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The official festival season is over, and thousands of students, hippies and people with little else to do are once again left with nothing to look forward to except for that first pint on a Friday evening. But wait! Oxjam Clapham 2012 is here, fighting poverty and bringing some tasty new music to your ears.
The Oxjam concept began in 2006 and has grown and morphed into the ever sprawling mass of festivals UK-wide that it is today. Collectively, the festivals have raised over £1.75 million for Oxfam’s work in the UK and abroad: the equivalent of paying for 15,000 emergency shelters; 70,000 goats or 1050 classrooms. Have a think on that for a moment, if you will. Oxjam’s festivals raise money for worthy charities and you can participate simply by purchasing a wristband to this weekend’s event.
The best rock, pop and dance acts from around the Clapham area will be descending on six different venues including dub paradise The White House. Bands playing the festival include fun pop act Angry Vs the Bear, psychedelic rock act White Bone Rattle and South London DIY rockers The Deets, who are not to be missed if you want to have your socks blown off. For the full lineup, go here.
The event takes place this Saturday, the 13th of October, with wristbands for just £10 which gives you access to all of our venues from 12 PM to 5 AM the next day. More information on how to buy your wristband is here on the Oxjam Clapham Web site.
By Mary Chang
on Thursday, 4th October 2012 at 4:00 pm
Chew Lips – singer Tigs and multi-instrumentalist James Watkins – were in Hamburg last month for the city’s Reeperbahn Festival. While they were over, they filmed this performance of their current single ‘Hurricane’ (Video of the Moment here) in a bike shop. Watch it below. The acoustics in this shop are amazing, showcasing Tigs’ great vocals.
The band will be playing a few dates in November and December; you’ll see them under the video.
Saturday 17th November 2012 – Oxford Academy
Friday 30th November 2012 – Manchester Deaf Institute
Saturday 1st December 2012 – Brighton Green Door Store
Wednesday 5th December 2012 – London Birthdays
Missed Martin’s field report of the Saturday of Split Festival? You’re in luck; read it here.
Where Saturday at Split Festival 2012 was noisy in the main tent and more subtle in the other, the situation is roughly reversed on Sunday. Field Music turn in a lithe, precise set on the main stage. Since this writer has, more by coincidence than anything else, seen them four times this year so far, I can safely say that they are better every time, and have never played the same set twice. A hometown gig is always a bit more special, and the crowd are duly appreciative.
Saint Etienne’s comeback continues apace – Sarah Cracknell looks glorious, her sparkly mini-dress picked out by a central spotlight, and she sounds just as good. In a set heavy with material from this year’s ‘Words and Music’, the synth-pop sound is just as present and correct as in years gone by. The volume and tempo is gently increased as we proceed, Cracknell elegantly gyrating, flourishing a feather boa. Close your eyes, and new songs like ‘When I Was Seventeen’ can make you believe it’s 1992 again; Neil Young has never sounded as warmly glorious as when they cover ‘Only Love Can Break Your Heart’.
A guilty candy-floss pleasure compared to the gristle of Future of the Left, whose noisy Welsh surrealist punk deafens everyone in the small tent. Andy Falkous, drenched in sweat, screams out such deadpan masterpieces such as ‘Sheena was a T-shirt Salesman’ and ‘Failed Olympic Bid’. The humour perhaps isn’t immediately apparent, but the skit climax, “if Margaret Thatcher was alive I’d ask her what her favourite film was” surely clinches the deal.
What’s the point in running a festival if you can’t headline it yourselves? After last year’s absence, The Futureheads are back with what is essentially a greatest hits set. They kick off with the superb ‘Beeswing’ from this year’s a capella album ‘Rant’; four-part harmonised vocals have always been an essential part of the ‘heads sound, but this song, shorn of any instrumentation, demonstrates just how accurate and heartfelt they can be with just four voices.
But it’s not long before the electric guitars come out, and the band rattle through the best bits of their back catalogue, climaxing with a majestic ‘Hounds of Love’. The audience are enraptured throughout, as well they might be: this event is more than just another show, it’s a celebration of Sunderland, its people and its music. And on the evidence of Split 2012, Sunderland is in very rude health indeed.
Split Festival has the finest grass in all of fest-dom. Even though the square of the Ashbrooke Cricket Club at which it is held is fenced off, the outfield still proudly displays its evenly-cropped blades, a far cry from the slopping mud too often endured by festival-goers elsewhere. This year sees Split subtly bigger and improved: there is a vintage tent, an arts tent selling the crop of local music photographers’ work and a veritable globe’s worth of international cuisine. The Creole food deserves a particular mention. But the real treat is a comprehensive musical programme, with a distinct tilt towards the regional – unsurprisingly, as local heroes the Futureheads are in charge of the whole thing.
As with all good, small festivals, there are two stages; as one band finishes in one arena, another starts in its counterpart. The slight figure of Kyla La Grange belies her impact; her epic gothic-tinged songs are as if designed to be played on an outdoor stage, at once majestically swooping and delicate. The avuncular King Creosote is up next in the acoustic-themed tent: his performance is a masterclass in understated delivery; with just a djembe and bass for accompaniment, there’s a surprising amount of dynamic on offer, and with material as strong as his, it’s a fine way to gently shift gear into evening.
