pm
Describe in a tweet: Heaven is a place on earth.
What happened: Just more glorious goings on at the B-bar, the capital of cool at EP10. Cocktails, sunshine and sublime house music. And for some reason, everyone here looks beautiful. And that includes about 30 people from Belfast who we know for a fact really aren't.
Electric Dreams: The Revenge is here, dropping house and disco classics, alongside tracks and remixes you desperately want to know the name of. Immediately. So the likes of Parliament 'Give up the Funk' mixed into some insanely great remix of Tupac 'California Love'. Any chance of a tracklist, mate?
Ants at a picnic: ATL stupidly returned to planet earth.
EP Rating: 8/10
Little Big Tent, Saturday 4th September, 8.45pm
Describe in a tweet: Face melt.
What happened: Brutal, relentless electro, thats what happened - Derry's finest rave-monkeys don't mess about. Little in the way of light and shade, lots in the way of enourmo-breakdowns and brain singeing FX.
Electric Dreams: 'Rise of Ulysses' should come with some kind of warning, blattering as it does a decent sized gathering in the Little Big Tent. There's (what we assume to be) a load of stuff from the forthcoming record which nods to the likes of Underworld 'Rez', Boyz Noize's entire output and the Bloody Beetroots. Think big.
Oh, and it was nice to hear that remix of Gorillaz 'On Melancholy Hill'.
Ants at a picnic: If you're not in the mood, this typa thing could be very, very distressing. There really was no let up (and thats not necessarily a good thing). Also, it was a bit odd how Decky played keyboards in the dark to the side of the stage, while the other two enjoyed full lighting, centre stage. Was he on some kind of naughty step?!
EP rating: 6/10
Electric Arena, Saturday 4th September, 8.45pm
Describe in a tweet: Over and over and over and over and, then it was over.
What Happened: Only at an event like Electric Picnic could a massive band like Hot Chip seem like a warm-up for something bigger - in this case the much anticipated LCD Soundsystem.
The set was solid, but nothing really out of the ordinary for this well seasoned synth super-group.
And a sign that the London five-piece are growing up - singer Joe Goddard was absent from the stage, on paternity leave. In his place, an up-turned widescreen telly with his big face on it, singing along to the well trodden classics; Over and Over, I Feel Better and One Life Stand.
It was bizarre to watch, but only a band as quirky as HC could make a floating head singing pre-recorded tracks work. Though without him, the enthusiastic pint-sixed frontman Alexis Taylor had lost his dancing partner, and at times looked lost on the bare stage.
Nonetheless, the crowd grooved it out in the absolutely rammed Electric Arena, but it all seemed a tad reserved... maybe everyone was saving themselves for what was coming next.
Electric Dreams: Ready For The Floor had the packed crowd bouncing.
Ants at a picnic: Felt like they were holding something back.
EP rating: 6/10
Crawdaddy Stage, Saturday 4th September, 5.15pm
Describe in a tweet: Big sound from a small man.
What happened: Lot of hype about this one - after a hugely acclaimed debut, a Mercury nomination and a memorable show at Oxegen, a lot is expected of Conor J. O'Brien and his (not so) merry men. Given Conor is one of the nicest human beings on the planet, we're delighted to report he managed to live up to expectations.
Electric Dreams: 'Pieces' is an early highlight, during which Conor does a pretty accurate impersonation of a howling wolf. 'I Saw Dead People' is as sinister as a man and his piano can make a song and also shows Conor up to be a astonishingly talented musician.
Ants at a picnic: Feel wick for the punters who left after 'Becoming a Jackall', fifteen minutes in. They missed something very special.
EP Rating: 8/10
Electric Arena, Saturday 4th September, 10.45pm
Describe in a tweet: Absolutely flawless.
What Happened: If Electric Picnic ever need to make a clichéd ad for TV to sum up the vibe and atmosphere of their festival (and festivals in general), they should use footage from The Electric Arena tonight. Rammed and bouncing, hands in the air, incredible lights and a band at the peak of their powers doing a 'greatest hits' type set. The word 'perfect' should never be used in a music review, but it's hard to think of what could possibly have made this set any better.
For a start, they came on to 10cc 'I'm not in Love' as a giant disco ball drenched the stage in speckles of light. An incredible entrance, but it just got better. 'Get Innocuous' into a reworked 'Daft Punk is Playing at My House' is the best back to back we've heard so far this weekend, while 'Drunk Girls' is even sillier live than on record. By the time they get to 'Yeah' the stage is a mix of dry ice and strobes, as James Murphy and co become occasional silhouettes. It kicks off.
Electric Dreams: The encore of the utterly sublime 'Someone Great', the track that started it all ('Losing my Edge') and the ACTUAL tear-jerker that is 'New York I Love You'....do we even need to go on at this point?
Ants at a picnic: LOL, aye good one.
EP Rating: 9/10*
* it's worth noting that your reviewer wanted to give this show 10/10, but after a great deal of argument and debate (during which he was completely ganged up on) it was 'decided' that only the most life changing gigs could get full marks and, as no lives had changed, a 9/10 would have to suffice in this case. When the reviewer builds a time machine and attends Woodstock, sees The Beatles reform with the original line up or witnesses the deity descending back to earth (possibly at Oxegen), OR witnesses Chic at last year's Electric Picnic, (a show which apparently DID change lives and absolutely warranted 10/10), only then may he deal out full marks. Apparently.
Cosby Stage, Saturday 4th September 5.15pm
Describe in a tweet: As actually tweeted: "Just back from Phil Selway. Floaty floaty chilled tunes. What a lovely chap."
