GLASTONBURY 2005 @ Glastonbury, Somerset
Date: 23rd June 2005
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Glastonbury Festival of Contemporary Performing Arts
Worthy Farm, Pilton, Somerset
June 24th-26th 2005
Reading reviews of Glastonbury 2005 must seem a bit like watching the Weather Channel to those that were not present, and much as I desire to avoid talking about the mud, it's bound to come up at some point or other, so I figured I'd get it out of the way early and dispel a few myths. The weather in Somerset this Glastonbury weekend was not the apocalyptic vision that some media outlets reported. In fact, a large proportion of festival goers probably did not see any rain at all. After blazing hot sunshine on Wednesday (when it was warm enough to wear shorts and a T-shirt till 2am) and Thursday, there followed an eight-hour burst of rain, the likes of which have never previously been seen at Worthy Farm. At 3am on Friday morning, the thunder and lightning started, and the rain didn't stop until 11am. It didn't rain again for the rest of the weekend, but the amount of rain that fell during that storm was equivalent to the average for the entire month of June. With the ground parched from the scorching temperatures, the rain water was not absorbed, and simply ran over the surface, creating rivers which flowed down from the top of Pennards Hill (this year's most popular camping area). At the bottom of the hill, by the old railway line, the river formed a lake, and those unfortunate campers who had set up base in a prime position for the Other Stage were swept away. After that, the entire site turned into a muddy bog, but the only actual downside of that was that it took far longer to get around the site, trudging through the mud. But overall, the festival was no muddier than in previous years, and certainly not as bad as in 1997 or 1998. Oh, and the main stages (Pyramid, Other, Dance) were, depending on which rumours you believed, all split in half by lightning.
Weather report completed, it was time to see some music. And what a treat the Glastonbury crowd were in for. Three days of sensational performances by some legendary acts, performers hitting the peak of their careers and the best new bands around.
Glasswerk's journey started on the Other Stage on Friday afternoon, with *The Editors*. Birmingham's newest stars faced a difficult task to revive the spirits of the crowd. And indie gloom was not really the recipe for success when the audience are knee-deep in an appetizing combination of cow manure and mud. Still, they did their thing and may have won over some new fans with a brilliant version of recent single 'Munich'.
*Hot Hot Heat* were next up on the same stage, and they brightened things with their upbeat brand of party-punk-pop. Interchanging between hits from debut album 'Make Up The Breakdown' and their recent second album 'Elevator', Steve Bays' energetic showmanship ensured a lively set. 'Bandages' was strategically planted in the middle of the set, 'Oh Godammit' was a highlight, and they finished with 'Goodnight Goodnight', the fans pogoing around in the mud.
After catching two piss-poor efforts by *The Others* (music's answer to the Trade Unions), it was time to head over to the John Peel Stage for the first time. *Yourcodenameis:milo* were just finishing their set, but three minutes from their three-pronged guitar attack was enough to convince Glasswerk that big things await for the Geordies. But the real reason for heading over to Peel Stage was *M83*. The introspection of France's premier starry-eyed electronica act made for a delightful early evening experience. Rolling drums, simple yet effective keyboard loops and haunting vocals combined to form a mesmeric show. 'Don't Save Us From The Flames' was the highlight, exerting the drumkit to the maximum.
Over on the Pyramid Stage, *Doves* were launching into their set. Jimi Goodwin and co first played Glastonbury seven years ago, but there is no doubt that they continue to be worthy of a peak main stage slot. The
atmosphere, hit hard by the weather, began to improve, as the crowd were entertained by hits including 'Pounding' and 'Snowden'. The set-closing epic that was 'The Cedar Room' reminded us that this is a band most suited to performing in front of vast fields.
Our spirits lifted, it's time for the band that should have been replacing Kylie. It's understandable that *The Killers* preferred their existing slot - it virtually guarantees that they'll be headliners in 2007, but their brand of indie-discotastic tunes were made for closing out festivals. From the opening beats of 'Somebody Told Me', the vast crowd sing along with every word. Surprisingly, the big singles are performed with little enthusiasm, and Brandon Flowers really seems to be in his element when performing the album tracks. Maybe it was due to boredom, but a lacklustre 'Mr. Brightside' comes nowhere near matching the peaks of 'Glamorous Indie Rock & Roll', or 'On Top'. Frankly though, would there have been a better way to end the festival than with 100,000 people chanting the anthemic line "I've got soul but I'm not a soldier"?
