Category: Music

Hyde Park
16.06.07

After tightening the hood on my anorak whilst the rain lashed down on central London and drying off in the queue waiting to get into the barracked part of Hyde Park, the O2 Wireless experience was ready to rumble.

The first band I saw were the Norwegian electro-dudes Datarock, who jumped out on stage in matching red tracksuits. Now, I wasn’t familiar with them and so I was excited to hear what they had to offer, but was soon let down when their singer showed a complete lack of tone and couldn’t hold a note for very long. The music itself wasn’t awful, but suffice to say they didn’t make a new fan of me.

So I then trotted over to the XFM tent to see Calvin Harris. Waiting for him to come on, we were treated to the MSTRKRFT remix of Justice’s D.A.N.C.E. which immediately put me in a good mood and when Mr Harris bounded on stage, hands clapping and body jumping, my mood got lifted even higher. Running through tracks from his recently released album I Created Disco, Calvin had the packed tent in the palm of his hand and when the singles, Acceptable In The 80s and The Girls were played, the eruption of cheers was deafening. Belting.

Back to the main stage and the less said about Plan B the better. The biggest cheers of his set came when he played Roots Manuva’s Witness and Blur’s Song 2 but his swearing and shock rap lyrics really did nothing for me. Thankfully, he was followed by Brazilian funsters CSS and with Lovefoxxx breaking out 2 intensely colourful all-in-one jumpsuits and the band played tracks like Alcohol and Alala, the dancing was back and generous applause came their way.

Once again I made my way to the XFM tent and again was hearing some great tunes from the DJs, especially the Radioclit remix of Bonde’s Gasolina. Klaxons stormed the stage as the last few people that were allowed into the tent piled their way forward and immediately went crazy to Atlantis To Interzone. The crowd really came alive for the entire set with the highlights being Golden Skans, Totem On The Timeline and Magick.

To finish the night off was a group that were riding high on my “must see live before I die” list and Daft Punk certainly didn’t disappoint. Standing on a raised platform in the centre of the stage, the robot-personas began their set with Robot Rock and immediately every single person in Hyde Park was screaming and dancing. The light show on stage was incredible and their mixing of Around The World and Harder, Better, Faster, Stronger was a real grin-inducing part of the set. As the two DJs got more into it, heads bopping, arms waving, the tracks came thick and fast from 1 More Time to Technologic.

As they came back for a short encore, the entire stage black and the only illumination coming from their now red helmets, the Frenchmen showed just why they are regarded as pioneers and giants in their field. They were absolutely incredible.

Abjekt.
Photo by Kim Norbury

Koko
07.06.07

I spent most of Ryan Adam‘s set on my knees. Doing a Monica Lewinsky? Unfortunately not, I was only down there because Koko was so packed by the time we arrived that the only possible place to get a glimpse of the show was up in the heavens, where you had to drop to the floor to view the stage between the tops of people’s heads and the balcony jutting out above. Koko is not short-person friendly…especially when the band are all seated.

Neal Casal is expected to open for Ryan, but tonight there’s no opening slot and bang on 9pm Ryan Adams and his band come onto stage. There’s no guitar on hand for Ryan as he’s injured his arm in a skateboarding accident and he visibly fidgets throughout the set, perched on a stool sat not as a solo artist, but in the middle of the line up. Declining to adcknowledge the crowd they slip into the opening track, and so the question hovers – do we have Ryan the show man, who’ll sit and tell funny little anecdotes and have the crowd in stitches, or do we have Ryan the ‘serious musician’, who says nothing, and just plays on.

Seems that tonight Ryan is taking himself a little more seriously, there’s no balaclavas or Cookie Monster stories like his last London stop off, but instead the set is unbelievably polished, the band are tight, working as one in an hour long set that glides perfectly from track to track, with his new album ‘Easy Tiger‘ set for release on June 26th, tonight is all about showcasing the new tracks, and the set list is without even one of his UK singles, but the new tracks we’re hearing for the first time are undeniably beautiful. As Adams himself puts it “I’m feeling this stuff. Is anybody else feeling it?’