What happened: Philip Selway is a lovely chap - a thoughtful soul. He thanked his band for coming, he thanked everyone in front of him for coming. He warned us this was the first time he'd ever performed on his own in front of a English speaking crowd. He even asked us to cover our ears when he thought his guitar was going to spurt out some feedback and then timidly - he started his set.
It's middle of the road stuff in terms of songs. Neither amazing or poor, but there's something distinctively pleasant about it. The melodies on tracks like By Some Miracle and Patron Saint wash and swirl through the air, piquing the odd interest here and there. Lovely rich sounds of double bass, violin and an unexpected saw floated through the crowd.
But ultimately, it's hard to escape the fact that this is the drummer from Radiohead performing a set of his own material. Whilst it's all perfectly pleasant, out advice is that he shouldn't give up the day-job just yet.
Electric Dreams: Lying on the soft ground.
Ants at a picnic: Getting a dead leg.
EP rating: 5/10
Cosby Stage, Saturday 4th September, 9.15pm
Describe in a tweet: It's starting to get cold tonight, but it just got a whole lot more chilly...
What Happened: This is a baffling one. Imagine a songwriter with brilliant songs, and an amazing voice with which to deliver them. Then place him with a band of incredible musicians, all in complete mastery of their instruments. And then, as the icing on the cake, give those songs the most appallingly "tasteful" arrangements possible. Then give yourself a good, hard look in the mirror and ask yourself why you would want to such a terrible thing.
Brendan Perry (formerly half of 4AD band Dead Can Dance) is possessed with a deep, sonorous voice, a rich instrument which can dive to the depths of the oceans, or soar in the sky. But tonight that voice is framed in chilly textures, and self-consciously 'modern' touches, which make the whole performance slightly uncomfortable viewing. It's not that the performance itself is the problem, but rather that any life these songs exhibited is strangled at birth. Mid-set, Perry breaks into a magisterial cover version of Tim Buckley's 'Song to the Siren' (popularised by his old 4AD labelmates The Cocteau Twins), accompanied simply by his own heavily delayed guitar and the occasional wash of synth. It's beautiful, absolutely captivating stuff, and a frustrating hint at what could have been.
Perhaps there will come a day when Perry is able to give these songs the treatment they deserve, and that will be the day that the man's subtle charms reveal themselves for what they are.
Electric Dreams: The aformentioned cover of 'Song to the Siren' is incredible, easily the rival of The Cocteau Twins' more recognised version (even though Perry's version reads as a cover of the Cocteau's rendition, rather than the original).
Ants at my picnic: The glacial chill of the music is completely uninvolving, a problem not helped by Perry's reticent stage presence.
EP Rating: 5/10
Main Stage, Saturday 4th September, 8.45pm
Describe in a tweet: Party band have everybody swinging and jiving like it's 1955.
What happened: On the way to the Main Stage, ATL couldn't help but feel we would arrive at the Marie Celeste, having to battle hordes of people walking towards the Electric Arena for Hot Chip. But worry not! Imelda May's brand of surf rockabilly has brought the dancers out en mass.
Whether you're there for a dance or there to stand in awe of the amazing musicians, Imelda & co. have it covered, infecting the crowd with pure enthusiasm and joy on stage. 'Psycho' is a particular highlight, while latest single 'Mayhem' has its moment. May picks up the bodhran for a storming version of 'Johnny Got A Boom Boom' and lets each of her boys show off a little. It's a bit of a home coming for her, and even her "ma and da" make a wee cameo from the side of stage.
It's a touching moment, and we're nearly brought to tears as the lights go on the audience and Imelda realises how many people are out there. There's a genuine humbleness with her, and with such a powerful voice and performance, if you think she's just a novelty, then more fool you.
Electric Dreams: 'Johnny Got A Boom Boom' gets the bass player slappin' those bass notes like there's no tomorrow!
Ants at a Picnic: Honestly hard to complain. New song 'Let Me Out' perhaps not as hook filled as hoped for. But totally nitpicking.
EP Rating: 9/10
Crawdaddy Stage, Saturday 4th September 8.15pm
Describe in a tweet: The man who put the journey into journeyman.
What Happened: There is no easing in to this. Steve Earle gets straight to business on a battered looking acoustic with 'Copperhead Road' followed by 'The Devil's Right Hand'. It's a stark affair, just Earle and a selection of six strings and a mandolin for company. For a man formerly in possession of an open ticket to hell and back the man is still infused with bile and rage against injustice and conceit. Tony Blair doesn't get off lightly with a four letter broadside launched towards the former British PM and his involvement in the Middle East. 'Rich Man's War' is pointedly dedicated to Blair. Elsewhere in the set there is a broken tenderness on display, notably on 'Now She's Gone' and 'If I Said Goodbye'. "Same girl, different harmonica" says Earle.
Electric Dreams: For more recent converts via US TV, 'Down in the Hole', the theme tune from the Wire is given a bluesy stomp, with crowd on backing vocals. We're treated to a sneak preview of a song written for David Simon's new telly venture, set in post hurricane New Orleans. The bleak, murderous 'Billy Austin' is another high, the stripped back set-up rendering the sentiment yet further into dark territory.
Ants at a picnic: Its pretty flawless performance-wise, but the main gripe is that the only massive reaction is for the ubiquitous 'Galway Girl'. Great song, but it seems like much of the crowd feels that they have endured rather than enjoyed this performance.
EP rating: 9/10
Crawdaddy Stage, Saturday 4th September, 6.45pm
Describe in a tweet: Classy Strabane folk hero soothes wrecked heads.