It's going to take some headline performance to top that. But if anyone is capable of doing so, then *The White Stripes* are the band to do it. The weirdest band ever to headline the Pyramid Stage set about their task with aplomb. All the big hits are present - a rock'n'roll jive along to 'Hotel Yorba', the head-banging screeching of 'Blue Orchid', the bass-heavy crowd pleasers that are 'Seven Nation Army' and 'Hardest Button To Button'. The highlight, on an evening of singalongs is a beautiful rendition of their Dolly Parton cover, 'Jolene'. Meg smacks the drums like Bam-Bam from The Flintstones. Jack wheels around the stage like Hendrix on acid, and yelps his vocals. There are few odder bands at this festival, and yet they rightly hold their place as one of the great bands of this decade.
If Friday seemed busy, then Saturday was going to be a non-stop day of top musical performances. The day began over on the tiny G Stage (in the Dance Village) for a bizarre performance by an act who is already becoming legendary at Glastonbury. Unlike last year, *Cassetteboy* brought along a partner in the form of *DJ Rubbish*. And indeed he was - rubbish by name, rubbish by nature. He's not even a DJ. Wearing a 'Peckham' T-shirt, he is obviously a filler between costume changes for Cassetteboy, although he does come up with two of the best lines of the festival, when he shouts "Glastonbury... make some silence" and then finishes with the line "you've been an adequate audience". But it's all about Cassetteboy. Any artist who spends 7 years recording a debut album is either stupid, talentless or immaculately professional. Cassetteboy falls into the latter category. His 'cut and paste' approach to comedy creates results that leave his surprisingly large cult audience in stitches. The regulars are present and correct - 'Fly Me To New York' is his Frank Sinatra and Wu Tang Clan mashup take on September 11th. The Harry Potter audiobooks are cut up and stuck back together to turn them into an X-rated version... if you haven't heard what Hermione would like to do to Harry, then you really must find an opportunity to do so. The best of his new work is an ode to Mike Skinner of The Streets, which ends with the immortal line "The Streets, lazy lyrics over shit beats, I'm such a twat". He finishes his set with characters in costume on stage - Michael Jackson strangling the Crazy Frog, whilst 'Dubya' points a rocket launcher at the two of them.
Over on the Other Stage, *KT Tunstall* is battling against the weather. The mud has turned half of the Other Stage area into a bog, severely limiting the potential size of the crowd. KT, resplendent in her summery pink dress, is on good form, exchanging humorous banter with the crowd between recent hits including 'Black Horse & The Cherry Tree' and 'Other Side Of The World'. Her voice sounds as sweet as ever, and although this gig may have come too soon for her, it seems like a certainty that she will be back at Worthy Farm in the future. She ends with 'Suddenly I See', which she introduces with "suddenly I see you, f**king loads of people". With album sales going through the roof, KT's star continues to rise.
The most eagerly anticipated festival debut follows over on the Pyramid Stage. The band formerly known as Lucas Radebe, but now better known as the *Kaiser Chiefs* attract a huge crowd, including Chris Moyles, who noticeably stands to the left of the stage, right next to where a massive drainage process is underway. Afterwards, reviews seemed to be mixed, and this seems understandable. On the one hand, the Chiefs play very competently to an enormous crowd, who sing along to 'Everyday I Love You Less And Less', as well as 'I Predict A Riot'. But at the same time, they are fairly unremarkable, almost repetitive in their aaaaaaaaahhh's and their na-na-na-na's, and it's only on 'Oh My God' where their true talents shine.
Perhaps the Kaisers suffer from the lack of a back catalogue. Not so *Ash*, who have managed to survive long beyond most of their Britpop peers, courtesy of several fine albums. This was a greatest hits set in every sense. 'Girl From Mars' and 'A Life Less Ordinary' got proceedings off to a riotous start, and although the tone was dropped for an emotional cover of 'Teenage Kicks' (dedicated to John Peel and Joe Strummer), the pace did not let up. More recent hits such as 'Clones' and 'Orpheus' were performed with great gusto, Tim Wheeler and Charlotte Hatherley showing the sort of partnership that has allowed Ash to survive this long. 'Renegade Cavalcade' was surprisingly well received, and 'Shining Light' and 'Burn Baby Burn' rounded off the set in style, but not before Wheeler had offered to marry any audience members who were prepared to meet him at the Lost Vagueness chapel that evening.