‘Nightbirds‘ is beautifully reproduced, but it’s Gold’s closing track ‘Good Night Hollywood Boulevard‘ which gives you goosebumps. ‘I See Monsters‘ ends the show, and gets a rousing reception from the crowd, who seem ecstatic to finally recognize a song. Coming back to stage for an encore we get a glimpse of the joker, with Ryan visibly more relaxed and jokey. ‘Winding Wheel‘ is sublime, and a cover of Alice in Chains ‘Down in a Hole‘ is spot on.

Tonight’s show is slick and well put together…but a little underwhelming. Knowing what an entertainer Ryan can be, tonight is a little disappointing, they seem to be going through the motions rather than really enjoying it. The sound is amazing, he’s bang on with every crystal clear note, but whilst his new found sobriety has helped his performance as a musician, it’s taken away the light hearted banter, the silly stories and the goofy laugh – and the rumblings from the crowd suggest that it’s missed. £27 for a short and rather listless set without even an opening band can leave a nasty taste in your mouth – especially when you know what a breathtaking performance he’s capable of.

Dee Massey

Underworld
02.06.07

On this lazy, sun-drenched day, it’s,understandable that most of tonight’s punters prefer to enjoy the warm weather, rather than arrive in time to catch Dead City Riots. Still, the Glasgow quartet give it their all; their punchy, Foo-Fighters-esque sound proving ample sustenance for the early birds.

Pity those who miss Valient Thorr, though, because it’s rare to come across a support band so damn electrifying as this. For an all-too-short half hour, the stage is a blur of flailing hair and beards, as Thorr himself delivers his words like a deranged heavy metal preacher. In his eyes, we are less a crowd, more his comrades; and whether he’s singing atop a stool from the centre of the floor, demanding that everyone crouch down “in the name of equality” or delivering some humorous but intelligent between-song speeches, there’s never a dull moment. Superb stuff.

Fu Manchu were never going to compete in the showmanship stakes, but with an arsenal of Godzilla-sized riffs at their disposal, it’s no surprise that singer/guitarist Scott Hill is happy to let the music do most of the talking. Unsurprisingly, they sound utterly massive; unleashing old favourites like ‘Eatin’ Dust’ and ‘Evil Eye’ on an increasingly sweaty crowd. There’s barely a head not banging in here: proof enough that, ultimately, you can only wax lyrical about the Fu Manchu live experience for so long, before you just have to FEEL it. Hell, if these guys were any louder, we’d be keeping a nervous eye or two on the Underworld’s ceiling.

Considering that they played the Astoria a few years ago, it’s a shame that Fu Manchu’s profile has dwindled on these shores, especially when they’re on such fine form as tonight. Still, as they round things off with ‘King Of The Road’, it’s clear that few in this crowd would have any qualms about coming back for more.

Alex Gosman

Next time you take a train to a festival, remember that the looks on the commuters’ faces are usually a good indication of whether or not they’ve been expecting you. Those that haven’t will look confused, or even horrified (“My goodness, dear! Why are there all these sweaty, long-haired types on our train?”); those that have will usually look resigned (“Oh, great, festival time again. Looks like I won’t get a seat until Loughborough.”). Those that take the time to talk to you are usually pleasantly surprised, but unfortunately, such folks are few and far between. Still, Donington awaits.

FRIDAY:

After a brief trip into the very picturesque Donington village for some extra supplies, I return to the festival site in time to catch BUCKCHERRY recreating the spirit of 1987 Sunset Strip sleaze-rock to a slowly growing crowd. Songs like ‘Crazy Bitch‘ may amount to little more than a throwback to times gone by, but they sure make for a good sing-along. If you’re after something a little more seedy and dangerous, however, then you won’t find much better than TURBONEGRO. Today Hank Von Helvete and his boys are on fine form, with deathpunk gems like ‘Deathtime‘ and ‘Sailor Man‘ sounding as dirty, decadent and utterly deranged as ever. But what’s that hanging from Hank’s crotch? A dead squirrel? Answers on a postcard, please.