What happened: It's arguably an odd booking, but Paul Brady is bringing a welcome touch of sense to a mad weekend. We have an array of some of the most proficient musicians onstage and the quality of performance is beyond question. There are virtuoso players arranged right across the stage. We also have the very welcome inclusion of Suzanne Savage, who we remember fondly from Belfast junglists Spree on backing vocals. Its not punk rock, guys, but sometimes the head just needs a bit of TLC. This is music for the grown up side of the brain, given that the other side has had the run of the place for most of the festival.
Electric Dreams: The Island provokes some of the most heartfelt crowd singing of the entire weekend in the Crawdaddy. 'Same old Story', 'Crazy Dreams' and 'The World is What You Make It' all make the second half of Brady's set feel like a collection of tunes fit to add to the upper echelons of the Northern Irish collective songbook.
Ants at a picnic: There are some issues with feedback and a false start on 'The Price of Fame' so it looks like Paul is giving a rocket to some unfortunate sound engineers. We wouldn't like to be in their seat on the bus home.
EP rating: 7/10
Main Stage, Saturday 4th September, 7.00pm
Describe in a tweet: Hi-tech hobo blues takes a Daniel O'Donnell turn for the awesome.
What Happened: So first off, a Chigger is a tiny mite commonly found in the long grass of Tennessee. It burrows into your ankle, laying its little eggs in a kind of 'ankle motel'. If you think you have Chiggers you need to 1) Take off all your clothes. 2) put your Chigger infested clothes in a washing machine set at the hottest setting 3) put yourself in a bath, and finally 4) boil like a lobster, hoping you've destroyed the terrifying little beasts. And as Seasick Steve says: "If you're lucky, they won't eat you alive."
It can only be Seasick Steve and after that gem of advice which ATL will hopefully NEVER have to use, the hobo-rocker got stuck into a belting set on the main stage. The above mentioned Chiggers was joined by Dog House Blues, Diddley Bo and Never Go West; with the Stradbally faithful temporarily transported to the Rockies for the guts of an hour.
Electric Dreams: Just like Daniel O'Donnell, Steve can bring chicks up on stage to serenade, like on Walking Man.
Ants at a picnic: The Diddley bo, the main stay of Steve's hobo schtick, made out of old car parts, a plank of wood and one solitary guitar string...has now gone wireless. A strange juxtaposition of technology which highlights how far from his roots he's travelled.
EP rating: 6/10
Electric Arena, Saturday 4th September, 7.00pm
Describe in a tweet: The best New Order tribute about!
What happened: Walking into the Electric Arena, Bernard Sumner is doing his best 'Dad at a wedding' rock pose, managing to be simultaneously embarrassing and completely trimphnat. The tent was sparse until the opening chords of New Orders 'Regret' when everybody realised what was about to take place. Another classic followed with 'Ceremony' , before changing the pace for a Bad Lieutenant original, 'Sink or Swim'. Sumner was clearly 'in charge', making us all aware he's had sound issues and ordering the poor stage hand around. At one stage he claimed, "you just can't get the staff these days" - making ATL think Sumner has gone too far down Diva road. But he quickly followed it up with, "and you can't get the crowds either!", with a good dose of wry humour.
This slightly bitter awareness as to why anybody was there means they knock out a version of 'Bizarre Love Triangle'. It's hardly New Order, but it's close enough for a bit of nostalgia and a grinning dance.
Electric Dreams: Those opening chords of 'Regret' when you're really not expecting it. Everybody's faces turned into caricatures with extreme grins of win.
Ants at my Picnic: Sumner certainly as a bit of a jaded humour about him. Complaints about the sound and demanding the stage crew about does take away from the performance.
EP Rating: 6/10
Comedy Tent, Saturday 4th September, 6.45pm
Describe in a tweet: A former fake priest has a lighthearted look at Ireland.
What Happened: Taking a break from all the music, ATL decides to explore one of the other sides to Electric Picnic. As well as various talks, art events, and a circus tent, there is a jam-packed comedy tent, featuring a variety of newcomers and familiar faces. Definitely falling into the latter camp, Ardal O'Hanlon bounds out onto the stage to a rapturous reception, immediately telling us that - above all else - we have to stay positive.
Over the course of half an hour, he uses this theme to explore his views on religion, relationships, the economy, and Ireland itself. O'Hanlon's brand of comedy is pleasingly gentle, but not afraid of showing its claws when the situation arises.
There's a lot of love in the room, and when he lets it slip that he used to be a fictional priest, the crowd go crazy. It initially looks like a mis-step, as the crowd WILL NOT LET GO OF THIS, but eventually he regains control. However, as a special treat to us all, the set finishes with a mass sing-a-long of 'My Lovely Horse', a song he claims he hasn't sung in 15 years.
He remembered the words pretty well, though - that's for sure.
Electric Dreams: Describing the relative benefits of living in Ireland, O'Hanlon reminds us that we are one of the only nations that can gaze at the sun for as long as we want to, with no harmful side-effects. There is, as he astutely points out, very little else to do.
Ants at a picnic: The compares urge the people standing outside to "Cram on in! There's plenty of room!" ATL would like to point out that there isn't. There is no room left at all, thank you very much.
EP Rating: 8/10
Electric Arena, Saturday 4th September, 5.15pm (although it was closer to 5.30...)
Describe in a tweet: Someone fetch a tailor - the Emperor's new clothes are threadbare.
What Happened: Part of the attraction of going to see Crystal Castles is the unpredictability factor. After all, the band is notorious for not turning up at gigs, fighting with each other, fighting with the sound guys, fighting with the crowd, or fighting with reality itself. (The last one is made up, but it's only a matter of time, surely.)
So, as the clock continues ticking with no sign of the band, initial impressions leave us to consider that this might actually turn out to be another no show. The sound guys tinker with the equipment, and the crowd grow increasingly restless. Then, after 15 minutes, they creep on stage, to be greeted by a wave of euphoria from the audience.
