Suzanne Vega - Live at The Lighthouse, Poole (3rd July 2014)

A warm Summer evening on the south coast of England, and the promise of great music from a true legend, drew us to Poole and the majestic Lighthouse. A venue that has been transformed in recent times from the old Arts Centre to a now modern, bright and vibrant concert hall was to be graced by the presence of Suzanne Vega. And having only seen her live once before (briefly at a dark and wet Glastonbury, from the back of a packed noisy acoustic tent many years ago), I was more than a bit excited to see one of my musical idols in a proper venue for the first time.

 
...But first, the support act. No big name: Chris Simmons from Brighton (who I suspect no one, including me, had heard of) walked on stage with his guitar to a smattering of applause, plugged it in, and just got on with it. With a limited collection of his own songs to choose from he managed to fill his half hour with two Squeeze covers including a superb version of Up The Junction. At one point he asked us, 'as you are so quiet, do you mind if I unplug my guitar?' and he did, playing completely acoustically. It was mesmerising. I have absolute admiration for anyone in this business who can get up on a stage with a voice and just sing. There is nowhere to hide and he didn't have to. Definitely one to watch for the future and hopefully this (short) run of support gigs will bring him an audience...

This year Suzanne Vega has, in the words of my fellow gig-goer JC, 'got her mojo back'. The release of her eighth studio album: Tales From The Realm Of The Queen Of Pentacles, after nearly five years re-working her own back-catalogue for the 'Close-Up' series, is her first new music for seven years and she is clearly re-energised and motivated. This was a no-frills performance with no big screens, light shows or huge orchestra. Backed by the brilliant Gerry Leonard (aka Spooky Ghost) on guitar (he also produced 'Pentacles') and Doug Yowell on drums, the three musicians more than filled the stage with Vega's words and music.

Naturally songs from Tales From The Realm Of The Queen Of Pentacles featured heavily in a set that blended old and new. The intro was the trio of theatrical Fat Man And Dancing Girl, anthemic Marlene On The Wall (with added top hat) and the sultry Caramel before three new songs: the wonderful Fool's Compliant, mysterious Crack In The Wall and enlightening Jacob And The Angel. By this stage, Vega was chatting to the audience in such a charming, funny and engaging way, trying to explain the new songs and their significance. The beautiful Small Blue Thing, gorgeous Gypsy and dramatic poetry of The Queen And The Soldier followed by the endlessly playful Don't Cork What You Can't Contain, spiritual Laying On Of Hands / Stoic 2 and moody Left Of Center formed the delicious centre-piece. To bring the main set to a close, latest crowd-pleaser I Never Wear White lived up to the billing - a definite highlight, lead to the reflective Some Journey, heart-breaking Luka and then to finish a full-on 'DNA'-esque version of Tom's Diner. I'm a huge fan of the original vocal-only take but this worked better on stage.

We didn't have to wait too long for the inevitable encore. Vega explained that they were off to Lisbon for the next leg of the European tour and songs featuring Portuguese Women are the order of the day... so she re-started with a modern update of the elegant Iron Bound / Fancy Poultry before asking us what we wanted. Now was my chance...do or die. I yelled 'Blood Makes Noise' (yes me, really), a song I was surprised didn't make the main set and I was determined to hear it. Turning to Leonard who was already setting up his effects pedals, 'shall we do it?'. And they did, a brilliant 'solo-vocal' version complete with fuzzy guitars and electronics, capturing the spirit of the original. Vega said afterwards that she didn't expect that 'the people of Poole' would be up for that. I'm not from Poole. Then, someone else asked for the melodic In Liverpool, so thankfully I didn't have to - another wonderful highlight, before Rosemary brought the night to a close.

Suzanne Vega did not disappoint. The lack of anything from Songs In Red And Gray and Beauty & Crime was a noticeable omission: Bound, Unbound, Penitent, If I Were A Weapon etc... and World Before Columbus would have been my second shout of the night, but with a wealth of songs to choose from it was not possible to fit in everything. But clearly Vega still has the love for a performance and the feeling is mutual. A magical evening that could have gone on forever, listening to one of the best voices in the business, performing at brilliant as ever.

-- CS

The War On Drugs at The Koko (27/05/2014)

We headed for London on a rainy Tuesday night in May to the Koko, just a brief walk from Mornington Crescent tube station, for what promised to be one of the highlights of the year: The War On Drugs (Lost In The Dream tour). The venue, formally a theatre, cinema and BBC studio, hosted The Goons and Monty Python’s Flying Circus back in the day before it became the Camden Palace in the 80s, to be renovated in 2004 into the magnificent music hall it is today. So, after queuing in the drizzle and failing to recognise members of support band Quilt heading for the VIP entrance, we hurried inside…

Finding a suitable vantage point on top left walkway in front of the bar, it wasn’t long before Quilt walked on stage for one of their first European (support) gigs, a (now) four-piece band from Boston who have recently released their second album Held In Splendour. The slight (and very cute) Anna Fox Rochinski and imposing (handsome) Shane Butler, banishing guitars and microphones equally, is a delicious combination and the band made the most of their short support slot. Songs from Held In Splendour featured heavily including the brilliant Arctic Shark and Tie Up The Tides, and live the band added a vibrancy and energy lacking on the record.

[Photo credit: ThreeBeams]

During the break, the usual sound checks took place and we had our first glimpse of the mighty Adam Granduciel with his unkempt hair, sorting out his guitars and peddles. And then the band took to the stage. Granduciel has recently described The War On Drugs as a ‘one man band’ which is a huge disservice to David Hartley, Robbie Bennett and Charlie Hall. Given the intimate song-writing of latest album Lost In The Dream, we all know what he means but this was a massive performance by the quartet. The set was a curious mix of previous masterpiece Slave Ambient and most of Lost In The Dream, with new arrangements of the former framing the newer songs. It (mostly) worked, in that Slave Ambient works beautifully as a single end-to-end album; ebbing and flowing as it glides between familiar sounds and themes, constantly revisiting itself. So, within the more stand-alone Lost In The Dream tracks, songs like Brothers, Some To The City and Baby Missiles added a strange, yet wonderful, glue. 

Granduciel’s guitar work throughout was especially sublime, as was Charlie Hall’s ferocious drumming. The big highlights were Burning, Under The Pressure (without the unnecessary prolonged outro of the original) and the perfect Eyes Top The Wind. The encore provided the night’s big surprise:  starting with a cover of John Lennon’s Mind Games, which was quite amazing. The depth of songs from two great albums made this one of the best sets of any gig I’ve experienced. A great night at an iconic venue.

-- CS (with JC)

Mogwai - Usher Hall (8th March 2014)

As part of the centenary celebrations of Edinburgh's magnificent Usher Hall, bringing together contemporary and classical music, and comedy across five nights, I was drawn to the great city to see Mogwai. Not only a Scottish institution and much maligned 'cult' band, Mogwai are in the highest echelons of musical greatness, and the chance to see one of the best bands in the world was too good to pass up.

So, armed with train tickets, a guest house booking and gig tickets for the upper circle, I ventured north of the border via London for a weekend of culture and music. I took the opportunity to see Edinburgh's sights - the Castle, Palace, Royal Mile, Cathedral, Arthur's Seat and National Monument, the pubs and restaurants, and the hoards of French descended on the capital for the 6 Nations rugby. But the highlight was Saturday Night at Usher Hall, at 7pm. Waiting for the doors to open, to be escorted up the stairs and through the corridors and bars to the concert auditorium with its rows of seats looking down on the stage and stalls - the excitement quickened.

Mogwai's support for the night were two other Scottish bands: Remember Remember and The Pastels. Both did much with the limited time they had - two half hour sets flew by. It would be easy to describe Remember Remember as 'Mogwai-lite' but they bring their own personality to their music - delicate xylophone, keyboards and interesting electronic flourishes. The Pastels added vocals and a more organic depth, but kicked off with Slow Summits, a blistering 6-minute instrumental, before more typical songs from the full-on Baby Honey to the delicate Summer Rain. Both bands seemed to enjoy and relish the experience.

