When: 4th December 2010
Where: Wembley Arena
With: Holy State, The Futureheads
As tonight’s openers Holy State pause between songs, frontman Rob Jarvis takes a moment to boldly state that they’re “the best band you’ve never heard of”. A deluded declaration or the sign of a band with the sheer determination and confidence to become something greater? It’s certainly true that their live performance is hard-hitting, tight and fast-paced (an indication of the many hours that have surely been spent rehearsing for this life-changing show) but is their music really deserving of the ‘best band’ status? Well, it has a quirky sort of swagger about it with a solid backbone in the form of drummer Maximillian Applin and attitude in Rob’s rambling, although limited vocal range. They’re almost like a British version of Cage the Elephant but sadly lacking the fun or ironic lyrics. Not exactly ‘best band’ worthy then. As their set closes, Rob plunges his guitar through Maximillian’s drum kit to a failed response from the crowd; proof if any that there is still a long way for this band to go before they themselves become headliners of the legendary Wembley Arena. An enjoyable half an hour or so, proving that this band have strong grounding to become something good, but not necessarily great.
The Futureheads on the other hand stir up a more enthusiastic response in the crowd and with their seemingly genuine friendliness and upbeat, positive music, they completely own the stage tonight with a flawless performance. ‘I Can Do That’ and ‘Heartbeat Song’ are particular highlights; it’s the guitarwork on these two extremely catchy tunes that make them so entertaining. Meanwhile, Barry Hyde’s strongly English vocals flow effortlessly with the instruments to create music that, put simply, just works. Not wanting to rely solely on their infectious music, The Futureheads top off their performance with a mighty sing along, showing that interaction with the crowd works wonders and by the time they leave the stage everyone in the arena is grinning from ear to ear. A job well done.
The appearance of two billowing sails and an ornate mirror mark the arrival of Biffy Clyro. Clearly not wanting to be outdone by their supports in terms of entertainment factor, they’ve put on one heck of a show tonight with a dazzling light display and a cleverly constructed hologram during ‘Diary of Always’. However, it’s their choice of setlist which makes this particular show so memorable for the thousands of eager Biffy fans with its perfectly balanced combination of old and new, poignant and aggressive. At first it appears as though Biffy will follow the norm as they open with ‘The Captain’ and a whole lot of fist-pumping but this is surprisingly followed by a series of Biffy classics taken from the entirety of their back catalogue including ‘57’, ‘Joy.Discovery.Invention’, ‘All the Way Down: Prologue Chapter 1’, ‘There’s No Such Thing as a Jaggy Snake’, ‘Glitter and Trauma’ and ‘Justboy’. Simon Neil takes to the stage alone to perform an unexpected acoustic version of ’Folding Stars’ which makes for a particularly touching moment and is only eclipsed by the acoustic ‘Machines’ which sees the 12,000 strong crowd turn to mush in an emotional sing along. In contrast, the crowd are whipped into a frenzy for ‘Who’s Got A Match?’ and ‘That Golden Rule’ while a brutal mosh pit is sustained throughout the set by a group of unruly, rowdy and seriously sweaty men each trying to prove that they’re more manly than the others. As for the band themselves, they retain their quiet, humble disposition; choosing to focus their energy on the music rather than conversation but this is no letdown to the show. Watching Biffy play to a sold out Wembley Arena, it seems that after years of hard work and brilliant song writing, they’re finally getting the recognition they deserve.
Wednesday, 15 December 2010
Tuesday, 30 November 2010
30 Seconds to Mars, Brighton Centre, Thursday 25th November 2010.
When: 25th November 2010
Where: Brighton Centre
With: Funeral Party, Enter Shikari
It’s mind-numbingly cold along Brighton’s brightly lit seafront but tonight this has no impact on the thousands who have flocked to catch 30 Seconds to Mars’ performance at the Brighton Centre; one of the larger venues in this thriving city. A lone sleeping bag left abandoned outside the venue shows just exactly to what extremes fans will go to catch a glimpse of their idol; a certain Mr Leto. Sadly, it’s not much warmer inside, with security hot on the heels of the teenage hoards and the air conditioning whacked up to full blast in preparation for the wild fans who will inevitably faint from heat as they push their way ever closer to the stage. Nonetheless, the sound system in place tonight is darn near perfection; with every crooning vocal that Leto lets loose reverberating throughout the venue until eventually echoing into oblivion.
Californian quartet Funeral Party are up first; frontman Chad Elliott taking centre stage and drawing the eye with his typically predictable, but strong, indie-style vocals. There’s not much to be said on the matter of stage presence but the music itself manages to make more of a connection with the crowd; it’s light and mellow sound creating a laidback atmosphere which deludes the unsuspecting parents into thinking this is going to be a “nice and sensible” gig. Meanwhile, the toned down guitars allow for a particularly catchy bassline to be heard. Considering the majority of the crowd are unaware of this band’s name, let alone their music, they pull off a commendable performance and get a smattering of polite applause in return which really isn’t that bad at all.
The same cannot be said for the main support band of the night; Enter Shikari. Having made a significant impact with debut album ‘Take to the Skies’ back in 07 and follow up ‘Common Dreads’ in 09, this band are undoubtedly known by every single member of the audience and expectations and atmosphere are both notched up a gear as the lights dim and the thudding, electronic beat of a remixed ‘Common Dreads’ fills the room amid blinding white lights. Tonight, every band member is on top form with a boundless energy about them; Rou stomps his way around the stage as he spurns out angry lyrics while Rory spares a moment to mount the equipment and bask in the sound of a thousand enthusiastic fans’ cheers. Standout moments include new single ‘Destabilise’ and an extended breakdown in set closer ‘Juggernauts’ which involves such a heavy bassline, your ears take a monumental beating just by being in the same room. Having honed their live performance to excellence, it seems that Enter Shikari can do no wrong.
There’s a fairly long interlude between Shikari and headliners 30 Seconds to Mars, but rather than dampening the atmosphere it only causes the adrenaline fuelled youngsters to go even more berserk. By the time the room is plunged into darkness the crowd are having spasms while hyperventilating uncontrollably and the screams that pierce the air as the band make an appearance have to be heard to be believed. It’s enough to make your ears bleed. 30STM have gone all out on the stage set up for this UK tour; the lights seem never ending as they lower from the ceiling, blind from the back and cast an eerie glow over the stage. However, it’s the spotlight which is permanently fixed on Leto throughout the set, following him like a hawk as he spins his way across the stage that really captures the attention of the crowd. Members of The Echelon are sure to lap this up, but to everyone else it seems a little arrogant. There’s no doubting that 30STM are a truly remarkable live act, creating such a stunning visual performance that they rival Muse in the process but a little spontaneity wouldn’t go amiss. Without it, everything seems a little surreal and robotic; the guitar changes are timed to the second, the speeches given by Leto (no other band member utters a sound throughout the set) are generic and predictable and the songs are executed with perfection but lack in humanity. To make matters worse, Leto brings the Union Jack onstage and makes it the centre piece for the entirety of ‘The Kill’; there’s more arse licking in this room than you can shake a stick at. Nonetheless; the songs themselves are genuinely epic and Leto redeems himself when he removes to the back of the venue to perform an acoustic rendition of ‘From Yesterday’ and set highlight ‘Alibi’ which showcases Leto’s exceptional vocals. Closing with crowd favourite ‘Kings & Queens’ which sees 40 or so out-of-control fans clamber on stage to sing along, it’s easy to see why 30STM have such a phenomenal fanbase and you can’t help thinking that if the band members relaxed a little, they could become one of the best live acts around.
Where: Brighton Centre
With: Funeral Party, Enter Shikari
It’s mind-numbingly cold along Brighton’s brightly lit seafront but tonight this has no impact on the thousands who have flocked to catch 30 Seconds to Mars’ performance at the Brighton Centre; one of the larger venues in this thriving city. A lone sleeping bag left abandoned outside the venue shows just exactly to what extremes fans will go to catch a glimpse of their idol; a certain Mr Leto. Sadly, it’s not much warmer inside, with security hot on the heels of the teenage hoards and the air conditioning whacked up to full blast in preparation for the wild fans who will inevitably faint from heat as they push their way ever closer to the stage. Nonetheless, the sound system in place tonight is darn near perfection; with every crooning vocal that Leto lets loose reverberating throughout the venue until eventually echoing into oblivion.
Californian quartet Funeral Party are up first; frontman Chad Elliott taking centre stage and drawing the eye with his typically predictable, but strong, indie-style vocals. There’s not much to be said on the matter of stage presence but the music itself manages to make more of a connection with the crowd; it’s light and mellow sound creating a laidback atmosphere which deludes the unsuspecting parents into thinking this is going to be a “nice and sensible” gig. Meanwhile, the toned down guitars allow for a particularly catchy bassline to be heard. Considering the majority of the crowd are unaware of this band’s name, let alone their music, they pull off a commendable performance and get a smattering of polite applause in return which really isn’t that bad at all.
The same cannot be said for the main support band of the night; Enter Shikari. Having made a significant impact with debut album ‘Take to the Skies’ back in 07 and follow up ‘Common Dreads’ in 09, this band are undoubtedly known by every single member of the audience and expectations and atmosphere are both notched up a gear as the lights dim and the thudding, electronic beat of a remixed ‘Common Dreads’ fills the room amid blinding white lights. Tonight, every band member is on top form with a boundless energy about them; Rou stomps his way around the stage as he spurns out angry lyrics while Rory spares a moment to mount the equipment and bask in the sound of a thousand enthusiastic fans’ cheers. Standout moments include new single ‘Destabilise’ and an extended breakdown in set closer ‘Juggernauts’ which involves such a heavy bassline, your ears take a monumental beating just by being in the same room. Having honed their live performance to excellence, it seems that Enter Shikari can do no wrong.