Almost immediately it becomes apparent that there's something curiously missing. Ethan Kath is hunched over banks of equipment, whilst Alice Glass does her best to bang her head off the ground and climb over everything in sight.Then it hits you - it's almost impossible to make out any of the music at all. A hissing synth fizzles through the mix, whilst Alice Glass appears to be doing something into a microphone...something inaudible. Then she starts screaming and screaming, before going back to holding the microphone whilst nothing happens. All the while, a drummer pounds a drumkit which moves in and out of the mix.
And so it goes. Mark E Smith of the fall once preached the importance of the three 'r's': "Repetition...repetition... repetition." Crystal Castles seem to have heeded his wisdom in two important ways; not only are the songs boringly reminiscent of each other, but surely this is just a pointless re-tread of something Suicide did back in New York over thirty years ago? It goes on and on, with the band reeling out the same tricks again and again, the material falling into two camps: the hissy, ambient ones, and the bleepy shouty ones.
It's very physical, however, and Alice Glass cuts an impressive figure as she climbs atop the equipment and crowd surfs. By and large the audience are with them on this, and dance from start to finish. Perhaps it's significant that many of them dance even when there is no music being played.
When faced with this accusation, Crystal Castles would no doubt look bored, pout a little, and then continue on regardless.
Electric Dreams: There's a certain excitement in waiting to see what happens next. Then the inevitable disappointment in realising that it's just going to be more of the same. The majority of the crowd don't seem to mind, though.
Ants at my Picnic: Dear Santa Claus, for christmas I would like you to ensure that I never have to listen to Alice Glass's horrible voice, ever again. I promise to be a good boy.
EP Rating: 3/10
Crawdaddy Stage, Saturday 4th September, 4.00pm
Describe in a tweet: Steve Reich-style minimalism you can dance to.
What happened: Whilst not quite rivalling Public Image Limited's bass odyssey, The Redneck Manifesto take to the stage utilising a bass sound so deep that it shakes one's very soul. Many of the onlookers are watching with their hands over their ears, in a futile attempt to block out the sound, whilst one overcome reveller resorts to throwing himself over the barrier in a desperate attempt to escape the bass.
They don't know what their missing. As Steve Reich inspired guitar parts meld together like clockwork, an impressively monstrous rhythm section sets the controls for the heart of the pelvis. Calling to mind Chicago post-rock titans Tortoise, The Redneck Manifesto play an almost mathematical brand of funk that is irresistibly danceable. Dazzling in its technical precision, this has all the hallmarks of chilly, cerebral 'art' music, but is so physical in its construction that it mutates into something else altogether.
One would have thought it was an impossible task to create music for the feet AND the head, but the Redneck Manifesto make it look easy.
Electric Dreams: The final song features an overload of drumming, all six members of the band taking it into overdrive.
Ants at my Picnic: The bass is visceral, but so deep that it becomes impossible to actually make out any of the notes. At times, it feels like RIchie Egan is just playing one booming note, regardless of what is happening. But if that is the case, then it appears Mr Egan has discovered the 'groove' note. Fair play to him.
EP Rating: 8/10
Cosby Tent, Saturday 4th September, 3.00pm
Describe in a tweet: Thrash thrash thrash from a band lead by Harry Potter.
What Happened: What's better than a bit of air guitar I hear you ask. Well the answer is obviously nothing... or is it Fang Island?
On the advice of a reasonably inebriated man in a Tony Blair mask ATL headed over to a nearly empty Cosby Tent, not really knowing what to expect from the Rhode Island 5-piece.
And what we got was a wee bit mental. Thrashing, manic guitarist, wizard hoods and dirty dirty funk. By the end of the energetic set there was a crowd of several hundred... not really knowing what was happening in front of them, yet loving every moment.
Good call Tony Blair!
Electric Dreams: The sing-a-long grower 'Daisy' had a few hundred people caught in a... Disney moment together.
Ants at a picnic: The rain. Boo!
EP rating: 7.5/10
Body and Soul, Saturday 4th September 2.00pm
Describe in a tweet: ssshhhh it's the Villagers...
What Happened: Deep in the heart of Electric Picnic's very own faux-hippy commune, the Body and Soul area, was a (planned) impromptu gig by the rising Irish star that is Conor J. O'Brien.
Billed as a 'special guest', word rippled across the camp-sites and on twitter that the Malahide lad would be playing and a big(ish) crowd gathered in anticipation.
Conor, clutching his dinky little guitar, looked relaxed, apologising for his late appearance and urging his audience to move closer. He then eased several hundred hung-over heads into his now well known roster. This gig was really a warm-up for his evening slot in the Crawdaddy tent and from the brief set which included Becoming A Jackal, The Meaning Of The Ritual, Home and Twenty Seven Strangers, it definitely looks like what's being billed as his 'homecoming show' will be an epic spectacle.
Electric Dreams: New song 'In A New Found Land, You Are Free'. "It's a quiet one, but you got to listen to the words.." asked Conor.
Ants at a picnic: Wet bums after sitting on the damp grass bank. Eww.
EP rating: 7/10
Electric Arena, Saturday 4th September, 2.45pm
Describe in a tweet: Pretty pixie performs perfect pop.
What Happened: She came, she conquered. From start to finish this was pop perfection, but presented with plenty of quirk. Robyn is utterly captivating, constantly throwing bizarre shapes, malfunctioning and short circuiting across the stage. By the second song, every single punter here falls a little in love.