But it was Mogwai's night. A stage packed with amps, keyboards, a huge drum-kit and guitar stands awaited Stuart, Dominic, Martin, John and Barry, complete with 'Rave Tapes' themed lighting rig and graphics looming above. The set for the night wasn't entirely dominated by the latest album - no bad thing but there was barely room for the best of the rest - and the Mogwai back catalogue is extensive and impressive in any live environment. This was the full set:

Heard About You Last Night
Rano Pano
Helicon 1
Take Me Somewhere Nice
Master Card
I'm Jim Morrison, I'm Dead
Deesh
Hunted By A Freak
Mogwai Fear Satan
How To Be A Werewolf
Remurdered
We're No Here
---
The Lord Is Out Of Control
Ithica 27/9
Batcat

The best of the set was the trio of Hunted By A Freak, the epic Mogwai Fear Satan (complete with fantastic explosive reboot) and the swirling guitars of How To Be A Werewolf. The mighty We're No Here completed the main set before a subdued encore climaxed with the awesome ferocious noise of Batcat. Within the venue, the sound slicing through the crowd and echoing from the rafters, reflected back into the stalls, the immense force of guitars and drums were amplified beyond belief. I could feel the music pounding in my chest as much as in my ears, even from my lofted vantage point (a brilliant view down on the stage). The loud became louder. The delicate melodies were somewhat lost in the noise at times but even the set's weaker songs were given a new dimension - most notably Master Card had a much needed lift, and the new songs sounded brilliant live. It would have great to hear more from The Hawk Is Howling...and in a set designed to showcase the new material (obviously), there was no Friend Of The Night, Auto Rock, You Don't Know Jesus or R U Still In 2 It. They were never going to create a set to please everyone.

So my first experience of Mogwai live was a unique and overwhelming experience. As we left the Usher Hall, still shaking from the acoustic-battering (both the crowd and the building), I overheard someone say they had seen Mogwai live many times but that was one of the loudest. They set out to do the venue and their kin proud, and they really did bring the noise.

-- CS

The Gaslight Anthem/Japandroids - Bristol Academy (22 March 2013) gig report

So it was on a cold, rainy March day that we travelled halfway across the country to the O2 Bristol Academy to see The Gaslight Anthem supported by Japandroids. We endured First Great Western, Ibis and the vibrant, hectic, cosmopolitan streets to reach our venue, host for a second night to the New Jersey heartland rock band. Truth be told, I was more interested in the Vancouverite duo in support than the headliners. Having listened to the albums, American Slang more than others, and been taken in by their new release Handwritten, The Gaslight Anthem have remained 'take-it-or-leave-it' for me. But sometimes it takes a live gig to win you over.

Before I could think about it too much, Japandroids walked on stage, in front of a wall of amplifiers. How would the Canadian prog-punks deliver a set to get the crowd ready for the main event? Awesomely, that's how. In what seemed like a fifteen minute blur of guitars, drums and distorted vocals, just the two of them with no tour support or gimmicks, they blazed through most of Celebration Rock as if their lives depended on it. They made The Black Keys look and sound like The Carpenters. The small venue shook and shuddered as The Nights Of Wine And Roses, Evil's Sway and the magnificent Adrenaline Nightshift threatened to blow the roof off the place. The crowd quickly became a mix of delight and bemusement right up to the last dregs of For The Love Of Ivy.

The crowd swelled, the balconies and walkways filled and the band most people were here to see, arrived. The Gaslight Anthem walked on stage to the sound of Jump by Van Halen and immediately launched into High Lonesome followed by the brilliant Handwritten. The set comprised mostly the latest album and The '59 Sound, with the rest forming the best of American Slang. Such was the quality there was no room for the wonderful Mae, Meet Me By The River's Edge and Miles Davis & The Cool. And it wasn't as if lead singer and guitarist Brian Fallon stopped to talk to the crowd - he thanked everyone for coming, asked if anyone had been to the previous night's gig (a mighty roar suggested that most had), and told everyone that it was 'the same band, different set'. He also introduced the Dylan cover Changing Of The Guards and explained that it was from the new Amnesty International compilation. And that was about it. He is a man of few words. This fitted the workmanlike attitude of the band who simply got on with the music as the fans swayed, punched the air and in part pushed each other around in one of many impromptu moshes - it all seemed harmless, if spirited, enough. My favourite track from Handwritten, Too Much Blood, was a welcome surprise and the excellent "45" proved to be my highlight, and the encore closed with a mighty rendition of The Backseat. But above all, the band re-introduced me to the power and depth of their impressive catalogue.

I went to the gig wanting to be a fan and left feeling like one. I didn't get it before but now I do. I don't remember the last time I witnessed a band generate that much emotion and passion from a crowd and I was instantly taken by the energy they injected into the live performance.

A great night.

The Set list was (I think):

• High Lonesome
• Handwritten
• We Came To Dance
• The Diamond Church Street Choir
• "45"
• The Patient Ferris Wheel
• Desire
• Film Noir
• Changing Of The Guards (Bob Dylan cover)
• The Navesink Banks
• Casanova, Baby!
• Biloxi Parish
• Mulholland Drive
• Orphans
• Too Much Blood
• Great Expectations
• Keepsake

Encore:

• She Loves You
• Here Comes My Man
• Old Haunts
• The Queen Of Lower Chelsea
• The '59 Sound
• The Backseat 

-- CS

Richard Hawley and Lisa Hannigan (Portsmouth Pyramids, 18/09/12)

I don't often write reviews of gigs, mainly because I don't go to many - something I hope to change, but this one was very special. For me it was a no-brainer; a double-header at a local 'small' venue featuring two musicians I really wanted to see live. Here it is...

Tuesday night in Southsea, Portsmouth, and the sun was setting on the harbour as an Isle Of Wight ferry made its way across the waters of this historic waterway. I arrived early and after a brief walk along the sea front, made my way into the short queue at the Pyramids for Lisa Hannigan and Richard Hawley.

I was in the venue at 7:35 and immediately appreciated the size of the place. This was my first time at the Pyramids and it felt more like being at one of the smaller stages at a festival. I had a quick wander around, walked up to the stage and checked out the guitars and amps on display. At the front you could almost touch them. Most people were flocking in the bar areas at the back and to one side and I found myself standing about six feet from the stage with only a single line of hardened fans at the front, arms resting on the barrier between floor and stage. And at 7:55, the lights dimmed and Lisa Hannigan, guitar in hand, walked alone onto the stage. She introduced herself and started her first song.

This seemed to take everyone else by surprise. But not me. It sounds corny but it was as if she was singing just for me, looking right at me, singing just for me. The ground could have swallowed me up and I wouldn't have cared. The lack of crowd around me, as I stood motionless, listening to this wonderful voice and guitar, made it feel like I was the only person in the room.

Safe to say, Hannigan's set was mesmerising. She was joined by her band (including guitarist, backing singer John Smith) for the remaining set - a short 35 minutes or so but packed with brilliance. The magnificent Knots was a highlight for me, as was the beautiful O Sleep which captivated everyone. Anyone who can rock out with a Ukulele is greatness incarnate. Thankfully the performance drew people from the bars and towards the stage - so by the time Lisa and her two male companions gave a heartfelt and honest rendition of The Night They Drove Old Dixie Down in honour of the late Levon Helm (The Band), gathered together around a single microphone, everyone was captivated.

So Lisa Hannigan walked off stage to respectful applause and shouts of 'more' (not just from me) and a sense of bewilderment. A guy next to me told me when he booked tickets he had to look her up on YouTube because he hadn't heard of her. I smiled and said 'I was only here for her'. This was greeted with raised eyebrows. I went on to explain that I probably wouldn't have got a ticket if it wasn't for such a great support act. I think most people waiting for Richard Hawley and his band to take to the stage felt the same way, even if they didn't before.