There’s a fairly long interlude between Shikari and headliners 30 Seconds to Mars, but rather than dampening the atmosphere it only causes the adrenaline fuelled youngsters to go even more berserk. By the time the room is plunged into darkness the crowd are having spasms while hyperventilating uncontrollably and the screams that pierce the air as the band make an appearance have to be heard to be believed. It’s enough to make your ears bleed. 30STM have gone all out on the stage set up for this UK tour; the lights seem never ending as they lower from the ceiling, blind from the back and cast an eerie glow over the stage. However, it’s the spotlight which is permanently fixed on Leto throughout the set, following him like a hawk as he spins his way across the stage that really captures the attention of the crowd. Members of The Echelon are sure to lap this up, but to everyone else it seems a little arrogant. There’s no doubting that 30STM are a truly remarkable live act, creating such a stunning visual performance that they rival Muse in the process but a little spontaneity wouldn’t go amiss. Without it, everything seems a little surreal and robotic; the guitar changes are timed to the second, the speeches given by Leto (no other band member utters a sound throughout the set) are generic and predictable and the songs are executed with perfection but lack in humanity. To make matters worse, Leto brings the Union Jack onstage and makes it the centre piece for the entirety of ‘The Kill’; there’s more arse licking in this room than you can shake a stick at. Nonetheless; the songs themselves are genuinely epic and Leto redeems himself when he removes to the back of the venue to perform an acoustic rendition of ‘From Yesterday’ and set highlight ‘Alibi’ which showcases Leto’s exceptional vocals. Closing with crowd favourite ‘Kings & Queens’ which sees 40 or so out-of-control fans clamber on stage to sing along, it’s easy to see why 30STM have such a phenomenal fanbase and you can’t help thinking that if the band members relaxed a little, they could become one of the best live acts around.
Thursday, 4 November 2010
Freeze Festival 2010.
What better way to end the festival season than London’s Freeze Festival; an ingenious combination of skiing, snowboarding and of course, a whole range of live music? The derelict hulk that is Battersea Power Station may initially seem a strange choice (it’s more scaffolding than building) but this colossal beast makes for one exciting music venue; allowing for not one, but two tents as well as a whole host of bars and even a cinema. Sunday’s main stage features a select line-up of dance artists but for those seeking something a little heavier or if you just want to see someone play an actual instrument, the Relentless ‘Energy Drink’ stage makes for a worthwhile visit, featuring such bands as Dananananaykroyd (high five if you can pronounce that) and headliners Skindred.
On CD, Shy FX’s take on Drum & Bass is earbleedingly painful; it’s the sort of music you often hear playing too loudly at the back of a bus. In short, it’s the sort of music you don’t usually want to hear at all. However, together with Stamina MC, the English Drum & Bass artist pulls off a surprisingly entertaining live performance. With the bass bordering on extreme, the appreciative crowd get a bit rowdy while Stamina MC has enough enthusiasm to rival Mr Motivator. This music may not be innovative or sentimental, in fact, it’s a little bit tacky, but with this much bass, it’s extremely hard to dislike.
There’s an impressive crowd building around the main stage for penultimate band of the night Hadouken! but once they succeed in drawing in their fans, they have a much harder time keeping them there. Perhaps it’s because their lyrics sound like the drunken ramblings of a chav (let’s face it; only a chav would say something as ridiculous as “It’s ugly like your sister). Whatever the reason, a quarter of the crowd have ventured elsewhere before their set is finished. On a more positive note, the music itself isn’t too shabby. ‘Mic Check’ is a particular highlight, while bassist Chris Purcell throws himself wholeheartedly into every song alongside vocalist James Smith who spits lyrics at the crowd with confidence and ease.
So, how does a Pendulum DJ set differ from a Pendulum live set? In reality, the music sounds exactly the same with the only notable difference being that the band members aren’t physically on stage waving their guitars round like mad cats. Luckily for us, they’re still present in the thumping bass and the pounding, rhythmic drum beats which make Pendulum such an invigorating live act. Crowd pleaser ‘Tarantula’ never fails to ignite the crowd while a vast amount of new album ‘Immersion’ is thrown into the mix with ‘The Vulture’ proving to be a new crowd favourite. Label mates Sub Focus are given a play too, as well as Pendulum’s notoriously catchy cover of The Prodigy’s ‘Voodoo People’ which ensures that the crowd go wild. Is a Pendulum DJ set really that different from their live performance? The answer to that is no, they are both bloody brilliant.
On CD, Shy FX’s take on Drum & Bass is earbleedingly painful; it’s the sort of music you often hear playing too loudly at the back of a bus. In short, it’s the sort of music you don’t usually want to hear at all. However, together with Stamina MC, the English Drum & Bass artist pulls off a surprisingly entertaining live performance. With the bass bordering on extreme, the appreciative crowd get a bit rowdy while Stamina MC has enough enthusiasm to rival Mr Motivator. This music may not be innovative or sentimental, in fact, it’s a little bit tacky, but with this much bass, it’s extremely hard to dislike.
There’s an impressive crowd building around the main stage for penultimate band of the night Hadouken! but once they succeed in drawing in their fans, they have a much harder time keeping them there. Perhaps it’s because their lyrics sound like the drunken ramblings of a chav (let’s face it; only a chav would say something as ridiculous as “It’s ugly like your sister). Whatever the reason, a quarter of the crowd have ventured elsewhere before their set is finished. On a more positive note, the music itself isn’t too shabby. ‘Mic Check’ is a particular highlight, while bassist Chris Purcell throws himself wholeheartedly into every song alongside vocalist James Smith who spits lyrics at the crowd with confidence and ease.
So, how does a Pendulum DJ set differ from a Pendulum live set? In reality, the music sounds exactly the same with the only notable difference being that the band members aren’t physically on stage waving their guitars round like mad cats. Luckily for us, they’re still present in the thumping bass and the pounding, rhythmic drum beats which make Pendulum such an invigorating live act. Crowd pleaser ‘Tarantula’ never fails to ignite the crowd while a vast amount of new album ‘Immersion’ is thrown into the mix with ‘The Vulture’ proving to be a new crowd favourite. Label mates Sub Focus are given a play too, as well as Pendulum’s notoriously catchy cover of The Prodigy’s ‘Voodoo People’ which ensures that the crowd go wild. Is a Pendulum DJ set really that different from their live performance? The answer to that is no, they are both bloody brilliant.
Friday, 17 September 2010
Muse, Wembley Stadium, Saturday 11th September 2010.
London's world famous Wembley Stadium may be renowned for it's gargantuan size but in this case looks are most certainly deceiving. On the outside it looks like some monstrous, shiny alien mothership but on the inside it's a whole other story. If you were expecting this venue to be so unbelievably huge that the crowd below look like a swarm of ants then you are sadly mistaken. You don't even need a pair of binoculars to view the stage. There are only two aspects of this venue which make up for it's lack of grandeur; the first is that free water is easily accessible and the second is the relatively short queuing time. Overall, Wembley Stadium is a bit of a disappointment. 6.5/10
Moving swiftly onto the music, newbies I Am Arrows are up first and not only do they look like your typical indie band, they sound like your typical indie band too (I guess that's what happens when you're a former Razorlight member). Luckily, it's a bit too early for anything heavier right now and a few mellow tunes are exactly what's needed. Sadly, I Am Arrows push the term 'mellow' a bit too far and veer dangerously close to 'boring' with their repetitive songs. The only memorable song on their setlist is 'Green Grass'. It could have been worse (Johnny Borrell could have made an appearance) but it also could have been a whole lot better. 39/100 http://www.myspace.com/iamarrows
Following I Am Arrows are White Lies and it seems they have some kind of reputation to uphold as many an excited fan claim a spot closer to the stage. Thankfully, they're on better form than Razorlight (sorry, I meant I Am Arrows), and they manage to successfully master the art of 'mellow' music. They're a bit more upbeat too and a few crowd members take the time to sing along to songs such as 'Fairwell to the Fairground'. However, a large percentage of the crowd are too busy swigging beer or eating chips (most of which take a turn for the worse and end up spattered across the floor) to actually notice the band. Not a bad performance. 50/100 http://www.myspace.com/whitelies
Everyone's favourite Scottish band Biffy Clyro are up next and their imminent arrival is so anticipated that there appears to be a excited twitch spreading throughout the stadium. Opening with a vigorous rendition of 'That Golden Rule', Biffy appear to be giving it everything they've got tonight and the crowd are loving every second of it. Continuing with 'Living Is A Problem Because Everything Dies' and old favourite 'Glitter and Trauma' it's clear that this is a predictable but nonetheless solid setlist guaranteed to get the crowd going. Biffy reach the peak of their set with the lively 'Who's Got A Match' and once again those who brave the mosh pit are treated to a worthwhile punch in the face as things get rowdy. 'Mountains' is another highlight which is topped only by recent single 'Many of Horror' which mesmerises not the majority, but everyone in the stadium. 81/100 http://www.myspace.com/biffyclyro