Electric Dreams: 'Cobrastyle' sums up Robyn perfectly - instantly singable yet more than a little bit odd. 'Dancing on My Own' and 'The Girl and the Robot' have a near full arena moving an alarming amount (it's barely half three). The lighting, the dancing, the dueling drums - everything about this...just works. She's a popstar, yet this all seems reassuringly alternative. 'Don't ****ing tell me What to Do' is the highlight - a scandalously underrated electro gem. Bar those six words she doesn't sing a note, instead upping her antics as the vocals are played in. It looks amazing. The set of the weekend so far.
Ants at a picnic: That she didn't stay and play all day long.
EP Rating: 9/10
Main Stage, Saturday 4th September, 2.15pm
Describe in a tweet: Two girls, a guitar, and a MASSIVE sound.
What Happened: In a sense, Heathers are the Ramones of folk. Strumming that acoustic guitar with the urgency of a runaway freight train, the dual voices of Ellie and Louise Macnamara soar high into the overcast sky. And then the next song is the same. And the one after that.
Taken individually, the songs are full of charm, but when placed together they reveal a rather limited range of dynamics. This is something which would easily derail a lesser performer, but the twin sisters have a natural charm, approaching their performance on the main stage like it was an intimate gig in someone's living room, in front of a bunch of friends. A few well chosen cover versions (The Mountain Goats, Tegan and Sara, Beyonce) break things up, as does the addition of a cellist. A selection of new songs reveal a greater desire to branch out, hinting that this lack of dynamics won't be a problem for too much longer.
Electric Dreams: The between song banter between the girls is just delightful, putting ATL in a very happy place indeed.
Ants on a Picnic: Occasionally, the voices get a little too shrill, causing ATL to wince somewhat.
EP Rating: 7/10
Crawdaddy Stage, Saturday 4th September, 1.30pm
Describe in a tweet: The crusade begins here.
What Happened: ASIWYFA have undergone a transformation of late. Whereas once their songs played out like epic melodramas, full of anger, sadness and hope, now the band are like avenging angels, battering down the gates of hell. The band who wrote 'Set Guitars to Kill' have now found a setting even more devastating than that. The twin guitar attack of Rory Friers and Tony Wright is razor sharp; intricate, yet full of bludgeoning power, whilst the rhythm section of Chris Wee and Johnny Adger are simply unstoppable.
A selection of material from the band's début album and their 'Letters' EP makes up the body of the set, but the atmospheric, emotionally acute moments of yore are largely missing, replaced by an awesomely destructive riff-led assault. Perhaps it's the years of paying their dues and gaining high profile tours with the likes of Them Crooked Vultures that has lent them this level of power, or perhaps it's simply down to the fact that this feels like a band on a mission. Either way, at this point, you're either with them, or you're against them - and on the strength of this, only a fool would stand in their way.
Electric Dreams: The crowd know every note, at one point filling in the gaps whilst the band step back. Who needs vocals anyway?
Ants on a Picnic: There was almost nothing at all to fault in this performance. I'm not going to say it was perfect, but it was as close as it is humanly possible to be.
EP Rating: 9/10
Electric Arena , Saturday 4th September 12.40pm
Describe in a tweet: Wakey wakey!
What Happened: There's a cliché you'll always find in a review of the first band on day two of any festival. The reviewer will go on about how the band seemed too noisy for a sheepish, hungover gathering getting a not entirely welcomed alarm call. Well Channel One seemed too noisy for a sheepish, hungover gathering getting a not entirely welcomed alarm call. In the end, though... all is forgiven.
Electric Dreams: Yes it's insanely noisy (we could hear them the second we passed the mainstage) but thankfully (and we really mean that, ATL is a little fragile today) this particular racket is soothing our pickled little brains. Instrumental post-rock can, of course, be incredibly uplifting and Channel One soar today, epic as they are noisy, with beautiful dashes of xylophone and celesta gleaming through layers of riffage and those duelling drums. It's wonderful.
Ants at a picnic: ATL really wanted to sit down, but the music wouldn't allow us too. Faint criticism? Go figure.
EP rating: 8/10
Crawdaddy Stage, Friday 3rd September 10.40pm
Describe in a tweet: Hairy, leery, quite contrary.
What Happened: Mark 'E' Everet is an unpredictable sort, constantly reinventing not just his music, but how it's presented live.
On this tour, it's him, four hairy mates and a lot of guitars. Which works a treat for the most part, until you realize the downside - no keyboards or samples means some of their biggest/best tracks can't/won't be played.
Electric Dreams: E's in a good place, playing highlights from what's a very upbeat, positive record (by his standards anyway), clearly in his element throwing rock star poses. When he's de-axed to sing, he even plays air guitar. It's fun to watch.
Despite the new stuff coming across well, 'Soulwjacker Part 1' and 'Mr E's Beautiful Blues' are blatant highlights, the latter reinvented as a mash up with 'Twist and Shout', which really, really works.
Ants at a picnic: It's great that every tour they do is completely different, but it sucks to miss out on hearing the likes of 'It's a M***********', 'Susan's House' and 'Novocaine for the Soul'.
Yes, they wouldn't have worked in tonight's set, but ATL's also assuming E is using that as an excuse to kill off tracks he's sick off.
EP rating: 7/10
Electric Arena, Friday 3rd September 9.00pm
Describe in a tweet: From the Hans Christian Andersen school of pop music.
What Happened: Jónsi, or Jón Þór Birgisson to his mum, seems to have been lifted straight from a Hans Christian Andersen book. Standing at the back of a packed Electric Arena, it was hard to get a good look at what the quirky Sigur Rós front man was wearing; but it appeared to be an Aran sweater with a bunch of feathers taped to it.
Jónsi mixes grandeur with whimsy during a performance which was stunning both visually and in the fact that a vast array of instruments were used produced such a tight and clear sound.