I decided to stay in the same spot for the main man. After twenty minutes of watching roadies going through final sound checks, tuning and arranging a plethora of guitars, and generally rushing about, Richard Hawley and band took to the stage to rapturous applause and whooping. Dressed in jeans and a tight leather jacket, with trademark quiff, he is an instantly recognisable and distinctive 'front man'. After a 'good evening', they immediately launched into She Brings The Sunlight, the opening song from his now Mercury nominated album Standing At The Sky's Edge.

Naturally the album dominated the set list and my trepidations about how the songs would be delivered (and received) live were instantly settled. It was blistering stuff - the echoing guitars, pounding drums and Hawley's vocals shaking my soul to the core. Leave Your Body Behind You, Down In The Woods, Standing At The Sky's Edge, Before and new single Seek It were all superb. Hawley's banter with the crowd was engaging, sweary and gloriously charming. He lambasted the mp3 generation ("Anyone handing over a tenner and getting nothing needs their head looking at" - or words to that effect) and then tried - presumably in jest - to arrange an after-show party under Southsea Pier, and criticising someone for saying they would bring a Parker jacket, after someone else said "box of wine". There was a good vibe between Hawley, the audience and his band as he talked about the lead guitarist's new trousers. Back to the music, old favourite Tonight The Streets Are Ours and the more recent Open Up Your Door and Soldier On were equally well received. His genuine and respectful thanks to the crowd nearly fell flat - "Thanks for choosing to come and see us. It's tough out there", he declared which got the response: "It's Portsmouth" from one wise-cracking local. Comedy aside, his thanks were well received and it felt honest and humbling. The applause at the end of the set was the loudest I've heard.

This continued for what seemed like hours before Hawley and his band (who were superb all night) returned for one last song, appropriately The Ocean. This was a huge version ending in a massive feedback-fuelled finale of teeth-rattling guitars and bass. A great end to a great night.

- CS

A-Team Theme played by Mark Kermode's band

Glastonbury 2010

So I’m back from Glastonbury 2010 (the 40th anniversary!). It was hot, sticky (TMI?), busy, noisy, smelly, but above all… bloody marvellous. I’ve been twice before (2003 and 2004) and despite being underwhelmed by the headliners this year there was plenty to draw me to the ‘other’ stages. Highlights for me were Mumford & Sons and The Black Keys at John Peel on Friday, Laura Marling and Midlake at The Park on Saturday, and (of course) Orbital on the Other Stage on Sunday.

This was my festival…

Friday

I arrived on Friday morning at 11 ish and headed straight for the Park area to find a campsite. I was aiming for Park Hill or even the Dairy Ground as I knew Pennard Hill would be packed. I lucked out when I saw a couple of people moving pitch and grabbed it - just off the path to the south of the Dance field opposite the Other Stage. Away from the hedge, slightly in shade, and flat. Perfect.

First up was Seth Lakeman at Crossiant Neuf which was very busy and I didn’t have a great view. He sounded on top form though. After a bite to eat, I wandered back past the Tipis to The Park for the Hypnotic Brass Ensemble then back up through the packed markets to get my first proper view of the Pyramid. Snoop Dog was on, effing and blinding and doing this thing so I made for my destination for the evening, John Peel, via the Dance Village.

Two bottles of water and a slice of pizza later I arrived just in time to see the end of Ellie Goulding (in very fetching hot pants and flailing blond hair) and snaked my way under the canopy (John Peel is the only big stage that is covered by an enormous ceiling which turns to whole thing into a sweaty greenhouse). Mumford & Sons were fantastic and even though I wasn’t a massive fan before, I am now. Surprisingly quite a few people left after and during their sound check, I got further forward for The Black Keys. Another amazing set, with most songs just the two of them and Patrick drumming his heart out. There was what seemed like a huge wait for the headliners Groove Armada. I had never seen these guys live and they are Glastonbury veterans and (from what I had seen, and heard) always put on a good show. I was not disappointed as they mixed new stuff with old with a very energetic new front woman Saint Saviour on vocal duties. A mesmerising laser show was a visual highlight.

Saturday

I got up surprisingly early on Saturday morning and headed straight for the Green Fields and stone circle. Lots of people about, not all of them conscious. I got a couple of bacon bagels and an energy drink smoothie (I didn’t ask what was in it but it did the job) and went for a sit down in the sun.

First band of the day was Coheed & Cambria, back at the Other Stage, who made a glorious racket. A huge crowd for early in the day and lots of talk of Kate Nash later. I had a tough decision to make and one that I had still not made. Do I stay at the Other Stage for The National or head for the even busier Pyramid for Seasick Steve and then The Dead Weather? Over some lovely Mexican chicken, rice and beans and lime iced tea I mentally flipped a coin and made for the Pyramid. One of the reasons was The National (who were bound to start late) clashed with Thea Gilmore at Leftfield and no matter how hard you try, the irony of actually being at Glastonbury is that you can’t see all the bands. Seasick was great and a real crowd pleaser (he got a girl out of the audience for Walkin’ Man) but most of the hangers on didn’t really get White and Mosshart in what was more of a dark downbeat set. They would have been better on a smaller stage later in the day. Some odd song choices too, especially from the new album Sea of Cowards. Apparently The National were superb but not really a ‘festival’ band - something contradicted by the guys I was chatting to on the train on the way home.

So I did manage to get to Leftfield for most of Thea Gilmore’s set. Again it was packed but very respectful and Thea was resplendent in a gold and white sleeveless t-shirt. The guitar-free Icarus Wind was incredible. I wanted to meet Thea but thought that she would think I was a creepy stalker or something. And she seemed to vanish after the set. So from one superb female to another - Laura Marling at the Park. I had heard that she was on stage at 7:30 which made little sense as she was on second from last. Turns out it was 9.30. So when I got there some band (I assume it was the surprise set from Biffy Clyro) were just finishing and then it was Candi Staton. I had a wander around The Park, got a horrible hotdog and a beer (first of the weekend) and headed back for what was another brilliant night. Staton showed Florence Welch exactly how to sing You Got The Love and Marling was with her band which worked better on The Park stage and I’m sure a couple of new songs (maybe older ones) slipped by. The headliners were the majestic Midlake, again full of emotion and energy with the songs from latest album The Courage Of Others. Even the news of The Edge joining Muse on the Pyramid didn’t drag me away from this one.

Wanting to make the most of the festival (and still buzzing from Marling/Midlake) I had a quick trip over to Shangri La, Block 9 (this place is weird) and Avalon (I resisted the urge to venture too far into the Cabaret areas). There is always plenty going on ‘after dark’ including strange puppet shows, fire throwers/eaters, and circus acts. There was a huge crowd singing round a campfire (turned out this was Bombay Bicycle Club). I thought about seeing Oli Brown at Bourbon Street but a) he was due on at 1am, b) I couldn’t find the place, and c) I was knackered. So I called it a night.

Sunday

Woke early on Sunday but didn’t leave the tent until 10 - and only because it was just too hot. Got a late breakfast, juice and coffee and went to the Other Stage for Frightened Rabbit. The Joy Formidable were finishing up in front of a sparse crowd as I found a decent spot. Taking full advantage of a big venue, Frightened Rabbit were excellent mainly thanks to material from the brilliant Winter of Mixed Drinks album. Then it was Norah Jones at the Pyramid. Got some water and fruit and sat down on the grass with a good view of the central big screen. A really mellow set from an artist I had fallen out of love with in the last few years. Discarding piano for guitar (maybe because she was ‘opening for Slash’), the Johnny Cash cover Cry, Cry, Cry was great.

Then was the small matter of the World Cup. The festival opened a field especially to show it and thousands of people made their way across the grounds. Including me. I wish I hadn’t. I was hot and tired. I didn’t need to be annoyed too.

Back to the music, and with slightly deflated spirits, I always try to see a new band (new to me anyway) at Glastonbury and this year was no exception. And I hadn’t been to the Queen’s Head yet so Field Music followed by I Am Kloot was a tempting prospect. I got an early snack and wandered over. Not sure about Field Music but Kloot were great - again I’m not a huge fan but recognised many of the songs. And it wasn’t that busy.