There are only a few times in your life when you will witness something truly awe-inspiring but I can guarantee that seeing Muse perform live will be one of them. As, the stadium is plunged into darkness and the crowd strike up a cheer so loud it's potentially dangerous, a procession waving brightly coloured flags take to the stage and before you know it, Muse have kicked off their set with 'Uprising' and the entire stadium is a jumble of moving bodies. The quality of their sound is perfection; there isn't a single moment during their set when you can't hear Matt Bellamy's stunning vocals over the deafening chants of the crowd. The visual aspect of Muse's live performance also makes them one of, if not THE best band going. The stage is bordering on an optical illusion and on top of this there is confetti galore (throughout 'Guiding Light'), giant eyeball balloons (filled with yet more confetti), a UFO which takes a turn around the stadium during 'Exogenesis: Symphony, Part 1 (Overture)' and a revolving platform which rises above the crowd while Muse perform 'Undisclosed Desires'. And if you think things couldn't get any better than that then you are sorely mistaken as Matt Bellamy ditches his shiny 'disco ball' suit in favour of one covered in neon lights. Highlights of the set include Supermassive Black Hole, Citizen Erased, Ruled By Secrecy, Feeling Good, Starlight, Plug In Baby and set closer Knights of Cydonia which saw the entire crowd go competely out of control. The only question is where was 'New Born'? I conclude with this thought: You haven't seen anything until you've seen Muse. 100/100 http://www.muse.mu
Moving swiftly onto the music, newbies I Am Arrows are up first and not only do they look like your typical indie band, they sound like your typical indie band too (I guess that's what happens when you're a former Razorlight member). Luckily, it's a bit too early for anything heavier right now and a few mellow tunes are exactly what's needed. Sadly, I Am Arrows push the term 'mellow' a bit too far and veer dangerously close to 'boring' with their repetitive songs. The only memorable song on their setlist is 'Green Grass'. It could have been worse (Johnny Borrell could have made an appearance) but it also could have been a whole lot better. 39/100 http://www.myspace.com/iamarrows
Following I Am Arrows are White Lies and it seems they have some kind of reputation to uphold as many an excited fan claim a spot closer to the stage. Thankfully, they're on better form than Razorlight (sorry, I meant I Am Arrows), and they manage to successfully master the art of 'mellow' music. They're a bit more upbeat too and a few crowd members take the time to sing along to songs such as 'Fairwell to the Fairground'. However, a large percentage of the crowd are too busy swigging beer or eating chips (most of which take a turn for the worse and end up spattered across the floor) to actually notice the band. Not a bad performance. 50/100 http://www.myspace.com/whitelies
Everyone's favourite Scottish band Biffy Clyro are up next and their imminent arrival is so anticipated that there appears to be a excited twitch spreading throughout the stadium. Opening with a vigorous rendition of 'That Golden Rule', Biffy appear to be giving it everything they've got tonight and the crowd are loving every second of it. Continuing with 'Living Is A Problem Because Everything Dies' and old favourite 'Glitter and Trauma' it's clear that this is a predictable but nonetheless solid setlist guaranteed to get the crowd going. Biffy reach the peak of their set with the lively 'Who's Got A Match' and once again those who brave the mosh pit are treated to a worthwhile punch in the face as things get rowdy. 'Mountains' is another highlight which is topped only by recent single 'Many of Horror' which mesmerises not the majority, but everyone in the stadium. 81/100 http://www.myspace.com/biffyclyro
There are only a few times in your life when you will witness something truly awe-inspiring but I can guarantee that seeing Muse perform live will be one of them. As, the stadium is plunged into darkness and the crowd strike up a cheer so loud it's potentially dangerous, a procession waving brightly coloured flags take to the stage and before you know it, Muse have kicked off their set with 'Uprising' and the entire stadium is a jumble of moving bodies. The quality of their sound is perfection; there isn't a single moment during their set when you can't hear Matt Bellamy's stunning vocals over the deafening chants of the crowd. The visual aspect of Muse's live performance also makes them one of, if not THE best band going. The stage is bordering on an optical illusion and on top of this there is confetti galore (throughout 'Guiding Light'), giant eyeball balloons (filled with yet more confetti), a UFO which takes a turn around the stadium during 'Exogenesis: Symphony, Part 1 (Overture)' and a revolving platform which rises above the crowd while Muse perform 'Undisclosed Desires'. And if you think things couldn't get any better than that then you are sorely mistaken as Matt Bellamy ditches his shiny 'disco ball' suit in favour of one covered in neon lights. Highlights of the set include Supermassive Black Hole, Citizen Erased, Ruled By Secrecy, Feeling Good, Starlight, Plug In Baby and set closer Knights of Cydonia which saw the entire crowd go competely out of control. The only question is where was 'New Born'? I conclude with this thought: You haven't seen anything until you've seen Muse. 100/100 http://www.muse.mu
Friday, 3 September 2010
READING FESTIVAL 2010.
Yes, the festival season has been and gone and while I may not have attended any other festivals I can tell you that Reading Festival was by far the best, barring the ridiculous Glastonbury-style weather of course. All the Early Bird ticket holders were treated to soggy clothes, a tent on a swamp and tramping around in a foot of mud for a whole extra day... nice. Aside from the bizarre weather, the camping experience was as you would expect it; a huge mess of piss-covered tents and a lot of cringe worthy singalongs at 3am. Good times. Reading campsite: 8/10
FRIDAY
So it's midday on Friday, everyone has rammed themselves through the entrance and into the arena, it is deemed acceptable to eat unhealthy takeaway style food for breakfast and just at a first glance you can tell who's been here since Wednesday and who rolled through the gates earlier this morning. The difference? Most people look like they've been living rough for a year and the music hasn't even started yet.
Heading over to the main stage, the opening band for Reading Festival 2010 are Young Guns who recently released their debut album 'All Our Kings Are Dead'. If you've read my Kerrang! Relentless tour review, you'll know that in a small venue they're a pretty decent band with strong songs but being the first band on the Main Stage at Reading proves too much. They fail to connect with the majority of the crowd although an energetic bunch down the front construct a relatively small mosh pit. 55/100
The crowd pour in for A Day To Remember and it's clear that there are high expectations for this band. And it's as if ADTR have telepathic powers, because from start to finish they deliver an impressively energetic performance. It's not just old fans having a good time here; new fans are being converted every second. Even those that haven't really woken up (or never went to sleep) have a smile plastered across their face. 76/100
As A Day To Remember leave the stage and the next band begin to set up, there is a surge towards the main stage through which I try and fail to escape. This leaves me wedged between a few thousand Billy Talent fans who are fired up and ready to have a good time. A huge roar greets Billy Talent as they take to the stage while I try and fix my mindset to 'open minded'. So here is my open minded opinion: The music was average, only bordering on good but my dislike remains firmly in place for one simple reason; Benjamin Kowalewicz has the most bloody annoying, helium-fuelled vocals in existence. Enough said really. 47/100
Moving over to the somewhat significantly smaller Festival Republic stage I'm immediately greeted by the news that Summer Camp (who the bloody hell are they?) are running late. This would be acceptable if they were actually good but, if possible, they passed beyond bad and into the realms of utter crap. Looking particularly awkward, the two on stage dither around as though they have just realised that yes, they really are that bad. The only up side to the 45 minutes of ear-bleedingly painful music were the free Kit Kats thrown into the angry crowd between songs to keep them quiet. 12/100
The vast majority of the crowd (approximately 99.99%) lingering through Summer Camp's set (let's not talk about that anymore) were actually waiting for the next band, Leeds finest: Pulled Apart By Horses. As they walk on stage to set up their own instruments they're treated to a wholeheartedly enthusiastic cheer. Having seen them last year supporting Biffy Clyro I knew what to expect and I most definitely wasn't disappointed. This band don't just make exceptionally entertaining music, they put on a superb show too. Crowd pleasers 'I Punched A Lion In The Throat', 'Meat Balloon', 'Back To The Fuck Yeah', 'High Five, Swan Dive, Nose Dive' and 'E=MC Hammer' are sung back with vigour while PABH perform with a raw, driven energy that makes them one of the best live bands around at the moment. 94/100
The evening is drawing in, the atmosphere is cranked up a gear and thousands of people head back over to the main stage for one of the more anticipated bands on the lineup; Lostprophets. While they may have the confidence to hold together their hour-long set, the sound quality is so poor that I'd rather listen to Cliff Richard on repeat while someone scrapes their fingernails down a chalkboard. Ok, maybe that's pushing it a bit far. 52/100
After doing my toe in during Lostprophets set (wrong size wellies) I stepped out for some room to breathe and trip to the local cesspit (that's the toilet to all of you) before catching Biffy Clyro's performance. However, at a first glance Biffy Clyro appear to have been replaced by a band fronted by a slim and rather handsome Santa wearing nothing but a spectacular pair of bright pink skinny jeans. Oh wait, a second glance tells me that this is in fact a bleached-beyond-belief Simon Neil which is a relief because who knows what kind of music a skinny jeans wearing Santa Claus would make. Biffy perform as their usual, captivating selves; they're not really big on talking but they perform to such a high standard that they set the bar for other British bands. 75/100
By the time Biffy finish, the sun is setting and I wander over to the NME/Radio 1 stage to watch Mumford & Sons who have just hit the big time with their debut album 'Sigh No More' which has reached 2X Platinum in both the UK and Australia. No pressure then. Luckily, Mumford & Sons are one of those bands that pull off a stunning live performance which is few and far between. Marcus Mumford's vocals are exceptional and the quality of their live performance and the crowd's reaction is enough to raise goosebumps (although to be honest it was getting a bit chilly outside by that time). Definitely one of the better bands of the weekend, they brought the true festival spirit to life. 92/100
So, can Guns N' Roses top that performance? Well, that's a question we'll never know the answer to because at that precise time of the night I was escorting a completely off-her-face girl backed to her tent. One of the many benefits of remaining sober at a festival of course. However, according to accurate sources (everyone who DID see Guns N' Roses) there appears to be a unanimous opinion that they were, put simply, crap.