Where earlier in the day Laura Marling failed to get the essence of her delicate tone across to the EP audience, Jonsi not only reproduced Go perfectly, but managed inject a sense of playfulness which sometimes seems lacking from the usual Sigur Rós performance.
And the whole set was coupled with the most hypnotic visuals. A spooky cartoon wolf chasing a deer, perfectly in time to the song Animal Arithmetic highlighted the vast amount of thought and effort put into this live theatrical performance.
Electric Dreams: Go Do was sublime, absolutely sublime. And glorious, I forgot to mention it was glorious.
Ants at a picnic:.As clichéd as it sounds... it had to end.
EP rating: 7.9/10
Cosby Stage, Friday 3rd September, 8.30pm
Describe in a tweet: Cymbals Eat Guitars, Reviewer eats burger. Everyone satisfied.
What Happened: Well, quite a lot actually. There was a brief mosh pit. Some guy was hoisted a top a set of shoulders and CEG tore the Cosby stage a grungey new one.
But with the crowd thin on the ground it seems Cymbals Eat Guitars have yet to find their audience on this side of the Atlantic.
Even so, those who turned out were either already signed up to the CEG cause, or about to be. The set was electrifying, forceful and driven by unbridled passion. Joseph D'Agostino and Co worked their way through the guts of their solid debut album Why There Are Mountains at a rumbling pace.
'And The Hazy Sea' is about as funky as post-Grunge gets. D'Agostino convulsed and jerked as if his guitar was burning his hands, even in the quieter parts, the lad could barely keep still. The crowd returned with equal vigour, yelling the 'waa-oh waa-oh' chorus with fervor. And then just-like-that, it was over.
So CEG, come back with more songs and we'll give you a bigger audience. Deal?
Electric Dreams: The Some Trees mosh pit. Who said fey indie kids don't like physical contact.
Ants at a picnic: A lack of a decent crowd. But it failed to dampen the spirits of a few hipster revellers.
EP rating: 7.9/10
Electric Avenue, Friday 3rd September, 10.45pm
Describe in a tweet: This is far better than it should have been, but nowhere near as good as it could be.
What Happened: John Lydon should fire his tailor. Coming out wearing perhaps the most revolting multi-coloured luminous patterned shirt / tartan trousers combo ever imagined, he revels in the attention, playing up to every caricature one could ever have of him, And so begins an epic journey into frustration, an often thrilling ride through the many faces of the former Johnny Rotten.
Part of the problem with PiL is that their current incarnation stands in direct opposition to everything they originally stood for. Emerging as a reaction against the tired and staid music scene of 1978 (punk having lapsed into orthodoxy, whilst the dinosaur rock bands of the 70s still ruled America), PiL stated their intention to be a new breed of rock band, a democratic organisation where the idea was paramount to any convention imposed by the music industry. And then over the course of the 80s they managed to go back on all of the promises they initially made, becoming just another 'alternative' rock band, playing the music industry game.
The current 'reunion' line-up would have been unthinkable back in 78, but they tear into the songs with admirable aplomb. Lydon cuts a curious figure, howling and bellowing his way through the songs, almost secondary to the earth shattering dub basslines that dominate the set. Whilst original bassist Jah Wobble is long gone, his basslines live on, at one point becoming so awesomely heavy that they literally knock the wind out of our lungs. This is possibly one of the loudest things ATL has ever heard - a true force of nature.
Over the top of this, metallic guitar and intensely percussive drumming churn and grind, providing an ever shifting base upon which the songs are formed. Lydon remains the focal point, despite doing very little, swigging from a bottle of cognac and eyeballing everything in visual range with his manic stare. Some of the 80s material has dated very badly, whilst the material drawn from the band's first two albums still sounds fresh, albiet truly challenging. At times the intensity of the music becomes almost unbearable, a true lesson in how to take an audience out of their comfort zone, and push every boundary possible.
It doesn't all hold together, and there's always the '"ideological" questions hanging over the set, but at times, Lydon more than proves why he deserves the legend so frequently attatched to his name.
Electric Dreams: During 'Religion', the band come together in an almost terrifying way, frightening in their intensity.
Ants at a Picnic: Aside from Lydon's questionable fashion sense, and a few misfires in terms of the setlist, PiL have attracted a somewhat more unruly crowd than any other performance of the festival. It's not too out of hand, but after becoming accustomed to all manner of niceness, it becomes slightly difficult at times.
EP rating: 6/10
Cosby Stage, Friday 3rd Spetember, 9.45pm
EP Rating: 9/10
Crawdaddy Stage, Friday 3rd September 9.20pm
Describe in a tweet: Hope beyond haircuts.
What Happened: Suspicions of overhyped media flavour of the month syndrome are largely dispelled. Still painfully hip, but proving that there is a previously doubted depth with a set of energetic rapid-fire riff based proto anthems.
Ants at a picnic: We're not asking them to come home and meet our ma, or pick out hats for the wedding, but a little interaction goes a long way. The odd good word would have made this less like a display and more like a two way thing. It's a festival lads!
EP rating: 7.5/10
Crawdaddy Stage, Friday 3rd September 7.45pm
Describe in a tweet: Poor Laura.
What Happened: Poor Ms Marling. It seemed like everything was against the anti-folk Londoner from the get go. Translating a hauntingly intimate album like I Speak Because I Can into a festival-friendly form was never going to be an easy task. Add a boisterous crowd and a dose of the cold and it all seemed downright unfair on the poor lass.
She moped about the stage and songs like Ghosts which usually induce a tingle to the spine barely made an impact on the restless audience. It was all a bit of a shame, because on her day Marling has the potential to produce stunning performances.