For the final stint I had another choice. This could be (and I would be surprised if it wasn’t) my only chance to see Stevie Wonder live. But getting anywhere close to the guy was impossible. Likewise this could be LCD Soundsystem’s last big gig and I would never see them. And given that I had discarded Orbital for Muse before, and the mighty Hartnoll brothers were headlining, I gave up Faithless and Wonder and spent an exhilarating night at the Other Stage. I don’t think James Murphy was expecting a crowd at all, let alone one as big and full of energy as LCD Soundsystem got. The set was a bizarre mix of reworked hits (a very funky Daft Punk Playing at my House) and more straight-forward new stuff from This Is Happening. As you would expect most people were actually there for Orbital and after another long wait, the finale to the weekend kicked off. Opening with the blazing Satan, a cornea shattering light show complimented what amounted to a supreme DJ set of continuous brilliance, all topped off with a surreal appearance from Matt Smith (the new Doctor) and a rousing rendition of the Doctor Who theme. Even Smith seemed to wearing the classic ‘head torch’ glasses as he helped on the decks.

So 17 artists in three days and the site bathed in sunshine. I didn’t get to see Stevie but apparently he was everything his genius would suggest. Even with the finale duet of Happy Birthday with ‘flat’ Michael Eavis.

Happy Birthday Glastonbury. Thank you.

Later Live... with Jools Holland - Series 36 Episode 4.

I have been having a break from writing about the Jools Holland shows for a number of reasons, which I won’t go into right now, but this week a few artists caught my eye/ear. One of these is the wonderful Laura Marling and I was interested to hear how her new songs from the brilliant I Speak Because I Can would be performed live. We were treated to a taster on the live Tuesday show when Laura and her band delivered a perfect Devil’s Spoke. I will certainly be tuning in, or more accurately catching up on BBC iPlayer, based on this performance.

But there is plenty more to shout about this week which will make Friday one of the best Jools Holland Laters in many years. ‘Headliners’ Gorillaz enlisted Mos Def and legend Bobby Womack, who also ’jams’ with Jools and talks briefly about his music and life, but as with most shows it is the variety and talent across all the guests rather than the big names who do much more than just make up the numbers. Yet another band from Athens, Georgia, Drive-By Truckers are great, as is another US-export Diane Birch. The big surprise is Bobby McFerrin who stole the show with his unique a cappella style. There is more to the man than the 80s hit ‘Don’t Worry, Be Happy’.

So it promises to be a good show on Friday after a couple of lukewarm starts.

Glastonbury 2009 - Sunday evening live blogging (Status Quo, Bat For Lashes, The Prodigy, Blur)

Back to the mighty Status Quo at the start of their afternoon set, they kick off with Caroline. Rossi is in great voice and the guitars are excellent. It's like Live Aid all over again. One of the biggest single crowds for the start of any day on a main stage. Great.

The Wanderer is delivered with as much fervour. Parfitt isn't a bad singer these days either!

The heavier Rain is next. Then Mean Girl. More excellent guitars on both. Everyone talks about Rossi and Parfitt but Edwards is a mean bassist and great keyboards and guitars from Brown. They may be a bit of joke in recent times but as a band, they certainly know how to deliver.





Softer Ride is one big guitar solo and a lot of fun.

Then a medley of classic hits starting with What You're Proposing and moving through about fifteen songs none of which I recognise.

It all goes a bit Spinal Tap for a minute. I keep expecting an inflatable Stonehenge to drop onto the stage and small people to run on. But trademark Quo quickly return - although it sounds more like early Queen now...

Leaving the medley behind, Creepin' Up On You more great rhythm and blues (you know the proper stuff that The Rolling Stones used to do).

It wouldn't be a Quo set without In The Army Now, so here it is...complete with audience participation. The song, seen by some as a joke these days, suddenly has a serious and relevant poignancy. Excellent delivery and the guitars are amazing once again.

Roll Over Lay Down is another mammoth song, trademark Quo but seriously good. And then back to the cheesy classics with Down Down. As the set comes to a close, Whatever You Want and Rockin' All Over The World (as seen earlier), finishes things off nicely.

Status Quo exceeded my expectations. And then some.

As BBC TV seem to be reshowing the Boss set from yesterday and not Nick Cave, and the 'red' button is broken, I will have to make do with Bat For Lashes on the Other stage courtesy of 6music. Daniel is sounding great, as we all would except it to - single of the year in my humble opinion.

First sounds of Blur at Glastonbury 2009 is the end of Girls And Boys then Tracy Jacks on BBC 6 music. Damon sounds like he's doing an impression of himself from 1992. Band are sounded great though...

Jo Whiley and Zane Lowe present the final BBC TV coverage of the weekend. Annoying that they didn't show Nick Cave in the last hour...

Back with Blur, it's a fast version of There's No Other Way.

And here they are on the TV. Strange then that the coverage is supposed to be highlights of Glasvegas, Bon Iver and Nick Cave. Ok I'll stop going on about that now. Girls And Boys starts the set and the banner declares that 'this is Blur live from Glastonbury'. So 6music can broadcast from the future now??? A little behind schedule...

Tracy Jacks, never one of my favourite Blur songs, sounds bloody brilliant with Coxon on backing vocals. Damon is steely and determined - proving that he can be the enigmatic front man. The band is like a machine, as if they are all performing separately but in perfect unison. No chemistry between them at all but they all know what they are doing. And they are doing it very very well. There's No Other Way is one of my favourite singles. Excellent Ride version too (if you can remember that far back to the birth of Brit-pop).







Jubilee is next followed by Badhead. In to obscure 'fans only' territory... Bit of a lacklustre ending. Beetlebum now. This is kind of when I stopped being a Blur fan, the (fourth I think) eponymous album is a challenge but worth sticking with. When did Damon get a gold front tooth? Excellent guitars from Coxon and some great posing from Alex James.









Out Of Time next - another great early single from when Coxon had officially left them. However, Blur are doing a good job of re-introducing people to the great band they once were. Some nice Spanish guitars from Albarn. James takes up the double bass for Tender, another great song. Albarn does an a cappella with help from the crowd in the middle before a rousing finale gospel style...

But the crowd has other ideas and keep going...Before Country House silences them...

A twenty minute break at the request of the band? Er...ok.

Whiley and Lowe introduce an acoustic Love Tattoo by Imelda May which is a nice surprise. I would probably be permanently camped at the Avalon stage for artists like May if I went this year. I can feel the lure of Glasto drawing me back....

Back on 6 music, everyone's family favourites The Prodigy (sorry it's late), are swearing - no surprise there then. They are well into Poison and keep stopping for crowd interaction. Meanwhile Black Eyed Peas are on the Jazz stage. Strange I thought they were R&B... Apparently they took to the stage and shouted "Wassupp London...". Excellent...

Still no signs of Nick Cave. I might just cry.

The Prodigy set seems to have turned into a huge expletive filled rave from 1990. Massive beats, lots of shouting and crowd dirrection. Just play The Fat Of The Land, that's what everyone wants!

Back with BLUR it's Sunday Sunday! Then it's Parklife. Always loved this tune. And it appears that Phil Daniels is on stage - either that or they have him on voice over. Bloody hell this is fast. Needs a slower tempo. They probably don't want a curfew fine, LOL.

Back to normal and End Of The Century next. Another great single. Would be nice to hear The Universal...

Cut from Blur...Firestarter by The Prodigy. Excellent. Looks and sounds like the band are gigging from the depths of hell. Insane performance. Then into Breathe - Fat Of The Land ftw!!!

Song 2 from Blur makes an appearance. A chance for a quick song seem to take a minute and a half to get going... I think this might be at the wrong speed too...If that's possible. How the hell can a reformed band from the 1990s show up the likes of Kasabian so badly. For Tomorrow is up next with a huge brass break.