Best band of Friday: Pulled Apart By Horses
SATURDAY
Getting up late on Saturday morning means that I conveniently miss Rolo Tomassi's set so it's off to the main stage to watch The Futureheads followed by Mystery Jets who were so similar that the two sets seem to have blurred together to produce a vague and hazy memory of slight boredom. I can't really expand on that... The Futureheads and Mystery Jets get a combined score of 42/100.
Covering the fence to the right of the main stage is a huge poster which reads something along the lines of "Pendulum: be here at 14:00 on 28/08/10". So, it's 2pm and a small crowd has gathered around the poster restlessly awaiting the arrival of Pendulum. Approximately ten minutes later there's still no sign of, well, anything so one man/boy/whatever takes it upon himself to hoist himself up the fence (with a little help from his friends) and peer upon the backstage area. After avivdly gazing around his expression changes to one of disappointment and he announces that "They're all having lunch." Quite possibly the anticlimax of the century.
After that huge letdown it's off to the NME/Radio 1 stage for 3OH!3 (who have apparently just had a lawsuit filed against them by wrestler 'Diamond' Dallas Page for the unauthorised use of his trademarked, erm... hand gesture.) While I may not have appeared outwardly enthusiastic about this band (the 'gangsta' vibes were slightly embarrassing) they were actually extremely entertaining and their energy was infectious. 82/100
While it would have been nice to catch Hadouken!'s set, there was a more important matter at hand and this was getting a decent spot for The Rats (I wonder who they are) so instead I found myself at the Lock-Up Stage watching the end of Paint It Black's set. From what I can remember, a fairly standard set involving a mosh pit with no moshing (Yeah, I didn't really understand that either) and some semi-decent songs. 44/100
So, who are The Rats? Well, as Frank Carter points out The Rats are "the worst kept secret at Reading Festival" which must be true as the tent is rammed full of, you guessed it, Gallows fans. The atmosphere in this tent is unbelievable and the cheer that fills the tent as the Grey Britain backdrop is raised is a sign of the chaos that's about to follow. And chaos does certainly follow. Gallows absolutely tear the place apart; there's a circle pit that's almost as big as Katie Price's ego (pretty darn huge), there's a wall of death with a backflipping man inside, there are crowdsurfers galore (including one man and his wheelchair) and at one point Frank disappears into the crowd and nobody really knows where the hell he went. Of course there are no real highlights as the whole set was one big mess of bloody fantastic music and carnage. Everything a gig should be. 99/100
The next band on the bill have got a lot to live up to and sadly for Trash Talk nothing can top a Gallows set. Lee Spielman attempts to make up for this by going completely berserk, throwing the water bins into the crowd, swinging his microphone round like it's a crazy cat and never actually staying on stage but diving headfirst into the crowd at the start of every song and only emerging at the end. Even the security guards wear a look of sheer panic as they are almost hit in the face with the full force of a 100mph out of control microphone. Because of this, the crowd tend to overlook the other band members. That is until bassist Spencer Pollard takes it upon himself to scale the dangerously swaying lighting rig. Their set is appropriately finished with a stage invasion. 57/100
Somewhat bizarrely the next band on stage are Zebrahead. Taking to the stage in what looked like their pajamas, I was deceived into assuming that this was going to be a complete waste of time. How spectacularly wrong I was. Although the music isn't the most groundbreaking in existence, the various chants of "Minge" (yes, you heard me correctly) and banter between the band members provide an extremely enjoyable show. 79/100
The first thing that really captures your attention as Cancer Bats appear on stage is how silky soft Scott Middleton's hair looks. The second is how all their songs sound exactly the same. To be honest I don't know which is worse. That a man can have softer hair than me or that a band who could pull off a potentially awesome show turn out to be one of the most boring on the lineup. 39/100
What would my review be without a nice slice of St Albans finest Enter Shikari to fill it up? Bloody crap is the answer to that. Yes, I'm back in the NME/Radio 1 tent and I've just survived a fifteen-minute song by Crystal Castles which somehow managed to sound both good and awful at the same time. Luckily, Enter Shikari don't leave us all hanging for too long. They've flashed the cash when it comes to their stage setup this year but while the lights may be bright enough to blind the front row, they can't disguise the fact that the tent is just too darn full to move, let alone get a decent mosh pit going. And while all four members of Shikari may be giving it everything they've got; without the usually rowdy crowd to accompany them, you just can't help but feel that it's a slight disappointment. 75/100
Finishing off the night are Pendulum and if you don't know who they are then you've probably been living in a cave for the past couple of years. They've built up a reputation for being one of the best live acts in the UK right now and it's easy to see why. From start to finish they give a dynamic performance which looks as if it could be contagious because there isn't a single person in this tent who isn't moving. Even a glow stick in the mouth can't ruin the mood. Tonight Pendulum prove that they deserve a No. 1 spot on the UK Album Chart and a place headlining the NME/Radio 1 stage at Reading and Leeds. 95/100
Best band of Saturday: Pendulum
SUNDAY
So the final day of the Reading Festival is upon us and today is all about the main stage. First up are Motion City Soundtrack who have that conventional American-style sound which, in theory, should bring a smile to the face of anyone watching. Unluckily this isn't the case as, while their music may hold a certain charm, a strong percentage of the crowd aren't really having any of it. A mediocre performance which probably would have sounded much better had it been at one of the smaller stages. 54/100
Up next are the King Blues and let's be honest: today is really not their day. Even the weather is against them; with the arrival of the King Blues marks the first rain of the weekend. Once again, watching them feels more like a political campaign than an actual gig which may work at their own live shows but at a festival when all people want is a good time the angry speeches fall flat and fail to gain enthusiasm from the crowd. 42/100
Following them are Thrice, a somewhat confusing choice for the main stage. You can vaguely see why they've been chosen; they have an almost epic sound to their songs but being one of the first bands to take to the stage means that the sound quality is too poor to allow for the full potential of their sound. On a more positive note, had the sound quality not been sub-standard, this could have been an impressive performance. 61/100
All Time Low are the musical equivalent of Marmite. However, unlike Marmite, All Time Low have charisma, enthusiasm and a good sense of humour. The steadily worsening rain can't hold them back; it's all smiles and jokes and they seem genuinely pleased to be here. They play all the crowd-pleasers: Weightless, Dear Maria, Count Me In, Poppin' Champagne and Damned If I Do Ya (Damned If I Don't). Overall an impressive set only slightly marred by the toned down sound. 76/100
It looks like today is every screaming fangirl's dream as up next are You Me At Six. Being one of the youngest bands on the British music scene and half-hanging off the back of the 'emo' bandwagon has meant that they've had to work their arses off to earn respect so landing a spot on the main stage must be a welcome relief. And while they're gaining an ever increasing amount of fans, they're determined to make the most of it. Therefore, it seems disastrous that someone has turned down Josh Franceschi's microphone right before he appears on stage. You literally need a hearing aid to make out what it is he's singing but luckily, the previously mentioned fangirls (and quite a few boys) appear completely unfazed and sing the words back with enough enthusiasm to make up for the technical fault. 72/100
After skipping a few bands in favour of some paracetamol I head back to the main stage for the penultimate band of the festival: Paramore. And while there may have been plently of hormone-filled girls hovering around the main stage for You Me At Six, Paramore clearly have the opposite effect. Instead I find myself surrounded by boys who all seems to be thinking along the same lines as I hear various murmurs of "OMG Hayley Williams" etc. On CD Paramore may sound slightly generic but their live performance couldn't be more different. On stage they're full of energy and confidence and their interaction with the crowd is effortless. Paramore may not make music that will define a generation but if there is one thing that sets them apart from other bands it's their huge stage presence. 84/100
So after three days of mud, music and a bit more mud we've reached the moment that everyone has been waiting for... The return of Blink 182. And if there's one thing that was certain before they even took to the stage it's that they were going to be more entertaining than any other band on the bill. An example? Well, before peforming the biggest crowd pleaser of the night 'All The Small Things' Tom DeLonge decides to take the time to thank 'Jedward' for letting them use their song. And this isn't the only crowd pleaser. The setlist comprises of a grand total of twenty-two songs including; Feeling This, The Rock Show, What's My Age Again?, I Miss You, Down, First Date and Dammit. However, the real highlight of the night (and the whole darn weekend) takes the form of Travis' drum solo which takes place on a revolving platform. It is quite possibly the most insanely talented thing I've ever witnessed and from the expressions of shock on the faces of those surrounding me, the feeling is mutual all round. Blink 182 aren't exactly technically accurate as a live band (with the exception of Travis Barker), but they are one of the most enjoyable, amusing and hilarious bands going. It's good to have them back. 93/100
Best band of Sunday: Blink 182
And that's the end of Reading Festival 2010. Here's a few other ratings for you:
MAIN STAGE: 7/10
NME/RADIO 1 STAGE: 9/10
FESTIVAL REPUBLIC STAGE: 7/10
LOCK-UP STAGE: 7/10
BBC INTRODUCING STAGE: 8/10
G4 ROAD: 9/10 (One mark deducted for the ridiculously extortionate £2.50 charge on the cash machine.)
CAMPSITE TOILETS: -100/10
ARENA TOILETS: 7.5/10
READING FESTIVAL: 100/100
FRIDAY
So it's midday on Friday, everyone has rammed themselves through the entrance and into the arena, it is deemed acceptable to eat unhealthy takeaway style food for breakfast and just at a first glance you can tell who's been here since Wednesday and who rolled through the gates earlier this morning. The difference? Most people look like they've been living rough for a year and the music hasn't even started yet.