Electric Dreams: 'I Speak Because I Can' shone through at the tail end of the set.
Ants at a picnic: The sound. Poor girl was barely audible for large chunks of the gig.
EP rating: 5/10
Crawdaddy Stage, Friday 3rd September 6.30pm
Describe in a tweet: Slicked back hair, Opera singers and a lot of ego.
What Happened: There's been a lot of hype around Hurts in the past few months. They seem to divide opinion too. Lead singer Theo Hutchcraft carries himself with the arrogance of someone who knows they 1) are good looking, and 2) have the vocal range of a surface to air missile.
Egos and music go hand in hand and Hutchcraft's is worn on the lapels of his pastel grey Saville Row suit.. Not that egos are a bad thing. But it's definitely the main factor in whether you either love this band or not.
There's pomp and ceremony about the performance. The smart suits, slicked back hair and the obligatory opera singer in the corner... Yet for reasons which must have been kept secret from the crowd... he didn't seem to actually sing on any of the tracks.
For this reviewer the music sounded confused. Their single Stay impressively managed to find the unknown middle ground between that naff classic Drops Of Jupiter and East 17's entire back catalog.
But with the confusion comes a few pop gems. Illuminated and Silver Lining hit a high not with the crowd... with a little help from Pavarotti in the corner...
Electric Dreams:The infectious tune Illuminated.
Ants at a picnic: The most cringe worthy dad-dancing this reviewer has seen in a long time.
EP rating: 4/10
Body and Soul Arena, Friday 3rd September, 9.00pm (ish)
Describe in a tweet: An unexpected surprise of gossamer thin indie-tronica.
What happened: Part of the charm of Electric Picnic is that there literally seems to be something happening, no matter where you turn. And so it is that ATL finds itself stumbling upon Freelance Whales in the Body and Soul arena. The New York indie band are an all singing, multi-instrumental five piece, oozing charm. Swapping instruments between songs, they seem genuinely touched by the crowd they've pulled, and the opportunity to perform. It may be a cop-out to say, but the humble dignity the band display is almost mesmerising, drawing in everyone who happens to be walking past. And the band respond in kind, giving us wave after wave of gently atmospheric electronica, banjo, and shoegazing guitar noise. A quiet little treat, which proved to be a real delight.
Electric dreams: The smiles on every member of the band are infectious, imploring everyone to move to their quietly funky beat.
Ants at a Picnic: We missed the start of their set, depriving us of a few more minutes of loveliness.
EP rating: 7/10
Crawdaddy Tent, Friday 3rd September, 5.30pm
Describe in a tweet: Irish rock's Mr. Nice Guy wins more friends.
Electric Dreams: The latter half of the set seems to explode into life after some listless moments early on. It's a short enough festival set, so we understand its difficult to hit the ground running and overall, this performance is weighted pretty much perfectly. 'Tilly's Cowboy', new single 'Sink Your Teeth In' and especially ATL fave 'Wonderful Way' are clear evidence of a growing body of work. The setlist is becoming crammed with first class material.
Ants at a Picnic: One or two tunes were overly drawn out. The band are having a ball, so it's hard to really threaten fisticuffs over it.
Electric Picnic rating: 8/10
Main Stage, Friday 3rd September, 7.15pm
Describe in a tweet: Rabble rousing raggle-taggle renegades of folk.
What happened: If Bob Dylan had never discovered beat poetry, instead having been spoon-fed a diet of pagan mysticism, he might sound a lot like Mike Scott and The Waterboys. Their brand of epic, melodramatic folk rock (once termed "The Big Music", for fairly self-explanatory reasons) has never been particularly fashionable, but it has always connected directly with an audience, which is precisely what happens on the Main Stage tonight. A curious mix of old and young go absolutely jungle crazy for a run-through of some of the band's best known songs.
The sound is raw and aggressive, and Scott cuts an impressive figure, twirling and high-kicking his way across the stage. Some of these songs are over twenty years old, but they show no sign of revealing their age just yet. With a masterful control of both band and audience, Mike Scott is a lesson in the value of "paying your dues". Future singer-songwriters, take note.
Electric Dreams: Mike Scott's hair is a thing of wonder - full bodied, blowing in the wind, and conveying a sense of majesty. He's like Lord Byron with an electric guitar.
Ants at a picnic: After an unnecessary abrupt ending, the band return to the stage for an encore (Who'd have thunk it, eh?) and launch into 'Don't Bang the Drum', a song which is then plagued by equipment failures.
EP rating: 7/10
Cosby stage, Friday 3rd September, 6.30pm
Describe in a tweet: ATL swoons, EP shrugs.
What happened: Weird one this. MNDR has worked with Yeah Yeah Yeahs and sings on the (superb) recent Mark Ronson single. Yet no one seems to care.
Electric Dreams: She's brilliant and ATL gradually falls in love. Ludicrously cool in leopard skin leggings and enormous white glasses, MDNR's singing over quirky electro and throwing herself about the stage. Queen of the scenesters she may well be, but what's not to love? It's just her up there - triggering backing tracks and hitting the odd sample in to keep busy. Mostly she dances like a short circuiting, nerdy sleazeball, which ATL enjoys very much.
Ants at a Picnic: There's hardly anyone here. As previously pointed out, no one seems to care.
Electric Picnic rating: 8/10
Main stage, Friday 3rd September, 6pm
Describe in a tweet: Buzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz
What happened: A whole lotta talk. Pretty much everyone ATL has bumped into since arriving onsite around 4pm has name-dropped Janelle Monae, the pint sized Outkast protégée responsible for one the funkiest albums we've heard this year/ever.