Last song from Blur is The Universal. And it's another magnificent performance. Damon even manages a 'Glast-on-berry'. Irony? Moi? Huge emotions as Damon walks off stage followed by the others... Bloody marvellous stuff.

Acoustic Bulletproof from La Roux...doesn't sound very acoustic to me...

So no Nick Cave. I am writing to the BBC as we speak. YOU HAVE BEEN WARNED!!!

Gold Lion from Yeah Yeah Yeahs almost makes up for it. Not it doesn't.

Great sign off from Lamacq on 6 music.

Goodnight.

Glastonbury 2009 - Sunday live blogging (Tom Jones, Status Quo, Madness)

Wow what a Glastonbury weekend it has been! So far...

In rock n roll style, Bruce was fined 3000 quid for breaching the curfew last night and going into 'boss time' or whatever he called it. Oh dear. Eavis is paying the fine apparently. Seems a bit pointless having a curfew if 1) the fine is so low and 2) the fine is paid for them. The Boss wanted a 3 hour slot!!!

No BBC TV coverage as yet so listening to Adam & Joe doing a great job on 6music and generally catching up on the news. Gabby Logan did a stint from the festival on 5 live and was so out of her depth it was scary. And she didn't get to interview the Quo even though she mentioned it about six times in the hour building up to the non-event.

They are just playing Bonkers by Dizzee Rascal. What a crap song. Not impressed.

Now it's Lauren Laverne again on 6 music and a song from Emiliana Torrini and Pendulum from last night - damn they were loud.

A quick (ish) chat with Adam & Joe before some more recorded stuff from Jarvis Cocker's set yesterday. Nothing live as yet - a bit early...

A bit on Bon Iver from yesterday. Nice... Vocals are a bit lost with all the crowd participation but sounding good. He is playing every day - now that is commitment. Complete silence for the gorgeous Re: Stacks. Wonderful.

Lauren chats with Mr. Lamacq about the Blur set later and then we get some Noah & The Whale - who now sound more like Editors...

Not heard (or seen) much Fleet Foxes yet but I thought they sounded a bit ropey. As a band who reply so much on the vocals, I was worried that a festival is not a great platform. But they is [sic] sounding good! Some nice falsetto.

Looking forward to Nick Cave & The Bad Seeds 'warming up' the crowd for Blur - yeah right. Should be the other way around. Anyway there is talk of Justin Timberlake joining Black Eyed Peas on the World Jazz stage. One to miss I feel...

According to reliable sources, Rob Da Bank is head-banging along to Status Quo. I think a lot of Quo's magic will be lost after the Tap yesterday. Meanwhile I am listening to a bit of The White Lies set from yesterday - a cover of Dancing In The Dark?!? Really...

Now Lamacq interviews Madness (well some of them, including Suggs).

Big 6music interview with Bruce is good fun. He's just a bit mad...

It's 5pm and tie to switch from radio to TV for the BBC 2 coverage. Mark Radcliffe kicks off with a helicopter tour of the site and a biography of Tom Jones.

This is followed by footage of the set from the Pyramid and Hard To Handle - complete with members of the crowd holding up underwear - in fact there is even a clothes line full of 'smalls'. Tom is in good form and seems to be lapping up the atmosphere. A slice of the 60s with Help Yourself now - the vocal mix seems a bit low, either that or the brass is too loud.



Way too many flags in the crowd - they really need to do something about this. Lamacq talked about it earlier. I remember them from the years I went but it's getting well out of hand.

Oooo and there seems to be an issue with the vocal audio. Thought so. Someone sort it out!!! "Who's in charge???" demands Tom. You tell em.

Give A Little Love gets the disgruntled crowd going again! Before Green Green Grass Of Home - one for the oldies. Then into fans favourite Delilah.






Mark is joined by Lauren and a quick break for an acoustic set from the Noisettes. Time to make a cuppa...

After some comedy banter...it's The Yeah Yeah Yeahs! Yeah! Always a great live band. Karen O is wearing a jesters outfit and a sequinned jacket, jumping around in front of a huge eye. And now during Zero, a big inflatable eyeball is pushed out over the crowd.

THE QUO are up, starting quietly and then into the classic Whatever You Want...

I think they may have peaked early with Rockin' All Over The World. Oh this appears to the last song... more at 8 on BBC Four...

A quick tour of the Green Fields - where all the spiritualist stuff takes place. Odd place. I found it all a bit creepy and not much music going on but loads of workshops and stalls and...free love. Back with Mark and Laverne interviewing Tom Jones. Poor Lauren doesn't get a look (or a word) in.

More of Tom's set with What's New Pussycat. I'm suddenly wishing for some newer material... and You Can Leave Your Hat On will do. A bit racey for a Sunday afternoon but no one seems to care a great deal. Sex Bomb continues the...theme... A guy in the crowd has a "Tom Jones sexed my Nan hard" t-shirt. Moving swiftly on...

It's Not Unusual brings things back to normal. And Kiss, one of my favourite covers of all time, is excellent. Some serious dancing and Art Of Noise stuff in the "I think I better dance now" segment. Ok this is a surprise: the EMF cover Unbelievable. Shame about the 'rapping' in the middle. Good effort though. Cool set.

More acoustic nonsense, this time from VV Brown. I'm fed up with going on about this woman (as I'm guessing are the rest of you). Time for another brew...

The Quo are back with an insight into the band with a quick blast of Deeper And Down.

And now a real song! This Is The Way To (Amarillo) by Tony Christie - who famously said recently that there is more to his music than this one song. He will be pleased then that this is the song the BBC chose to show. Everyone seems to be enjoying themselves. Real crowd pleaser...

Quickly on as Madness take to the stage...and One Step Beyond with the crowd drowning out the saxophone which can hardly be heard. The poor saxophonist is blowing his red cheeks into they burst and you can't hear it. They bring a mic over for him but the sound mix is all wrong. Not just Tom then...

Embarrassment is next and the brass is again all wrong. They need to stop and start again. On The Prince it's still a problem but the band perceiver and move on with NW5.

A great slow version of My Girl, with lovely keyboards...but not for long as it gets into full swing. The nutty boys throw in a few new songs including Dust Devil. Going down well by the looks of it but I'm waiting for the bug hits - the band has enough of them.




The Sun And The Rain gets the hits churning again. Switching over to BBC Four and into another song from the new Folgate album, Clerkenwell Polka. Not sure I like this new stuff to be honest. Would rather have House Of Fun, Wings Of A Dove and Baggy Trousers please!

Oooo Bed & Breakfast Man will do. Suggs tells us that the last Glastonbury performance was 1986!!! And they did this song. Cool... Then another of my favourites, Shut Up.

Forever Young continues the old/new juxtaposition that is making for a solid but inconsistent set. Ah now House Of Fun - my tweet got through!!! The brass audio is still screwed - some of it is really loud and the sax is so faint. Might just be the TV. Hope so. Wings Of A Dove next - my psychic powers are working then!

I swear that I haven't gone back to edit what I wrote earlier. It's Baggy Trousers up next. Superb! Ok the flying saxophone stunt looks painful!

Our House up next which gets the crowd singing again. And sounds like the sax is working again. And then my second favourite Madness song, It Must Be Love. Fantastic stuff. And of course Madness to end. Or maybe not as Night boat To Cairo fires up. Suggs now has a towel on his head - something of a bad move. Thankfully he removes it...

And then loads of kids invade the stage - proper friends and family? Or guests? Turns out it is all the Madness clan. Good set.

Glastonbury 2009 - Saturday evening live blogging (Pendulum, Franz Ferdinand and Bruce Springsteen)

Ok this is a weird mix: Florence And The Machine and Karma Police by Easy Star All-Stars - who apparently did the whole of OK Computer Dredzone reggae style. Some superb piano action from The Machine but not great vocals from Florence.

Then Edith and Reggie interview Kasabian. LOL - "It was a sea of baked beans" - Sergio. He looks a bit detached from it all. It is 10 minutes since they came off stage.