Heading over to the main stage, the opening band for Reading Festival 2010 are Young Guns who recently released their debut album 'All Our Kings Are Dead'. If you've read my Kerrang! Relentless tour review, you'll know that in a small venue they're a pretty decent band with strong songs but being the first band on the Main Stage at Reading proves too much. They fail to connect with the majority of the crowd although an energetic bunch down the front construct a relatively small mosh pit. 55/100
The crowd pour in for A Day To Remember and it's clear that there are high expectations for this band. And it's as if ADTR have telepathic powers, because from start to finish they deliver an impressively energetic performance. It's not just old fans having a good time here; new fans are being converted every second. Even those that haven't really woken up (or never went to sleep) have a smile plastered across their face. 76/100
As A Day To Remember leave the stage and the next band begin to set up, there is a surge towards the main stage through which I try and fail to escape. This leaves me wedged between a few thousand Billy Talent fans who are fired up and ready to have a good time. A huge roar greets Billy Talent as they take to the stage while I try and fix my mindset to 'open minded'. So here is my open minded opinion: The music was average, only bordering on good but my dislike remains firmly in place for one simple reason; Benjamin Kowalewicz has the most bloody annoying, helium-fuelled vocals in existence. Enough said really. 47/100
Moving over to the somewhat significantly smaller Festival Republic stage I'm immediately greeted by the news that Summer Camp (who the bloody hell are they?) are running late. This would be acceptable if they were actually good but, if possible, they passed beyond bad and into the realms of utter crap. Looking particularly awkward, the two on stage dither around as though they have just realised that yes, they really are that bad. The only up side to the 45 minutes of ear-bleedingly painful music were the free Kit Kats thrown into the angry crowd between songs to keep them quiet. 12/100
The vast majority of the crowd (approximately 99.99%) lingering through Summer Camp's set (let's not talk about that anymore) were actually waiting for the next band, Leeds finest: Pulled Apart By Horses. As they walk on stage to set up their own instruments they're treated to a wholeheartedly enthusiastic cheer. Having seen them last year supporting Biffy Clyro I knew what to expect and I most definitely wasn't disappointed. This band don't just make exceptionally entertaining music, they put on a superb show too. Crowd pleasers 'I Punched A Lion In The Throat', 'Meat Balloon', 'Back To The Fuck Yeah', 'High Five, Swan Dive, Nose Dive' and 'E=MC Hammer' are sung back with vigour while PABH perform with a raw, driven energy that makes them one of the best live bands around at the moment. 94/100
The evening is drawing in, the atmosphere is cranked up a gear and thousands of people head back over to the main stage for one of the more anticipated bands on the lineup; Lostprophets. While they may have the confidence to hold together their hour-long set, the sound quality is so poor that I'd rather listen to Cliff Richard on repeat while someone scrapes their fingernails down a chalkboard. Ok, maybe that's pushing it a bit far. 52/100
After doing my toe in during Lostprophets set (wrong size wellies) I stepped out for some room to breathe and trip to the local cesspit (that's the toilet to all of you) before catching Biffy Clyro's performance. However, at a first glance Biffy Clyro appear to have been replaced by a band fronted by a slim and rather handsome Santa wearing nothing but a spectacular pair of bright pink skinny jeans. Oh wait, a second glance tells me that this is in fact a bleached-beyond-belief Simon Neil which is a relief because who knows what kind of music a skinny jeans wearing Santa Claus would make. Biffy perform as their usual, captivating selves; they're not really big on talking but they perform to such a high standard that they set the bar for other British bands. 75/100
By the time Biffy finish, the sun is setting and I wander over to the NME/Radio 1 stage to watch Mumford & Sons who have just hit the big time with their debut album 'Sigh No More' which has reached 2X Platinum in both the UK and Australia. No pressure then. Luckily, Mumford & Sons are one of those bands that pull off a stunning live performance which is few and far between. Marcus Mumford's vocals are exceptional and the quality of their live performance and the crowd's reaction is enough to raise goosebumps (although to be honest it was getting a bit chilly outside by that time). Definitely one of the better bands of the weekend, they brought the true festival spirit to life. 92/100
So, can Guns N' Roses top that performance? Well, that's a question we'll never know the answer to because at that precise time of the night I was escorting a completely off-her-face girl backed to her tent. One of the many benefits of remaining sober at a festival of course. However, according to accurate sources (everyone who DID see Guns N' Roses) there appears to be a unanimous opinion that they were, put simply, crap.
Best band of Friday: Pulled Apart By Horses
SATURDAY
Getting up late on Saturday morning means that I conveniently miss Rolo Tomassi's set so it's off to the main stage to watch The Futureheads followed by Mystery Jets who were so similar that the two sets seem to have blurred together to produce a vague and hazy memory of slight boredom. I can't really expand on that... The Futureheads and Mystery Jets get a combined score of 42/100.
Covering the fence to the right of the main stage is a huge poster which reads something along the lines of "Pendulum: be here at 14:00 on 28/08/10". So, it's 2pm and a small crowd has gathered around the poster restlessly awaiting the arrival of Pendulum. Approximately ten minutes later there's still no sign of, well, anything so one man/boy/whatever takes it upon himself to hoist himself up the fence (with a little help from his friends) and peer upon the backstage area. After avivdly gazing around his expression changes to one of disappointment and he announces that "They're all having lunch." Quite possibly the anticlimax of the century.
After that huge letdown it's off to the NME/Radio 1 stage for 3OH!3 (who have apparently just had a lawsuit filed against them by wrestler 'Diamond' Dallas Page for the unauthorised use of his trademarked, erm... hand gesture.) While I may not have appeared outwardly enthusiastic about this band (the 'gangsta' vibes were slightly embarrassing) they were actually extremely entertaining and their energy was infectious. 82/100
While it would have been nice to catch Hadouken!'s set, there was a more important matter at hand and this was getting a decent spot for The Rats (I wonder who they are) so instead I found myself at the Lock-Up Stage watching the end of Paint It Black's set. From what I can remember, a fairly standard set involving a mosh pit with no moshing (Yeah, I didn't really understand that either) and some semi-decent songs. 44/100
So, who are The Rats? Well, as Frank Carter points out The Rats are "the worst kept secret at Reading Festival" which must be true as the tent is rammed full of, you guessed it, Gallows fans. The atmosphere in this tent is unbelievable and the cheer that fills the tent as the Grey Britain backdrop is raised is a sign of the chaos that's about to follow. And chaos does certainly follow. Gallows absolutely tear the place apart; there's a circle pit that's almost as big as Katie Price's ego (pretty darn huge), there's a wall of death with a backflipping man inside, there are crowdsurfers galore (including one man and his wheelchair) and at one point Frank disappears into the crowd and nobody really knows where the hell he went. Of course there are no real highlights as the whole set was one big mess of bloody fantastic music and carnage. Everything a gig should be. 99/100
The next band on the bill have got a lot to live up to and sadly for Trash Talk nothing can top a Gallows set. Lee Spielman attempts to make up for this by going completely berserk, throwing the water bins into the crowd, swinging his microphone round like it's a crazy cat and never actually staying on stage but diving headfirst into the crowd at the start of every song and only emerging at the end. Even the security guards wear a look of sheer panic as they are almost hit in the face with the full force of a 100mph out of control microphone. Because of this, the crowd tend to overlook the other band members. That is until bassist Spencer Pollard takes it upon himself to scale the dangerously swaying lighting rig. Their set is appropriately finished with a stage invasion. 57/100
Somewhat bizarrely the next band on stage are Zebrahead. Taking to the stage in what looked like their pajamas, I was deceived into assuming that this was going to be a complete waste of time. How spectacularly wrong I was. Although the music isn't the most groundbreaking in existence, the various chants of "Minge" (yes, you heard me correctly) and banter between the band members provide an extremely enjoyable show. 79/100
The first thing that really captures your attention as Cancer Bats appear on stage is how silky soft Scott Middleton's hair looks. The second is how all their songs sound exactly the same. To be honest I don't know which is worse. That a man can have softer hair than me or that a band who could pull off a potentially awesome show turn out to be one of the most boring on the lineup. 39/100
What would my review be without a nice slice of St Albans finest Enter Shikari to fill it up? Bloody crap is the answer to that. Yes, I'm back in the NME/Radio 1 tent and I've just survived a fifteen-minute song by Crystal Castles which somehow managed to sound both good and awful at the same time. Luckily, Enter Shikari don't leave us all hanging for too long. They've flashed the cash when it comes to their stage setup this year but while the lights may be bright enough to blind the front row, they can't disguise the fact that the tent is just too darn full to move, let alone get a decent mosh pit going. And while all four members of Shikari may be giving it everything they've got; without the usually rowdy crowd to accompany them, you just can't help but feel that it's a slight disappointment. 75/100
Finishing off the night are Pendulum and if you don't know who they are then you've probably been living in a cave for the past couple of years. They've built up a reputation for being one of the best live acts in the UK right now and it's easy to see why. From start to finish they give a dynamic performance which looks as if it could be contagious because there isn't a single person in this tent who isn't moving. Even a glow stick in the mouth can't ruin the mood. Tonight Pendulum prove that they deserve a No. 1 spot on the UK Album Chart and a place headlining the NME/Radio 1 stage at Reading and Leeds. 95/100
Best band of Saturday: Pendulum
SUNDAY
So the final day of the Reading Festival is upon us and today is all about the main stage. First up are Motion City Soundtrack who have that conventional American-style sound which, in theory, should bring a smile to the face of anyone watching. Unluckily this isn't the case as, while their music may hold a certain charm, a strong percentage of the crowd aren't really having any of it. A mediocre performance which probably would have sounded much better had it been at one of the smaller stages. 54/100
Up next are the King Blues and let's be honest: today is really not their day. Even the weather is against them; with the arrival of the King Blues marks the first rain of the weekend. Once again, watching them feels more like a political campaign than an actual gig which may work at their own live shows but at a festival when all people want is a good time the angry speeches fall flat and fail to gain enthusiasm from the crowd. 42/100
Following them are Thrice, a somewhat confusing choice for the main stage. You can vaguely see why they've been chosen; they have an almost epic sound to their songs but being one of the first bands to take to the stage means that the sound quality is too poor to allow for the full potential of their sound. On a more positive note, had the sound quality not been sub-standard, this could have been an impressive performance. 61/100