Electric Dreams: That entrance really works for us. An impeccably dressed ring-leader informs us of the majesty we can expect in the next hour, before the stage empties and a glorious overture breezes over a very expectant, very large gathering. Soon after, 'Locked Inside' bottles the hype - slinky, catchy and insanely funky. We're won over.
Ants at a Picnic: We find the sinister black cloaked dancers a little scary and the dancing nuns a little offensive. Except not really.
Electric Picnic rating: 8/10
B Bar, Friday 3rd September, 5.30pm
Describe in a tweet: Imagine it was like this all the time.
What happened: Honestly folks, this was just wonderful. Sun splitting the trees, cocktails flowing, just the right amount of people and some of the finest disco tracks ever put to record. This is, quite literally, what it's all about.
Electric Dreams: Other than the vibe and setting being what we're assuming heaven is like? Okay then, let's name some tunes. The slow groove version of Missy Elliot - 'Work It' sets us up nicely while 'Walk like an Egyptian' makes us feel a little silly, in the best possible way. As for Chic - 'I Want You Love'? Ach come now. It's pretty much the perfect festival moment.
Ants at a Picnic: There's a guy who occasionally joins in by playing the bongos. It makes ATL very, VERY angry indeed. If there was meant to be bongos on any of these tracks, which there blatantly isn't, the countless number of musicians and engineers involved might have thought of adding them. SO DO ONE, HIPPY.
Electric Picnic rating: 9/10 (Nice one hippy, you robbed Greg Wilson of a perfect ten. Happy now?)
Electric Arena, Friday 3rd September 4.45pm
Describe in a tweet: Hipster babies and essence of Debbie Harry. It must be Chew Lips
What Happened: The sun is shining, the weather is sweet - and it seems most of Stradbally's revellers are sunning themselves in the baking heat, instead of taking in a bit of 'lounge-synth' in the form of Chew Lips.
There's a lot to take in at the start of a festival like Electric Picnic, which is handy; Chew Lips don't exactly demand the attention of their audience.
'Tigs' the sultry front woman who looks one part Debbie Harry, one part Little Boots, floats across the stage as her band pump our what is becoming their signature sound of dreamy lyrics on top of cheeky synths. It's LCD Soundsystem lite, and just the ticket for a crowd easing themselves into the festival spirit.
Electric Picnic last year saw Chew Lips play to a fraction of the crowd who turned up today. Songs like their first single Karen and the new Salt Air managed to generate a bit of interest on the floor. But only ripples. And by the time the band finally found their stride... their set was over. But for the rest of us, Leccy Piccy had only just begun.
Electric Dreams: We saw our first ever hipster baby! Rocking some pretty cool aviators and a pair of pink ear defenders, I've never seen a cooler toddler.
Ants at a picnic: It's early days for the festival atmosphere. It was lacking during this performance.
EP rating: 5/10
Cosby Stage, Friday 3rd September, 4.45pm
Describe in a tweet: Dirty, sleazy, sexy, rock... so dumb, it's smart.
What happened: Comprising various members of Republic of Loose, Vengeance and the Panther Queen are a very different beast. Eschewing the dirty funk of the day job, Mick Pyro and crew instead opt for a Stooges-esque guitar assault, combined with a bratty, Life Without Buildings style vocal delivery. It's party music for the generation who just don't care anymore. Frontwoman Tara McCormick paces back and forth on stage, wearing an Indian chiefs head-dress, spitting snotty party missives out with wild abandon. Mick Pyro shreds and wails on guitar, pulling tortured guitar faces, without a care in the world. It's not entirely there yet, but there's the making of a brilliant band in there.
Electric Dreams: A cover of 'Welcome to the Jungle' acts as a two fingered salute to Axl Rose and crew, giving the crowd what GnR couldn't deliver.
Ants at a Picnic: There is 0% audience interaction. It's almost like we're not even there.
Electric Picnic rating: 7/10
Electric Avenue, Friday 3rd September, 6.00pm
Describe in a Tweet: Doomy, heavy space rock providing the soundtrack to your oblivion.
What Happened: Like a star-cruiser in flames, careering out of control into the heart of a dying sun, Black Mountain are here to soundtrack your descent into the underworld. Heavy guitar and bass, thundering drums, and spacey keyboards all come together, providing a deliciously heavy Hawkwind/King Crimson-esque sound. This is real mid-seventies prog rock, absolutely perfectly pitched, without any hint of irony. And it's absolutely fantastic, the kind of music you rarely hear these days. This is real double gatefold album stuff, and should be lapped up by anyone with a taste for the cosmic sounds of outer space.
Electric dreams: As the band jammed their sound into the farthest reaches of deep space, the dry ice machine went into overdrive, almost completely obscuring the band.
Ants at a picnic: The dreaded wah-wah pedal is wheeled out at the end, but it's all deployed in a tastefully appropriate manner.
EP Rating: 8/10
Wolf Parade played a blinder wrapping up this years Electric Picnic 2010 on the Crawdaddy stage last night. But fear not if you weren't there! They play the Spring and Airbrake in Belfast tonight.
We caught up with the Wolves to discuss passenger boats, crying and Werner Herzog.
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Hello there, and how the Dickens are you right now?
I am feeling fine, considering I just had one of the longest series of flights in my life, consisting of a ten hour lay-over in Toronto's Pearson Airport, AKA The Temple of Boredom.
It's been a busy summer for Dublin indie-pop minstrels The Coronas, the highlight of which was playing to a massive gathering at Oxegen's mainstage.
Before starting work on their third album, they've a couple of things to sort. First up - a chat between singer Danny O'Reilly and our Rigsy, followed by a gig in Belfast this weekend...
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