Over on the mainstage, MEGADETH are making the task of utterly dominating Download look painfully easy. Dave Mustaine and his cohorts have recently released their best work in over a decade in this year’s ‘United Abominations’ album, but today they keep the new material on a tight rein, in favour of a non-stop barrage of ‘Deth classics that – at last – whip a decent-sized pit into action. The grin on Dave’s face as the crowd roar along to every word of ‘Peace Sells.’ says it all.

DRAGONFORCE vocalist ZP Theart certainly isn’t lacking in the enthusiasm stakes, but his band start to sound somewhat repetitive after half an hour of non-stop widdly guitar solos and cheesy synths. Still, ‘Through The Fire And Flames‘ sounds suitably epic, and prompts plenty of air guitar action from an increasingly drunken crowd.

Over on the smaller Tuborg stage, SANCTITY prove that lack of originality needn’t be a problem as long as you’re very, very good; and their powerful cocktail of thrash and groove influences is deservedly greeted with a sea of devil horns and a warp-speed circle pit. It sets the scene nicely for their US brethren JOB FOR A COWBOY to obliterate the packed tent with their savage death-metal attack. There’s something genuinely unsettling about this lot, and it just makes their painfully short set all the more compelling. Be sure to keep an ear out for them.

VELVET REVOLVER‘s main stage appearance draws a huge crowd, but one that clearly enjoys the band’s choice of Guns N’ Roses and Stone Temple Pilots covers more than VR’s own material. Add that to vocalist Scott Weiland’s unusually surly presence and a handful of rather uninspiring new tracks (from forthcoming second album ‘Libertad‘), and the overall impression is that VR need to put their past glories behind them before they can truly become a force to be reckoned with.

Either there are a lot of punters keen to avoid the emo and nu-metal thrills of the other two headliners (My Chemical Romance and Korn, respectively), or SUICIDAL TENDENCIES are enjoying a resurgence in popularity on this fair isle. Either way, Mike Muir and his cohorts are a genuine thrill to watch; kicking off with an incendiary ‘You Can’t Bring Me Down‘ that sets the tone for an hour of thrash-core classics. They may be getting long in the tooth, and Muir himself may dance like an octopus fighting its way out of a blancmange, but make no mistake: ST are indeed still cyco after all these years.

SATURDAY:

Self-proclaimed ‘battle metal’ pioneers TURISAS make for a spectacular start to the day; covered in red and black war paint, and boasting a fiddler and accordion player amongst their ranks. A tad silly, yes, but they sound hugely impressive; with a repertoire of anthemic songs that wouldn’t sound out of place on the soundtrack to ‘Braveheart‘. Plus, it’d take a churlish punter not to smile at their folk-metal reworking of Boney M’s disco classic ‘Rasputin‘.

HELLYEAH‘s chunky, mosh-friendly grooves are somewhat mundane in comparison, although they do sound impressively brutal in the live setting. Their set also marks the return of former Pantera/Damageplan drummer Vinnie Paul to Download, and the cheers that greet his arrival are as touching as they are deserved.

Over on the Tuborg stage, BEYOND ALL REASON are clearly enjoying playing to a festival crowd, with vocalist Venno’s high-pitched screech sounding remarkably powerful for this time of day. Musically, theirs is a more melodic, glam-inflected brand of metal; not to everyone’s taste, but ‘Love Crossed Pistols‘ is undeniably catchy.

Just when you think GALLOWS can’t get any crazier, they go and push things to a new level. Quote of the festival has to go to Frank Carter: “Say hello to my fuckin’ mum!” he shouts, holding up his mobile, shortly before hurling himself into the crowd for a vitriolic feedback-drenched ‘Six Years‘. God bless these boys; long may they remain a volatile, unpredictable thorn in the side of this industry.