All Time Low are the musical equivalent of Marmite. However, unlike Marmite, All Time Low have charisma, enthusiasm and a good sense of humour. The steadily worsening rain can't hold them back; it's all smiles and jokes and they seem genuinely pleased to be here. They play all the crowd-pleasers: Weightless, Dear Maria, Count Me In, Poppin' Champagne and Damned If I Do Ya (Damned If I Don't). Overall an impressive set only slightly marred by the toned down sound. 76/100
It looks like today is every screaming fangirl's dream as up next are You Me At Six. Being one of the youngest bands on the British music scene and half-hanging off the back of the 'emo' bandwagon has meant that they've had to work their arses off to earn respect so landing a spot on the main stage must be a welcome relief. And while they're gaining an ever increasing amount of fans, they're determined to make the most of it. Therefore, it seems disastrous that someone has turned down Josh Franceschi's microphone right before he appears on stage. You literally need a hearing aid to make out what it is he's singing but luckily, the previously mentioned fangirls (and quite a few boys) appear completely unfazed and sing the words back with enough enthusiasm to make up for the technical fault. 72/100
After skipping a few bands in favour of some paracetamol I head back to the main stage for the penultimate band of the festival: Paramore. And while there may have been plently of hormone-filled girls hovering around the main stage for You Me At Six, Paramore clearly have the opposite effect. Instead I find myself surrounded by boys who all seems to be thinking along the same lines as I hear various murmurs of "OMG Hayley Williams" etc. On CD Paramore may sound slightly generic but their live performance couldn't be more different. On stage they're full of energy and confidence and their interaction with the crowd is effortless. Paramore may not make music that will define a generation but if there is one thing that sets them apart from other bands it's their huge stage presence. 84/100
So after three days of mud, music and a bit more mud we've reached the moment that everyone has been waiting for... The return of Blink 182. And if there's one thing that was certain before they even took to the stage it's that they were going to be more entertaining than any other band on the bill. An example? Well, before peforming the biggest crowd pleaser of the night 'All The Small Things' Tom DeLonge decides to take the time to thank 'Jedward' for letting them use their song. And this isn't the only crowd pleaser. The setlist comprises of a grand total of twenty-two songs including; Feeling This, The Rock Show, What's My Age Again?, I Miss You, Down, First Date and Dammit. However, the real highlight of the night (and the whole darn weekend) takes the form of Travis' drum solo which takes place on a revolving platform. It is quite possibly the most insanely talented thing I've ever witnessed and from the expressions of shock on the faces of those surrounding me, the feeling is mutual all round. Blink 182 aren't exactly technically accurate as a live band (with the exception of Travis Barker), but they are one of the most enjoyable, amusing and hilarious bands going. It's good to have them back. 93/100
Best band of Sunday: Blink 182
And that's the end of Reading Festival 2010. Here's a few other ratings for you:
MAIN STAGE: 7/10
NME/RADIO 1 STAGE: 9/10
FESTIVAL REPUBLIC STAGE: 7/10
LOCK-UP STAGE: 7/10
BBC INTRODUCING STAGE: 8/10
G4 ROAD: 9/10 (One mark deducted for the ridiculously extortionate £2.50 charge on the cash machine.)
CAMPSITE TOILETS: -100/10
ARENA TOILETS: 7.5/10
READING FESTIVAL: 100/100
Saturday, 31 July 2010
WARRIORS DANCE FESTIVAL.
The Milton Keynes Bowl is the mammoth of all venues. It's a bloody huge beast, cramming in a whopping 65,000 people for The Prodigy's Warriors Dance Festival. At one end the towering metal framework of the stage looms above the crowd. Littering the outskirts of this vast venue are various burger bars, pizza places and some unhealthy portaloos. As well as this, a second stage has been added especially for this one day festival named the Take Me To The Hospital Stage where Gallows will conduct a circle pit of epic proportions. An outdoor venue suitable for any type of gig. 9.5/10
The gates open at 1:30pm but the first band don't take to the stage until 3pm. The interval inbetween is filled with a DJ to get the crowd warmed up. Sadly this DJ remains unnamed and is simply described on the lineup as 'DJ'. As the venue slowly fills, you can begin to catch glimpes of the rowdy bunch which make up the crowd. There are a group dressed in brightly coloured full body suits which cover their faces, one man opts for a clown mask while another couple wear homemade masks of famous faces (one of which may have been Prince Charles), but my particular favourite 'costume' was a rather snug looking lion hat. That's right, a comfortable looking hat in the shape of a lion. Somebody clearly took inspiration from Luna Lovegood here.
Does It Offend You, Yeah? are up first and they immediately earn respect by appearing seemingly unconcerned by what is clearly a daunting experience. They have a raw energy which is apparent from the very back of the venue and there doesn't appear to be a moment in which they aren't enjoying themselves. It's clear they're loving every minute of it and so are the unruly lot down the front who keep up a relentless jumping fest for the full 45 minute slot allotted. The music itself is entertaining and extremely well played, particularly the guitars and bass with highlights including Battle Royale and We Are Rockstars. 72/100 www.myspace.com/doesitoffendyou
Next up (and up again later) is Eddy Temple-Morris. During his two sets he pounds out some dance tunes which somewhat bizarrely make me feel 'gangsta.' Are you confused? Yeah, me too. There's really not much to comment on here; he's your typical decent DJ. Clearly not the most anticipated act on the set but he still receives a warm reaction from the crowd. 60/100 www.myspace.com/eddytemplemorris
So, in between Eddy's two sets are Chase & Status and this is around about the moment when things start to pick up a bit. You can tell the crowd are fired up when a group of men dressed in biohazard suits tear through the crowd. The first band to really capture the crowd's attention, they start off extremely well. They're really going for it, you can feel the bass thumping through your feet. That is until about three songs into their set, when they lapse into that dull repetitiveness that you so often find in this style of music. They attempt to make up for it by bringing some guests onstage with them, including the well-known Plan B, but this is also a bit of a letdown as you really have to struggle to hear them at all. All in all, pretty much your average set which was admittedly a slight disappointment. 50/100 www.myspace.com/chaseandstatus
After the second ETM set are personal favourites Enter Shikari. When it comes to an Enter Shikari gig, experience is a key factor in creating the hype. Looking around, you can immediately pinpoint those who have had the Enter Shikari experience. They're all wearing an identical expression which is clearly identifiable as "THIS SHIT'S ABOUT TO GET MENTAL!" if that can actually be an expression. But what about those unsuspecting folk who are thinking "Enter who?" Well, they're completely oblivious to what's about to hit them round the face with the force of a stampeding elephant. As Solidarity kicks in a mosh pit rips apart the crowd and the previously mentioned unsuspecting folk change their expressions from 'unfazed' to 'bloody bewildered.' It's a rowdy mosh pit too, fuelled by the adrenaline of teenagers who like to kick each other in the shins. Being an outdoor venue, approximately two minutes in a cloud of dust has swamped the pit and the onlookers look, if possible, even more bemused so it's a welcome relief when the sky opens up and a light rain washes away the layer of filth covering the faces of the already exhausted fans. An intense set (I ended up waving both my shoes above my head like a madman) but one things for sure; whether you like Enter Shikari or not, you can't deny that they can rip a place apart quicker than an out of control bulldozer. 83/100 www.myspace.com/entershikari
The transitions between band and DJ are so smooth that I'm dancing to the next song before I realise that Enter Shikari have left the stage and it is in fact Zane Lowe pumping out a tune. There's a good reason Zane Lowe is such a well respected DJ. His interaction with the crowd is effortless and friendly, there's no arrogance that can occasionally be found with musicians but more than this is the fact that he seems to know exactly the right song to play to get the crowd going. Like Eddy Temple-Morris, Zane Lowe plays two sets and it's during his second (the penultimate set of the night) that he really impresses. The Prodigy might be up next, but people have still got time to sing, jump, dance and have a laugh with Zane Lowe. He's just that darn good at entertaining the crowd. 68/100 www.myspace.com/zanelowe
It's at 7:00pm (the interval between Zane's sets) that the momentous task of choosing between Pendulum or Gallows is made. While I'm backing Gallows all the way, I will admit that Pendulum are a bloody good live band and I'm eventually swayed to stay put at the main stage. Pendulum make their appearance but without the bold stage setup that was present at their headline tour, it's not a very impressive sight. Sadly, this isn't the only letdown. With over an hour to entertain 65,000 people you would have thought they'd be pulling out all the stops but their stage presence is weak and their music fails to make a real impact. Of course, there are still a few fans bobbing along and one man who takes it upon himself to hand out high fives as he pushes his way closer to the stage but the general atmosphere lacked energy. Not to be completely pessimistic, no matter how poor a Pendulum set may be, their music is still pretty good. 63/100 www.myspace.com/pendulum
When the sun eventually starts to set and the Milton Keynes Bowl is plunged into an eerie blue darkness the atmosphere cranks up a gear. There's a restless shuffling of feet which isn't entirely surprising considering The Prodigy don't make an appearance until twenty minutes after they're due on stage. There's a reason for this though and that reason is the three ambulances hauled onstage. That's right, three ambulances! The Warriors Dance Festival is The Prodigy's biggest gig to date and to make the occasion memorable they've packed their set with all their greatest hits; Breathe, Omen, Firestarter, Weather Experience, Voodoo People, Diesel Power, Smack My Bitch Up and No Good (Start The Dance) with the real highlight of the night being Out Of Space. After a whole afternoon rammed with various bands and DJs the majority of the crowd appear completely knackered but they're not giving up that easily. A somewhat small but messy mosh pit continues throughout the entirety of The Prodigy's set and while those inside it may be exhausted, this is no halfhearted attempt. At one point, Maxim orders everyone in the venue to kneel down. While I've seen other bands pull this move before, there is something surreal about 65,000 people united this way. And that sums up the whole Warriors Dance Festival: surreal and bloody brilliant. If you weren't there, you missed out. 92/100 www.myspace.com/theprodigy
The gates open at 1:30pm but the first band don't take to the stage until 3pm. The interval inbetween is filled with a DJ to get the crowd warmed up. Sadly this DJ remains unnamed and is simply described on the lineup as 'DJ'. As the venue slowly fills, you can begin to catch glimpes of the rowdy bunch which make up the crowd. There are a group dressed in brightly coloured full body suits which cover their faces, one man opts for a clown mask while another couple wear homemade masks of famous faces (one of which may have been Prince Charles), but my particular favourite 'costume' was a rather snug looking lion hat. That's right, a comfortable looking hat in the shape of a lion. Somebody clearly took inspiration from Luna Lovegood here.