More from Pendulum, who I think might be a bit disappointing on record after this masterful performance on the Other stage. Some serious vocal production for Different and more strobe lighting than I have ever seen. Incredible. Luckily the BBC run a banner across the screen that warns people - about 5 minutes too late!!! Get it together people. I'm Not Alone by Calvin Harris takes it to another level. Amazing. I think I may be a fan.






Ok so Bruce is on stage, but no footage as yet.

Probably going to have to switch between The Boss and Franz Ferdinand. No guesses who I'll be focusing on. I hope he does the whole of Darkness On The Edge Of Town. That would make my year. Doubt it.

Pendulum end their set on Granite - another torrent of guitars and drum machines. This is one of the songs I have heard. And it is bloody amazing live. A rousing finale.

A quick interview back in the studio with Reggie and then footage of the Pendulum remix of Metallica...

On 6 music Bruce is in full flow, unfortunately it's the woeful Working On A Dream from his new stuff. He obviously didn't get my tweets. Or the emails. Or the fax. Or the letter...It still seems to be mandatory to shout 'GLAST-ON_BERRY' even if you are Bruce Springsteen. And now he's going on about building a house of love... this is a huge interlude that seems to be going on for years. The boos are obviously 'Bruuuuuuuce' as everyone knows.

And The Boss is in good voice. No classics yet though. I'm more a fan of earlier stuff and this all sounds like new pseudo-country...

On the other stage Franz Ferdinand kick off with The Dark Of The Matinee - a favourite from the band's eponymous debut (and best) album. Despite competing with Bruce, there is a huge crowd. Then No You Girls. Then Do You Want To. Oh dear we seem to lapsed into the new albums.

This won't go down well, 6 music cut away from Springsteen to go to Franz Ferdinand. As Kaiser Chiefs said...I Predict A Riot! Turn It On is next. Not a song I recognise but it has all the right ingredients. One thing about Glastonbury is that the Eavis's know the great 'live' bands. Franz Ferdinand seem to be one of those bands. The recent albums sound flat and listless but this is a great set so far. Wonder if they will do anything special as way of a tribute or is 'Michael' too obvious???

So no tribute and into Walk Away which is not great...

They make a great job of The Fallen with huge guitars. This is how good that first FF album really was...



BBC 2 coverage and Bruce is on stage. Excellent. He starts with Badlands. And IT IS BLOODY BRILLIANT. There is huge feedback from the crowd, as expected. This may be the biggest gig the festival has ever bagged. Quickly into Prove It All Night...My God he is doing the whole of Darkness On The Edge Of Town...just not in the right order!!!







Okay maybe not Outlaw Pete is next. An odd choice as it's not a classic or very good. So much for my plan - Bruce did you not get my messages??? It goes on for ever and he dons a cowboy hat for the ending...It is a rousing finale which sees The Boss walk to to the front of the crowd for the first time....EVER! Naturally he is grabbed and molested...

Out In The Street is up next. From The River. Another odd choice given all the other good songs on that album. Bruce goes for another "meet and greet" walkabout during the song.

Working On A Dream continues the trend of 'new songs'. It is to be expected that new stuff will be plugged but there is so much back catalogue to pick from and only an hour or so to fill - maybe the set will go on until 3am like Hendrix at Woodstock!

Franz Ferdinand are still churning away with the electronic Outsiders...

Back on the Pyramid The Boss is in mid 'build a house' comedic preach. I hope he realises how ridiculous this looks. The new age crowd seem to understand. That's the main thing.

Waiting On A Sunny Day is next. Again not one of my favourites. A huge crowd sing-along moment before another obligatory and magnificent sax break.

You certainly cannot doubt this guys commitment...




Cool...Promised Land. Goes to show that Darkness On The Edge Of Town is the BEST album he has made!!!

And here it is...The River. Against the dark of the stage, Springsteen looks like he's on fire, with steam rising from his shoulders. Haunting falsetto and harmonica at the end . Just brilliant.

Born To Run now....this could be the best Glasto set EVER!


Tenth Avenue Freeze-Out, from the Born To Run album, is a another crowd favourite and a solid live performance. The E Street Band are on great form tonight.

To end, the band deliver American Land from the Seeger sessions. Bruce names all of the band before a few more shouts of 'GLAST-ON_BERRY' for good measure and makes the crowd understand what they have just seen. They then finish the song...

Encores (at this rate about five of them) beckon and so we get another song.

GLORY DAYS!!!

Bruce declares it's 'curfew time' before that becomes 'Bruce time'. And then straight into Dancing In The Dark. The crowd are getting value for money. I think Born In The USA might be a song too far. Any chance of Thunder Road?

Reaction from Mark Radcliffe: "He could have put something into it". LOL!

Follow that BLUR!

Glastonbury 2009 - Saturday evening live blogging (Spinal Tap, Crosby Stills & Nash, Dizzee Rascal, Pendulum, Maximo Park and Kasabian)

On the BBC red button The Virgins are sounding great on the John Peel stage. The don't look like a 'proper' band - more a group of misfits and musicians made up from other up-and-coming indie bands. Bare-footed, long coat wearing front man Donald Cumming is bit of Bob Geldof and a bit of Julian Cope - not a great voice but an interesting presence on stage...

Ok this is getting silly now. Jarvis is playing with Shlomo on the Park stage. Go Jarvis!

The 6 Music pick is Pete 'troubleman' Doherty - nice duet with Jack Penate. All sounds great to me...He turned up, he stayed upright and he performed. Good job.

Lots of Jacko tribute news coming in including Badly Drawn Boy and Little Boots doing Earth Song!!!

Just checking some of the internet footage and the Spinal Tap set is up...excellent turn from Jamie Cullum on keyboards. He was really into it. Saucy Jack is a bit too much early Pink Floyd meets Genesis in the Peter Gabriel days. "It's all about today. It's all about the majesty of rock". "That means it's all about you!". "If it hadn't been for Micheal Jackson, there would never have been a Spinal Tap" from Harry 'Simpsons' Shearer. Priceless.


Back on the Pyramid stage Crosby Stills and Nash rock out Marrakesh Express. The trio look a shadow of their former selves and struggle vocally. Michael Eavis looks on with concern. Long Time Gone is much more like it. A shame that Neil Young couldn't stick around for a few numbers. Would have made the festival. Great guitars.

Then the delicate and oddly trippy Guinevere. The way that these guys switch between vocals is majestic. True masters of their art... I'm not sure it exactly captures the crowds full attention. They look like they wanna rock!!! Ok the vocals may not be the best any more but they can certainly show Fleet Foxes how it's done.






Ruby Tuesday is up next in the CSN covers set. A brave attempt at a classic- and they just about get away with it.

Quick break to BBC Three and Dizzee Rascal's tribute to Jacko, starting with Billie Jean, and a great vibrant interview with Edith and Reggie. Like him or loathe him, he is charming and genuine and confident. He wants to headline next year. Good luck to him.

Meanwhile CSN continue to churn out the hits. Superb guitar work from Stills and the long drawn out solos we would expect. Again it's like Woodstock again (a bit before my time but I get it).

Great vocals from Dave Crosby on Almost Cut My Hair and more solid support from the band. They have a great keyboard player and drummer with them.

And now For What It's Worth - a real classic. Stills is on vocals. A good effort considering. Then it's Wooden Ships. Then Teach Your Children.



Back on BBC Three Kasabian kick off their set with Underdog, predictably from the new album. It sounds good. Shoot The Runner is up next. Maybe this will work with a mix of singles. Serge is on good vocal form - guitars great too... Kasabian get into full swing with Cutt Off from the debut album. Excellent. This has all the makings of a brilliant set - if they keep the new songs to a minimum...

Club Foot, also from the debut is an anthem and a half. Why the band can't write songs like this any more is a mystery. One great thing about the set is how Meighan gets the crowd involved - he definitely feeds off human interaction. A lot more than he realises.