And shift gear is what Leeds’ Pulled Apart by Horses most certainly do, in a whirlwind of coruscating grungy noise and a frenetic stage show. Nobody seems to be injured – a rarity apparently for a PABH gig. Whilst not strictly punk, one has the feeling that the noise and aggression on display here is directly inspired by the antics of Rotten and his peers over 30 years ago.
Before we get to him, there’s folk headliners the Unthanks. Sisters Becky and Rachel, backed up by a string quartet, grand piano, and band, produce a captivating set of gentle drama and fragile beauty. There’s no artifice or pretention; the sisters’ best trick is taking the sound of authentic Northumberland-influenced folk music, updating it with more mainstream arrangements for a wider audience. That and the clog dancing. Probably the most unlikely support act that Johnny Rotten has ever had, but not less effective for that.
The anticipation in the air of the main tent before Public Image Ltd take the stage is palpable, and to cut to the chase, the crowd are not disappointed. Rotten has an instantly recognisable stage persona, at once cheekily humourous yet genuinely threatening. His singing voice is a strange thing – one can’t really claim that his vocal lines have proper melodies, but it’s never really out of tune; his oft-employed keynote-drone-with-microtonal-variations technique wouldn’t sound out of place reciting echoing Koran verses in some dusty Eastern European mosque. His lyrical content wouldn’t be welcome, however. Naturally, there’s plenty of anti-establishment rhetoric, and even a moment towards the end of the set where the audience is exhorted to worship Rotten-as-musical-deity, which they are only too happy to do.
The band are razor-sharp, particularly Fagin-esque unsung guitar virtuoso Lu Edmonds: swathes and shards of his guitar overlay the pulsing, deep bass and tireless drums. Lydon is an enthusiast of dub reggae, and there’s plenty of this influence on display, but towards the end of the set the band turn up the tempo and become essentially a live dance music act, more akin to the now defunct Faithless than any traditional punk outfit in spirit and sound, with Lydon gargling brandy and preaching from the pulpit like a demon priest.
His one misstep involves a throwaway comment about the police, cumulating in the line, “the boys in blue aren’t all bad… well maybe they are,” a clanger of monumental bad taste considering the tragedy in Manchester just a few days previously. His opinion on Jools Holland is too scabrous to repeat here, and considerably more amusing, considering the band’s date on his show the following week. In case nobody knew, PiL are a challenging, uncompromising listen, led by one of the greatest frontmen of all time, still firing on all cylinders. Is there any higher praise?
Stay tuned: Martin’s roundup of Sunday’s bands at Split 2012 will post early next week.
By Mary Chang
on Tuesday, 25th September 2012 at 4:00 pm
Here is Miike Snow‘s promo video for ‘Pretender’, off their 2012 album ‘Happy to You’. The premise is a good one; if you’re going to be at a music festival, why not shoot footage of your time there so you can take it and turn it into a music video? I don’t think you really need a storyline, but the YouTube description says this: “The video finds their friend Jean Noel experiencing his first festival and learning all about the culture that surrounds.” And it was filmed while this mate of theirs was bumbling around the Hard Summer Music Festival in Los Angeles the first weekend of August. Watch it below.
The tent is packed away. The wellies have been demuddied and chucked in the back of a cupboard, not to be seen until next year. By September all the big summer music festivals have been and gone in a haze of traffic jams, mud, and the occasional transcendental musical performance. But for the music fan that wants more, there are a few notable events still yet to come – of which Split Festival in Sunderland is one. A modestly-sized, two-day, outdoor-but-under-cover shindig just outside the city centre, Split has a great local feel to it, showcasing a superb blend of North-East talent and national acts.
Following on from the success of 2011, which saw the Drums and the Charlatans headline a rich and varied bill, 2012 promises to be even bigger, better and brasher. The pièce de resistance, perhaps curators Futureheads’ greatest coup ever, is the appearance of Public Image Limited in their headline slot on the Main Stage on Saturday night. Johnny Rotten’s post-Sex Pistols outfit reformed in 2009, and in May released ‘This Is PiL,’ their first album of new material in 20 years. Expect a razor-sharp band featuring guitar virtuoso and Fagin lookalike Lu Edmonds, and coruscating bar-room banter and plenty of brandy-swigging from Lydon himself (pictured right at Primavera Sound 2011). As the last PiL date before their American tour in the autumn, this is simply a no-brainer. One to savour.
Elsewhere on the bill we find a double dose of West Yorkshire noise in the form of Pulled Apart by Horses and That Fucking Tank, postmodern chanteuse Kyla La Grange, the dreamy pop of St. Etienne, and finally our hosts The Futureheads wrapping things up on Sunday night on the Main Stage. If the ears finally succumb to noise, there’s a fine tent of folk at the Tunstall Hill Tent on the Saturday (Kathryn Williams, King Creosote, followed by The Unthanks to close out the night), which turns noisy again on the Sunday with headliners Future of the Left. Last year saw a food tent with international delicacies galore, and a wide selections of real ales to dig into, both of which make a welcome reappearance this time around. Split is a great way to wrap up to a fine season of festivals, and with tickets a veritable steal at £40 for the weekend and day tickets for £25 for either Saturday or Sunday also available, it’s bound to be Rotten.