Does It Offend You, Yeah? are up first and they immediately earn respect by appearing seemingly unconcerned by what is clearly a daunting experience. They have a raw energy which is apparent from the very back of the venue and there doesn't appear to be a moment in which they aren't enjoying themselves. It's clear they're loving every minute of it and so are the unruly lot down the front who keep up a relentless jumping fest for the full 45 minute slot allotted. The music itself is entertaining and extremely well played, particularly the guitars and bass with highlights including Battle Royale and We Are Rockstars. 72/100 www.myspace.com/doesitoffendyou
Next up (and up again later) is Eddy Temple-Morris. During his two sets he pounds out some dance tunes which somewhat bizarrely make me feel 'gangsta.' Are you confused? Yeah, me too. There's really not much to comment on here; he's your typical decent DJ. Clearly not the most anticipated act on the set but he still receives a warm reaction from the crowd. 60/100 www.myspace.com/eddytemplemorris
So, in between Eddy's two sets are Chase & Status and this is around about the moment when things start to pick up a bit. You can tell the crowd are fired up when a group of men dressed in biohazard suits tear through the crowd. The first band to really capture the crowd's attention, they start off extremely well. They're really going for it, you can feel the bass thumping through your feet. That is until about three songs into their set, when they lapse into that dull repetitiveness that you so often find in this style of music. They attempt to make up for it by bringing some guests onstage with them, including the well-known Plan B, but this is also a bit of a letdown as you really have to struggle to hear them at all. All in all, pretty much your average set which was admittedly a slight disappointment. 50/100 www.myspace.com/chaseandstatus
After the second ETM set are personal favourites Enter Shikari. When it comes to an Enter Shikari gig, experience is a key factor in creating the hype. Looking around, you can immediately pinpoint those who have had the Enter Shikari experience. They're all wearing an identical expression which is clearly identifiable as "THIS SHIT'S ABOUT TO GET MENTAL!" if that can actually be an expression. But what about those unsuspecting folk who are thinking "Enter who?" Well, they're completely oblivious to what's about to hit them round the face with the force of a stampeding elephant. As Solidarity kicks in a mosh pit rips apart the crowd and the previously mentioned unsuspecting folk change their expressions from 'unfazed' to 'bloody bewildered.' It's a rowdy mosh pit too, fuelled by the adrenaline of teenagers who like to kick each other in the shins. Being an outdoor venue, approximately two minutes in a cloud of dust has swamped the pit and the onlookers look, if possible, even more bemused so it's a welcome relief when the sky opens up and a light rain washes away the layer of filth covering the faces of the already exhausted fans. An intense set (I ended up waving both my shoes above my head like a madman) but one things for sure; whether you like Enter Shikari or not, you can't deny that they can rip a place apart quicker than an out of control bulldozer. 83/100 www.myspace.com/entershikari
The transitions between band and DJ are so smooth that I'm dancing to the next song before I realise that Enter Shikari have left the stage and it is in fact Zane Lowe pumping out a tune. There's a good reason Zane Lowe is such a well respected DJ. His interaction with the crowd is effortless and friendly, there's no arrogance that can occasionally be found with musicians but more than this is the fact that he seems to know exactly the right song to play to get the crowd going. Like Eddy Temple-Morris, Zane Lowe plays two sets and it's during his second (the penultimate set of the night) that he really impresses. The Prodigy might be up next, but people have still got time to sing, jump, dance and have a laugh with Zane Lowe. He's just that darn good at entertaining the crowd. 68/100 www.myspace.com/zanelowe
It's at 7:00pm (the interval between Zane's sets) that the momentous task of choosing between Pendulum or Gallows is made. While I'm backing Gallows all the way, I will admit that Pendulum are a bloody good live band and I'm eventually swayed to stay put at the main stage. Pendulum make their appearance but without the bold stage setup that was present at their headline tour, it's not a very impressive sight. Sadly, this isn't the only letdown. With over an hour to entertain 65,000 people you would have thought they'd be pulling out all the stops but their stage presence is weak and their music fails to make a real impact. Of course, there are still a few fans bobbing along and one man who takes it upon himself to hand out high fives as he pushes his way closer to the stage but the general atmosphere lacked energy. Not to be completely pessimistic, no matter how poor a Pendulum set may be, their music is still pretty good. 63/100 www.myspace.com/pendulum
When the sun eventually starts to set and the Milton Keynes Bowl is plunged into an eerie blue darkness the atmosphere cranks up a gear. There's a restless shuffling of feet which isn't entirely surprising considering The Prodigy don't make an appearance until twenty minutes after they're due on stage. There's a reason for this though and that reason is the three ambulances hauled onstage. That's right, three ambulances! The Warriors Dance Festival is The Prodigy's biggest gig to date and to make the occasion memorable they've packed their set with all their greatest hits; Breathe, Omen, Firestarter, Weather Experience, Voodoo People, Diesel Power, Smack My Bitch Up and No Good (Start The Dance) with the real highlight of the night being Out Of Space. After a whole afternoon rammed with various bands and DJs the majority of the crowd appear completely knackered but they're not giving up that easily. A somewhat small but messy mosh pit continues throughout the entirety of The Prodigy's set and while those inside it may be exhausted, this is no halfhearted attempt. At one point, Maxim orders everyone in the venue to kneel down. While I've seen other bands pull this move before, there is something surreal about 65,000 people united this way. And that sums up the whole Warriors Dance Festival: surreal and bloody brilliant. If you weren't there, you missed out. 92/100 www.myspace.com/theprodigy
Friday, 4 June 2010
The Rocket Summer, Brighton Concorde 2, Thursday 3rd June 2010.
Last year I was lucky enough to see Gallows at the Brighton Concorde 2 and it remains to date the best gig I have been to. Why? Well, it was largely down to Gallows but I can't deny that part of the reason was the venue itself. Brighton's Concorde 2 is quite possibly one of the smallest venues going and when I say small, I mean SMALL. Not only this but it has character. Floorboards which creak ominously when you jump on them and stained glass windows but the real highlight is that this tiny venue leads straight onto Brighton beach. By far my favourite venue, I only wish that more bands played there. 9.5/10.
Originally, The Audition were supposed to be the main support of the night but they pulled out at the last minute because they received a 'better offer'. Although I have more respect for a band who stick to their commitments, I'm still not entirely sure whether this was their choice or their management's, so I'll refrain from complaining.
The venue isn't even half full when Matthew P appears on stage (and that's really saying something) but he makes the best of it anyway. It's a very nice set too; featuring him and his guitar. There's even a little model of his name which moves and he tells us the story of how a toymaker made it especially for him. Add to this image a picturesque view of the beach with the sun shining in through the open double doors and you can't help but think that it's a very nice set indeed. His music topped the whole thing off, it was cheerful and relaxing. Very 'summer-y'. 68/100. www.myspace.com/matthewpmusic
Next up were a band called The Blueskies, a band who are actually from good old Brighton. Now, they're a tricky bunch to sum up. I actually like their music quite a bit but there was something which I couldn't put my finger on which annoyed me greatly. 50/100. www.myspace.com/theblueskies
Bryce Avary. The Rocket Summer. Whatever you want to call him, there is one thing you have to agree on: he is one talented musician. As Bryce takes to the stage with his friends who form the rest of the live band, there are huge cheers from such a small crowd. There's a tangible atmosphere, not the sort of building anticipation which fills the room just before a mosh pit explodes, but an atmosphere of excitement and happiness which is perfectly understandable considering Bryce happens to be one of the happiest people alive. He played most of his best songs such as Cross My Heart, Brat Pack, So Much Love, Do You Feel, I Need A Break... But I'd Rather Have A Breakthrough, Hills and Valleys and Save. I say 'most' of his best songs because he didn't play Show Me Everything You've Got. He then made a solo encore collectively made up of 'snippets' of songs requested by the fans such as Colors, Never Knew, TV Family and Mean Thoughts And Cheap Shots. During this set he appeared in the middle of the crowd to play an excellent cover of the Yeah Yeah Yeahs' 'Maps'. There didn't appear to be a second of his set in which he wasn't enjoying himself and I could say the same about the crowd. Overall, a very cheerful night it was. 72/100. www.myspace.com/therocketsummer
Originally, The Audition were supposed to be the main support of the night but they pulled out at the last minute because they received a 'better offer'. Although I have more respect for a band who stick to their commitments, I'm still not entirely sure whether this was their choice or their management's, so I'll refrain from complaining.