So it's Processed Beats up next. Very cool. Glad to see BBC Three staying with the set! Empire now - they are using their brains and sticking to the greatest hits. That is what festival sets are all about.

Not sure where Fire fitted into the set but the heavier arrangement worked much better live - a much better vocal mix and lots and lots of energy. It all works. Meighan is sounding excellent, a perfect mix of laid-back calm and cheeky arrogance. This is exactly how they should be.



Edith and Reggie interview Franz Ferdinand - ok so they might be good but I really don't like the new stuff. Alex talks about the set and says it's going to be 'the stuff that got you into the band in the first place', so that's Take You Out then :) and probably some new stuff.

The Boss made his first appearance of the weekend, guesting with Gaslight Anthem! If this is anything to go by the headline slot last tonight should be massive.

BBC Three coverage turns to Maximo Park, a band I know but know very little about not being a fan. They seem to playing a Bloc Party track. Or what I thought was Bloc Party. Oh well...

After an interview with Edith, the band are shown performing new single Questing, Not Coasting. Sounds a bit like Idlewild with all the song writing ability removed. A bit unfair. It's not all that bad. Still not a huge fan after this but the set should attract some new blood.

A quick blast of Pendulum madness. Wow. Showdown then Fasten Your Seatbelt. I need a lie down... Fantastic use of Prodigy sample for a blistering set from Pendulum. They may have stole the show. Rob Swire gets the crowd under control before Propane Nightmares. And they seem to loving every minute of this frantic and excellent set.

Meanwhile on 6 music Adam & Joe are talking about 'bottling' and taking things a little too far. Very funny though.

Bring on the BOSSSSS. BRRRRRUUUUCCCEEEEE!!!!

Glastonbury 2009 - Saturday afternoon live blogging (Spinal Tap and Dizzee Rascal)

I'm wondering how much Spinal Tap I will hear this afternoon...and how much I will be able to endure. I'm interested to see what kind of stage props the band will subject us to...

Of course today is all building up to the big headlining set from The Boss but lots of great bands coming up. A big draw for me is Kasabian who really need to put in the performance of their lives if they are to convince me that they still have what it takes. The new album is a mess but maybe it works live. We will wait and see.

Huge crowds gather to see Rolf Harris perform - he's now a bit of a Glasto icon. And Damon is preparing for tomorrows big Blur headline slot by watching Spinal Tap. Huge fan apparently...

Seems like music and tennis is connected but also a dividing force. Justin Timberlake is at Wimbledon. I've heard his music. He's better off staying at the tennis. (I'll get me coat).

6music are repeating some of Doves set from last night. Excellent stuff...

News that Spinal Tap set is in full swing. Jamie Cullum has joined them on keyboards and there is talk of dwarfs. That can only mean Stonehenge... Now Jarvis Cocker is playing bass for the Tap. The world officially goes crazy.

Some more from yesterday's White Lies set on 6music. Death from the excellent debut album To Lose My Life. It's like they have been doing Glastonbury for years.

Finally we have some BBC2 coverage. First up is a bit of the set from The Script and Talk You Down. Plenty of passion and energy but the band seem to be turning into Keane. Shame. Breakeven is introduced with a cool drum solo and is easily the band's best (known) song. The vocals are seriously ropey and front man Danny O'Donoghue looking and sounding very uneasy. They are yet to become a festival band.

Lots of talk from Lowe and Whiley about Spinal Tap but no actual band. Come on people show us some music! More tour guide stuff from Mark Radcliffe showing a wonderful vista of the festival site. But still no SPINAL TAP!!! Instead there is an acoustic performance from Jason 'I want to be Jack Johnson' Mraz. Yawn...


At last some Spinal Tap, opening with the appropriate Stinkin' Up The Great Outdoors. Just the one track as a taster and a bit of a boring straightforward one.

A quick interview with the boys (the irony of the last song is lost on Zane Lowe) and then into the magnificent folk-rock prog-opera that is Stonehenge, complete with inflatable stones and the dwarves. Seen it all before but it is brilliant stuff. More to come hopefully.



I hate to complain about the BBC coverage this year but do we really need to a feature on Glastonbury fashions. Pretentious moi?

Then a repeat of Get Behind The Wheel from last night's Neil Young set. Any chance of some *new* music, like from today, please?

Apparently Dizzee Rascal is performing a medley of Michael Jackson covers. Nice tribute but a bit obvious. I hope they show it...Speaking of Mr. Rascal, he's up next on BBC2 performing to a huge crowd. Maybe the appetite for rap is alive and well. I still don't think it has any place at Glastonbury.

Now a repeat of Lets Dance from Lady Gaga. Now I see (and hear) it again, it's obvious that there are about four vocal tracks at the same time and she isn't always singing. Even when she asks the crowd to sing, there are still invisible backing singers to be heard... Hmmm...

A Bruce montage and more nonsense from Rascal brings this afternoon on BBC2 to a close.

Glastonbury 2009 - Friday live blogging (Neil Young, Bloc Party, Doves)

BBC2 finally gets back with Mark Radcliffe and the fragrant Lauren Laverne and quickly into The Needle And The Damage Done by Neil Young. Superb. One man. One guitar. One stage. Thousands of people watching. Into Words, all grinding guitars and melancholy, a small part of the south of England is suddenly Woodstock in 1968. The song is one massive guitar solo - with bits of singing... Incredible stuff.






On BBC Three Doves has taken to the stage. Kingdom Of Rust is under way, the title track from the new album. The band is sounding great with wonderful support. Then Black And White Town from that last album.




A brief interlude and we return to Neil Young on the Pyramid Stage performing Get Behind The Wheel from Fork In The Road then the massive Rockin' In The Free World like he's a teenager again. The crowd is singing along, amazed at what they are seeing. I now officially wish that I was there - standing at the front of the stage to see this genius in action. More great guitar work and the man himself is in great voice.

A few false endings later and the song comes to a huge inevitable climax with frantic arm waving from the crowd. Awesome stuff...and yet another chorus. Will this song every end?




Meanwhile Doves are back for an encore. You can't do this at the festival! Thanks BBC! Harmonica brings in the start of Here It Comes, with a subtle change of personnel for vocal duty and drums...

On Pyramid Neil Young has started Day In The Life by The Beatles. Interesting choice. It comes complete with chaotic central kitchen sink-falling-down-the-stairs moment. Even with all the chaos the song gets a huge amount of respect and ends in a torrent of drums and guitars.

Young's guitar ends up with about two strings, propped up against the amp and he finishes the set with a few bars on the xylophone, before throwing in the sticks in a kind of 'middle England' Jimmi Hendrix moment.







Bloc Party provide a great version of Mercury complete with the same loop pedal as used by The Ting Tings. A hugely rocking set from Bloc Party including the early single So Here We Are - electronics free and full of looping guitars and rolling drums.

A quick return to Mark and Lauren and then it's more Blockl Party, this time with the fantastic Two More Years. Kele looks out across the crowd like he can't believe he is there. Then it's time for one of my Block Party favourites: Flux. Again, brilliantly performed and a good end to a busy night.

So that was Friday at Glastonbury - a lot more to come tomorrow and Sunday night and as and when I get the chance to catch up.

Glastonbury 2009 - Friday live blogging (Lily Allen, The Specials, The Maccabees, Lady Gaga, White Lies, Little Boots, Jack Penate, The Ting Tings...)

So Glastonbury is finally here and for me that means BBC coverage on TV and radio - a combination of BBC Three (complete with annoying amateur presenters - and of course Edith and Reggie!), BBC Two and 6 Music (with for some reason Cerys Matthews). It's almost as good as being there, but sadly not for me this year.

So first up is Lily Allen and WOW what an outfit. Say what you like about the women, she is an alluring presence, especially in this blue Kylie-esque number open at the front and revealing just about everything. Nice purple hair too. Lots of shots of youngsters in the crowd and as yet no profanities.