MACHINE HEAD‘s main stage slot is arguably one of the most anticipated of the weekend, and the Bay Area boys don’t disappoint. Robb Flynn may seem genuinely humbled by the heroes’ welcome his band receives, but there’s nothing bashful about the way that brutal renditions of ‘Imperium‘, ‘Halo‘ and ‘Davidian‘ whip the crowd into a churning, bouncing mass.

Like sex, SLAYER are still pretty damn good even when they’re not amazing; and even though they seem a tad workmanlike today, ‘Disciple‘ and ‘Dead Skin Mask‘ are still shot through with enough sinister fury to batter our eardrums into submission.

Goths and daylight generally don’t mix, and hence MARILYN MANSON is already at a disadvantage, having to take the stage with the sun still beaming brightly behind him. ‘Sweet Dreams‘ and ‘The Beautiful People‘ still sound as good as ever; elsewhere, however, there’s too much lumpen new material and too few elaborate theatrics to lift this performance above adequate.

Ultimately, the real Saturday night party thrills were only ever going to be provided by MOTLEY CRUE. Yeah, they’re getting on a bit, and Nikki Sixx’s stage banter is a tad embarrassing, but if the idea of a packed tent going crazy to a Motley greatest hits set doesn’t excite you, then you’re either boring or just not drunk enough. Big? No. Clever? Not in the slightest. Fun? Oh yes, and then some.

SUNDAY:

Sunday morning arrives, and the last couple of days’ partying is clearly starting to catch up with most of the crowd. Not that THE GHOST OF A THOUSAND care, as they blast away any remaining cobwebs with half an hour of hardcore rock n’ roll fury. Over on the Dimebag Darrell stage, stoner-punk merchants the CANCER BATS boast not only a impressive arsenal of bowel-loosening riffs, but also a brilliantly hyperactive frontman in vocalist Liam Cormier. The small but appreciative crowd love them, and so they should.

From here on in, things can only get harder and heavier, as UNEARTH‘s scorching metalcore attack turns the tent into a war-zone. The music is impressive enough, but what truly astonishes about this lot is that there’s absolutely no let-up in intensity throughout their entire set. DEVILDRIVER take that ball and run with it, unleashing scathing metallic hell on a grateful crowd that eagerly honours frontman Dez Fafara’s request for a giant circle pit; one that stretches around no fewer than six tent posts. If you missed it, go look on Youtube now.

Back on the main stage, LAMB OF GOD show just why they have frequently been hailed as the finest groove metal crew since Pantera’s heyday, treating the crowd to a truly – ahem – vulgar display of power. As ‘Redneck‘ ignites no fewer than five circle pits, plus a thick volley of crowdsurfers, it’s clear that these five Virginia boys are onto something special.

KILLSWITCH ENGAGE‘s stage presence suffers somewhat due to the absence of lead guitarist/band comedian Adam Dutkiewicz (due to ongoing back problems), but it’s obvious from the epic sing-along to ‘The End Of Heartache‘ that the crowd is very much on their side. No wonder vocalist Howard Jones can’t stop smiling. No such warmth from DIMMU BORGIR, though; who rip through forty minutes of prime Finnish black metal at cranium piercing velocity. They’re tight as hell, as harsh as you could want, and although you may laugh at their stage garb, it’s hard not to be impressed by the sheer aural brutality on show.

Donington has long been IRON MAIDEN‘s home from home, so it’s a shame that tonight, Bruce and co. merely entertain where they should electrify. Last year’s ‘A Matter Of Life And Death‘ album was their finest effort in years, but only ‘These Colours Don’t Run‘ truly gels with the rest of the set, which is largely made up of classic – but somewhat predictable – tunes from the band’s ‘Number Of The Beast’ era. The sound of the crowd joining in for ‘Run To The Hills‘ and the closing ‘Hallowed Be Thy Name‘ is still an awe-inspiring experience, and there’s clearly no end of adulation for the band, so here’s hoping that next year’s tour will see Iron Maiden slaying stages like they have done so many times before.

Alex Gosman.

All photos courtesy of Niki Kova’cs