The venue isn't even half full when Matthew P appears on stage (and that's really saying something) but he makes the best of it anyway. It's a very nice set too; featuring him and his guitar. There's even a little model of his name which moves and he tells us the story of how a toymaker made it especially for him. Add to this image a picturesque view of the beach with the sun shining in through the open double doors and you can't help but think that it's a very nice set indeed. His music topped the whole thing off, it was cheerful and relaxing. Very 'summer-y'. 68/100. www.myspace.com/matthewpmusic
Next up were a band called The Blueskies, a band who are actually from good old Brighton. Now, they're a tricky bunch to sum up. I actually like their music quite a bit but there was something which I couldn't put my finger on which annoyed me greatly. 50/100. www.myspace.com/theblueskies
Bryce Avary. The Rocket Summer. Whatever you want to call him, there is one thing you have to agree on: he is one talented musician. As Bryce takes to the stage with his friends who form the rest of the live band, there are huge cheers from such a small crowd. There's a tangible atmosphere, not the sort of building anticipation which fills the room just before a mosh pit explodes, but an atmosphere of excitement and happiness which is perfectly understandable considering Bryce happens to be one of the happiest people alive. He played most of his best songs such as Cross My Heart, Brat Pack, So Much Love, Do You Feel, I Need A Break... But I'd Rather Have A Breakthrough, Hills and Valleys and Save. I say 'most' of his best songs because he didn't play Show Me Everything You've Got. He then made a solo encore collectively made up of 'snippets' of songs requested by the fans such as Colors, Never Knew, TV Family and Mean Thoughts And Cheap Shots. During this set he appeared in the middle of the crowd to play an excellent cover of the Yeah Yeah Yeahs' 'Maps'. There didn't appear to be a second of his set in which he wasn't enjoying himself and I could say the same about the crowd. Overall, a very cheerful night it was. 72/100. www.myspace.com/therocketsummer
Sunday, 30 May 2010
Pendulum, Wembley Arena, Friday 28th May 2010.
Yes, it has finally happened; third time lucky. I have tried and tested the cloakroom at Wembley Arena. The result: a half hour wait. Considering the size of the venue you would have thought that the cloakroom would also be a reasonable size but I've seen bigger cloakrooms in venues ten times smaller than Wembley. Not unorganised but extremely slow. 7/10.
If you've never seen a man doing press-ups on the stairs of Wembley Arena then you are definitely missing out. That's right. One man took it upon himself to entertain the whole crowd by showing off his skills. He then proceeded to rip his top off and strike a manly pose amid cheers from the crowd. This was then followed by a Mexican Wave around the entire arena. A very amusing five minutes.
Anyway, onto the music. Sub Focus were first to take to the stage; lurking behind a huge wheel of flashing lights which was rather impressive. As to the music, I'm a little indecisive. It was better than I expected but it occasionally lapsed into repetitiveness. Whatever it was, it definitely got the crowd going. 57/100. www.myspace.com/subfocus
Pendulum made an extremely bold entrance. Through the darkness, the screens onstage light up while Genesis explodes throughout the venue. As Pendulum take to the stage the song warps into Salt In The Wounds and the crowd literally go mental. Out of nowhere a huge mosh pit appears; a frenzied mixture of moshing and raving which continues throughout most of the set. All of their best songs are played: Showdown, Fasten Your Seatbelt, Slam, The Island (Parts 1 and 2), Propane Nightmares, Blood Sugar, Watercolour, Tarantula, Hold Your Colour and The Tempest, not to mention a cover of The Prodigy's Voodoo People. It's hard to choose a highlight when the whole night was so good. Every song was performed with brilliant energy. It wasn't only the band who were bouncing off the walls though; the whole crowd appeared to have taken an overdose of Relentless. Even the people in seated were up on their feet. A bloody exceptional night! 95/100. www.myspace.com/pendulum
Sorry folks. No photos from this gig. We were far too busy raving.
If you've never seen a man doing press-ups on the stairs of Wembley Arena then you are definitely missing out. That's right. One man took it upon himself to entertain the whole crowd by showing off his skills. He then proceeded to rip his top off and strike a manly pose amid cheers from the crowd. This was then followed by a Mexican Wave around the entire arena. A very amusing five minutes.
Anyway, onto the music. Sub Focus were first to take to the stage; lurking behind a huge wheel of flashing lights which was rather impressive. As to the music, I'm a little indecisive. It was better than I expected but it occasionally lapsed into repetitiveness. Whatever it was, it definitely got the crowd going. 57/100. www.myspace.com/subfocus
Pendulum made an extremely bold entrance. Through the darkness, the screens onstage light up while Genesis explodes throughout the venue. As Pendulum take to the stage the song warps into Salt In The Wounds and the crowd literally go mental. Out of nowhere a huge mosh pit appears; a frenzied mixture of moshing and raving which continues throughout most of the set. All of their best songs are played: Showdown, Fasten Your Seatbelt, Slam, The Island (Parts 1 and 2), Propane Nightmares, Blood Sugar, Watercolour, Tarantula, Hold Your Colour and The Tempest, not to mention a cover of The Prodigy's Voodoo People. It's hard to choose a highlight when the whole night was so good. Every song was performed with brilliant energy. It wasn't only the band who were bouncing off the walls though; the whole crowd appeared to have taken an overdose of Relentless. Even the people in seated were up on their feet. A bloody exceptional night! 95/100. www.myspace.com/pendulum
Sorry folks. No photos from this gig. We were far too busy raving.
Monday, 3 May 2010
Lostprophets, Leas Cliff Hall, Friday 30th April 2010.
Where do you go to party with The Blackout and Lostprophets? How about the quiet seaside town of Folkestone? No? Well, you would be wrong because this is exactly where we went last Thursday and party we did. Leas Cliff Hall may be a strange choice of venue at first glance it isn't all bad. Initially, it reminded me of the Winter Gardens but aside from the resemblance there are some slight differences which make this a better venue. For one thing, it's smaller so you're never more than twenty or so metres from the stage. It also has a proper bar which doesn't concern me but might be appreciated by some of you other folks out there. Overall, not a bad venue. 6/10.
So only one support band of the night. Luckily, they were The Blackout so this wasn't even a letdown. As usual The Blackout proved to be hugely entertaining and I wouldn't be surprised if everyone went home a Blackout fan. They played their usual setlist, incorporating songs from The Blackout! The Blackout! The Blackout! and We Are The Dynamite! while the majority of the setlist was made up of songs from The Best In Town. Highlights included I'm A Riot, You're A Fucking Riot, It's High Tide Baby! and Save Our Selves (The Warning). However, my personal highlight was the exact moment during which Gavin dived into the crowd and consequently stood on me. The only down side were the tossers who refused to kneel down in a feeble attempt to ruin the night. They failed. 74/100. www.myspace.com/theblackout
Approximately half an hour elapses, the crowd are getting restless, a chant begins and Lostprophets take to the stage amid flashing blue lights. It's an energetic performance with plenty of witty banter in between. Once again a cover of The Prodigy's Omen sees the crowd explode in a frenzied chaos. Last Summer, Where We Belong and Last Train Home are echoed back from the crowd with not just energy, but raw emotion. Sean Smith and Gavin Butler make an appearance for Can't Catch Tomorrow and at one point a lone crowd surfer makes it onto the stage for a sing along. One of the many highlights of the night was Burn Burn and the night was finished with a intense The Light That Burns Twice as Bright... Similar to the last time I saw them and just as good, I'm looking forward to seeing them play at Reading. 84/100.
www.myspace.com/lostprophets
So only one support band of the night. Luckily, they were The Blackout so this wasn't even a letdown. As usual The Blackout proved to be hugely entertaining and I wouldn't be surprised if everyone went home a Blackout fan. They played their usual setlist, incorporating songs from The Blackout! The Blackout! The Blackout! and We Are The Dynamite! while the majority of the setlist was made up of songs from The Best In Town. Highlights included I'm A Riot, You're A Fucking Riot, It's High Tide Baby! and Save Our Selves (The Warning). However, my personal highlight was the exact moment during which Gavin dived into the crowd and consequently stood on me. The only down side were the tossers who refused to kneel down in a feeble attempt to ruin the night. They failed. 74/100. www.myspace.com/theblackout
Approximately half an hour elapses, the crowd are getting restless, a chant begins and Lostprophets take to the stage amid flashing blue lights. It's an energetic performance with plenty of witty banter in between. Once again a cover of The Prodigy's Omen sees the crowd explode in a frenzied chaos. Last Summer, Where We Belong and Last Train Home are echoed back from the crowd with not just energy, but raw emotion. Sean Smith and Gavin Butler make an appearance for Can't Catch Tomorrow and at one point a lone crowd surfer makes it onto the stage for a sing along. One of the many highlights of the night was Burn Burn and the night was finished with a intense The Light That Burns Twice as Bright... Similar to the last time I saw them and just as good, I'm looking forward to seeing them play at Reading. 84/100.
www.myspace.com/lostprophets
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