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redbrick.me/music
11th - 17th October 2013
Music
Bestival 2013 Lily Blacksell Quiz Queen
Album Review: Haim - Days are Gone Sam Dix
Music Editor
@what_sam_said
Busy polishing their image since debut EP 'Forever' became an unexpected hit last year, Haim have presumably been very keen to mould themselves into popstars, or at least, a recognisable entity within the World of Pop. Since winning the BBC Sound of 2013 Poll and seemingly appearing on every stage performing with every other band at Glastonbury, they've even met Britain's least popular Prime Minister since the last one, David Cameron, who awkwardly took to Twitter to thank the band for giving him a copy of their debut album. Haim seem an intelligent bunch, which raises the question as to why they decided to wedge their first three singles in at the beginning of the album. Is it because they are aware of the tight deadlines journalists have to adhere to these days, knowing there is little chance of any pop critic listening past track 5 without already having formed most of the review? Or are they hoping we will forget what is a really poor second side of the album? It is heavily produced, a cynic could argue this is at the management's behest, eager to cash in on their current popularity. Given that their ball-busting live shows have been praised for their edgier rock display, perhaps some life has been sucked out of the band, perhaps too many synths have spoiled the broth. Clearly mega-bucks have been thrown at this record, with the intention of paving the way to chart success. While we knew Haim weren't exactly going to change the world, we thought they'd at least produce a more interesting album than this. It's boringly brooding, and instead of their attitude fuelled rock we know and love, they seem to have been tripped up by the large amount of money in front of them. My only advice to anyone thinking about buying this album is either a) buy the singles or b) see if you can get a deal where you can pay half price and just get the first half of the album. The entire second side isn't worth listening to.
@LilyBlacksell
'One of the best gigs of my life!' said Norman Cook. 'One of the best evenings of my career. Amazing!' said Elton John. 'I was there!' squealed Lily Blacksell, from her post-festival flu sick bed. It is no coincidence that praise for Bestival should be laden with superlatives. The award-winning festival was back and bigger and better than ever to celebrate its tenth birthday in a wave of nautical flair. It seemed fitting that this year was branded as HMS Bestival. The weekend was nothing short of a voyage into a musical soundscape both unknown and well-known. Perhaps the most striking stamp of the theme on site was the ingenious Port stage. An enormous ship, kitted out with all the strobes and lasers a girl could ask for, sat proudly beyond the rest of the dance areas and attracted swarms of fans, both raving and behaving, to hear sets from the likes of Annie Mac, The 2 Bears and Julio Bashmore. Other stages were built into trees, verandas, the corners of makeshift living rooms, the list goes on. Even in more conventional settings, the music, comedy and poetry to be seen across the weekend maintained an extraordinary charm that was all too easy to get swept up in. Friday presented us with a (rather depleted) Wu Tang Clan, whose request for crowd members to pour their drinks into the ground in memory of the late Ol' Dirty Bastard was met with great reluctance by those who'd rather not get rid of a nigh-on five pound pint quite so quickly. In the name of variety, I then went and saw Drenge, who's grungey music and boyish enthusiasm is highly addictive and increasingly appreciated by anyone who knows what's what. 'Thanks for watching two children playing with toys on stage,' said singer and guitarist Eoin Loveless as he got up from the floor that he'd fallen over on to, never missing a beat but unfortunately scratching an elbow. Bombay Bicycle Cub took to the Main Stage later that afternoon, joined by the London Afrobeat Collective for a string of inspired renditions of their old favourites with a calypso twist. With their new songs sounding so great in the Isle of Wight sunshine, Jack Steadman's promise of an album to come in February got us all even more thrilled. Apart from Lionel Richie's inflatable
head looming on the horizon (yep), there was no doubt over who the biggest act on Friday was. Fatboy Slim said that his Bestival set was his most meticulously planned performance ever, and the proof was in the pudding. Speaking of which, Cook opened his set by blowing out ten candles on a Bestival birthday cake. A 'Right Here, Right Now' double-whammy flanked Daft Punk remixes, a homage to Etta James, the new single 'Eat, Sleep, Rave, Repeat' and 'Praise You', for which he enlisted an all female choir and Rob da Bank on the keys to make the track even more commendable. Blinking in the Saturday morning light, we donned our seafaring fancy dress and
"When it comes to hard acts to follow, Festival of the Year 2012 is certainly a tricky one." headed to the Amphitheatre stage in the depths of the Ambient Forest. Across the weekend on this stage we saw sketch comedy from Four Screws Loose, a stand up, music and poetry fusion from Tongue Fu, a poetry set from UoB graduate and all-round Scumbard Jimmy Grady and a late night horror film or two. Johnny Marr rocked the Big Top before Franz Ferdinand stomped onto the main stage and proved their mettle with a list of festival anthems as long as Alex Kapranos' legs. Snoop Dogg made sure to dedicate every other song to 'all the single sexy ladies' in the crowd and, despite repeatedly being reminded his name was Snoop (doggy) Dogg during 'What's My Name?', he even managed a brief transformation into Snoop Lion. By Sunday, the general euphoria at the festival was reaching a pitch. Most clothes and many possessions were soggy by now, but spirits were far from dampened as we breakfasted in the indescribably wonderful Solace Tent and took survey of the site. Clayton Blizzard, who performed at the Bristol Pear last year for Writers' Bloc's Grizzly Pear poetry event, popped up in The People's Front Room, enlisting an unsus-
pecting Bo Keeney from the crowd to play drums along with his show which comprised of poems, raps, songs and a piano. Valerie June played a mix of roots, bluegrass, plain old and good old blues music with a sultry stare and some beautiful guitars. Chic performed to one of the weekend's biggest, happiest crowds in a stellar set that saw Nile Rogers lay claim to every pop song in the Western world and a rainbow appear in the sky around the stage. For those who had any voice left, Elton John's set was a triumphant, singalong finale. It was more than that, though, with plenty of new material from his new album, 'The Diving Board' and each song as noble as it was fabulous. Sir Elton stood to bow after every number and was on fine form despite his recent illness. Whether we were sobbing into our mac-in-a-pac during 'Your Song' and 'Rocket Man', or maniacally clapping to 'Crocodile Rock', the crowd was never less than delighted and the firework display added 'ooo's and 'aaa's to our 'encores!'. When it comes to hard acts to follow, they don't get much tougher than Sir Elton John. James Blake nevertheless played a blinder of a set that curator Rob da Bank said is one of his all time Bestival highlights. In the true spirit of punk, Parquet Courts were a brilliantly unconventional band to close my festival with, before I packed up my tent and set off into the late night/early morning drizzle. When it comes to hard acts to follow, Festival of the Year 2012 is certainly a tricky one. HMS Bestival 2013 succeeded in rocking the boat and making the grade.