What is this with R&B and Rap at Glastonbury?!? Does anyone realise it just does not fit. In spite of this obvious fact, NERD made a surprise appearance this afternoon and got the crowd moving with limp vocals and not much else. It seems to be obligatory to shout 'Glast-on-berry' at the crowd every five minutes if you are an American act. A huge shame as NERD are a compelling mix of guitars, rock and rap (like it's 1995 again!) even if they do come across like a limp version of Body Count.

Friendly Fires perform the soundtrack of the festival - Jump In The Pool, with the crowd under the summer sun and enjoying it immensely. Great stuff.

A quick blast of The Maccabees on 6music sounding ok. Hope to catch them on TV.

Ah now the enigma that is VV Brown. How she got a Pyramid Stage slot is anyone's guess. It brings back horrible memories of her turn on Later with Jools earlier this year and the fantastic song writing that is "crying tears from my eyes..." from Crying Blood. And because she doesn't have any other songs she sings it again, this time as a Reggae version. Laughable if it wasn't so sad. Time to move on...

Lily now in the studio talking to Edith and Reggie, wearing a different dress and a nice pair of green wellies. Back on stage it's Littlest Things and she has the crowd in the palm of her hand. Well at least the bit that isn't holding the cigarette. The single long white glove is a neat touch. Then she performs 22, another whimsical tale from her new album. And then an oldie: Smile followed by the horrible Womanizer ?!? A Brittany cover and not a great one either. Oh dear. Off comes the hair but thankfully (for the sake of decency) the dress stays on.

OOoooo Now we are talking...White Lies are on. Not sure the 80s suits work boys! First up from the indie-goths is Farewell To The Fairground complete with crowd sing-along stadium bit. Nice one lads.

More Friendly Fires now. Loads of brass and more early evening summer sun. Glorious.

And now Little Boots talks to BBC Three's Gemma, just finished her set (that's the lovely LB and not the hapless G). LB reveals that her first album was the debut Take That!!!?!

And earlier from the John Peel stage she performs Earthquake. It is definitely the girls shining this year so far. In great voice as always and lots of commitment. Apparently she is flying off to do another gig and then flying back by helicopter to see Blur on Sunday!!! Showbiz ftw!

New In Town is also great. Contender for single of the year. Maybe I've heard it too many times. Love the chorus.

More Maccabees now - Love You Better. Yes it's the track that sounds like a Arcade Fire cover. I like it - beautifully constructed epic pop with lashings of brass again. Great festival stuff.

"I love a live Horn" - Edith Bowman, Glastonbury 2009. Eeek!

Help! It's Lady Gaga. Who seems to be performing from within a huge artificial cake! She is mad as cheese with an outfit that puts Lilly Allen to shame. Paparazzi is actually good - question is where are the backing singers helping her out with the vocals? Or is she miming? Surely not...

Just when you thought it couldn't get any more weird, a space-aged guitar-keyboard thing comes out of nowhere and she 'pretends' to play it while turning round and round on a turntable. What little creditability she had is lost with a big 'glast-on-berry' and she launches into Love Game. And it all goes bad disco. Lots of mad dancing and we seem to be in a rave hosted by Marilyn Manson!!!

The Ting Tings are on the BBC Three sofa! Taking a break from France, the pop duo are back in England for a slice of summer festival life.

Torn On The Platform by Jack Penate is up next. Not a fan but it's decent enough.

And then back to Just Dance by Lady Gaga. Yes she's still mad but this time in a new outfit. I'm not sure if I am becoming a fan. Poker Face kills it for me...

Not entirely sure what this track is but it's going on a bit... Ah set over.

Back to Lily again with The Fear. Whoa mass audience participation expletive moment! Excellent stuff.

All building up for The Ting Tings set....

But first more Lady Gaga with Eh, Eh complete with Madonna style boobs - this time with added fire... And then Poker Face in her underwear. Who says sex doesn't sell? Actually no one...it does.

To be fair it was a great show with a lot more than just being on stage and churning out songs. It's good to see thought going into a performance even if the end result is insane. 10/10 for effort.

Still no Ting Tings - come on BBC Three!!!!

More set from Jack Penate. Have I Been A Fool? is ok but it's all a bit samey for me.

Edith talks to Jez Williams from John Peel headliners Doves.

And then Be The One by Jack Penate. A bit rushed and breathless but a good solid energetic performance from the Londoner. Bit too much brass though... Mark Ronson anyone?

Over on BBC Four The Specials are churning out the hits - Friday Night and Saturday Morning is one of my favourite songs of all time. Hall and the boys do their best but suffer terribly without Dammers' keyboards. At least they all look as if they want to be there. Even the dour faced Hall. Oh dear Man At C&A. Awful song....

Then Message To You Rudy - a true classic. No doubt the band still has the spark and they seem to be . It's all a bit lacklustre. Do Nothing is just going through the motions. They are a band living in the shadow of the politics that tore them apart. "I'm just living in a life without feeling" seems to sum it all up.




Back to BBC Three and The Ting Tings are finally on the Other stage. Katie looking great in a purple and black catsuit. Great time to play, just as the sun is setting. We Walk is delivered with skill and perfection: Jules at the drums on guitar and Katie singing and playing keyboards. Lots of unnecessary screeching from Katie but a solid performance.

Katie grabs a guitar for Great DJ after demanding that the crowd 'f**king dance!'. Rock n roll. This is followed by an excellent version of Fruit Machine using a loop pedal. Some great accompaniment from the glamorous brass section! If this isn't the best set of the night, I don't know what will be. Although Neil Young is to come later...

A break for Eastenders? Seriously is anyone still watching that???

Back on BBC 2 Mark Radcliffe and the fragrant Lauren Laverne are on the hill. Weather reports out of the way (it's not raining!), a quick montage then Mark talks about The Specials "back in all their glory". Really Mark? Really?

Anyway we kick off again with a frantic version of Too Much Too Young. The band seem to rise to the occasion.

Ok some bizarre editing sees Zane Lowe introduce the Ting Tings again - starting with Great DJ previously shown on BBC Three. That's another one for the BBC "reality check" archives...

On the 'red' button, Little Boots is still going. Setting up her Tenori-on she launches into her final song Stuck On Repeat. A weird version with a lot of open spaces and electronics... If this girl is not massive in a year I don't know what she has to do to get there.

A cool feature about Neil Young, telling all those people who have no idea who he is, erm...who he is. And playing some of his great music from After The Goldrush and of course Heart Of Gold and more. I am looking forward to hearing the set - with fifty albums worth of stuff to choose from...He might just do the whole of Fork In The Road. That might cause a riot. A full 13 minute version of Change Your Mind would make my night...

Ah..excellent more Ting Tings. Shut Up And Let Me Go is introduced with a very long drum intro before kicking off, again with Katie on guitar. A central break before some huge drumming as Jules gets the crowd going. These two certainly work for their art. And the final song of the set is What's My Name. I would have liked to hear We Started Nothing, complete with Ronson-esque brass ensemble. But it's a big crowd sing-along for the 'big single'.

And it is superb.

What the hell is the big deal with Jamie T? Sounds like a guy doing Arctic Monkeys covers...really badly. Awful.

Reggie and his wellies, introducing Ghost Town by The Specials. Looking forward to this enormously. Sadly it doesn't work at all live. There is a good reason they haven't performed this since the 80s. Good effort. Some really good instrumentation. Hall still looks very uneasy and not pleased to be there.

A brief chat with Mike Skinner (The Streets) then Edith introduces Bloc Party. No band just lots of dedicated fans. So back to Reggie for more pointless rambling with Mike Skinner. Nice crop circle of his face though...

And now Bloc Party are up, opening with One Month Off. Was surprised to see the band so high up on a main stage bill but they are one of these acts that have a huge following - and are seen as the antithesis of the 'granddads' on the other stage. Kele Okereke is such a charming and enigmatic front man - no wonder the band has such a loyal fan base. And the John Peel t-shirt is a great touch.

Back on the red button (what DID we do without it?) Little Boots is well into Meddle. My favourite song from Hands....