*The Coral* also suffer from lack of recognition, and thus received a lukewarm response from the Pyramid Stage crowd. 'Dreaming Of You' was the obvious highlight, but if recent hits 'Pass It On' and 'In The Morning' are anything to go by, The Coral will be around for long enough that they too will soon have a greatest hits set to rival that of Ash.
The biggest crowd on the Other Stage was reserved for *Interpol*, bringing their dark brand of guitar-led rock to Glastonbury for the second time (after their 2002 performance). Playing hits from their debut album 'Turn Off The Bright Lights' and last year's more accessible 'Antics', the music is perfect for the conditions - grey and miserable. 'Evil' is performed with rigour, and 'NYC' and 'Slow Hands' are dark gothic tunes that get Glastonbury rocking.
The buzz surrounding *New Order*'s Pyramid Stage appearance is immense, but unfortunately the performance doesn't quite live up to expectations. Despite a promising opening of 'Crystal' and 'Regret', the set is short on Joy Division tracks and a bit of a (Baby)shambles. Bernard Sumner never seems to be quite in control of proceedings. Sumner dedicates 'Transmission' to Ian Curtis, and then after an aborted start, dedicates 'Love Will Tear Us Apart' to John Peel. Even guest appearances from Ana Matronix (of Scissor Sisters fame) on new single 'Jetstream', and Keith Allen, singing the John Barnes role on 'World In Motion' fail to liven the crowd, and the set ends abruptly, leaving the crowd disappointed by the lack of a performance of 'Blue Monday', arguably their greatest hit.
The disappointment doesn't last long though. The most eagerly anticipated Glastonbury headliners since Paul McCartney last year(!!!) take to the stage dressed all in black. *Coldplay* arrive in Somerset in peak form, and with this set, they secure their position at the head of the British pop-rock aristocracy. The opening medley alone is enough to prove to the doubters why this band are so special. 'Square One', 'Politik', 'Yellow', 'God Put A Smile On Your Face' and 'Speed Of Sound' is as close to perfection as any band is likely to achieve with the first five songs of a live set. Chris Martin has a broad smile on his face throughout the set, and enthusiastically engages in a bit of audience banter, modifying the words to 'Politik' to describe the weather conditions, and then firing out a retort of "Crazy Frog, where are you now?" The new tracks from 'X&Y' seem to be purposely designed for the large outdoor setting - anthemic and epic tunes such as 'Low' and 'Til Kingdom Come' interspersed with old favourites including a rip-roaring 'Clocks' - Coldplay are surely the biggest band in the world right now. But it's the way that they pull off the encore that cements this performance in Glasto folklore. Having already played their biggest hits, Martin dedicates a special cover of Kylie's 'Can't Get You Out Of My Head' to "absent friends", and then finishes with a gut-wrenching version of 'Fix You', surely destined to become another huge hit. As the fireworks explode all around, Martin thanks the crowd for giving him "the best job in the world". But on this performance, it is mightily deserved.
Sunday morning, and Pennards Hill is woken by an over-excited milkman, and his customer, screaming "oi milkman, I want my 19 grand's worth of milk". A quick peek outside reveals that the sunshine has returned - it feels like the glorious weather of Wednesday and Thursday was a lifetime ago, yet the Glasto-goers are determined to make the most of this last day of Glastonbury before June 2007.
Ryan Adams' withdrawal from the line-up was well known, but the late withdrawal of Hard-Fi (due to a serious family illness) messes up the Peel Stage line-up even further. So Glasswerk is treated to a performance by *Black Bud*, one of the bands whose set was cancelled due to Friday's adverse weather conditions. It's a simple but effective set of country-driven rock, and it's played to a huge crowd, many of whom seemed uncertain of who exactly they were seeing perform.
Presumably many of those confused fans were there for *Dresden Dolls*. Amanda Palmer and Brian Viglione have obtained a cult following in their hometown of Boston since forming in 2001, and with the breakthrough success of their latest album, Glastonbury was expectant. For the uninitiated, the Dolls make the White Stripes look like Keane in the normality stakes. They play piano-driven riot girl rock with a distinctively German cabaret feel. And they write songs about anal sex and plastic surgery. Odd, indeed. Palmer (who later on today will streak across the same stage during Bright Eyes' set) wears a black corset and stripy suspenders, and plays the piano like Tori Amos on speed. Viglione plays most of his set standing up, his white face paint masking any real emotion. 'Coin Operated Boy' gets a big cheer, and although their set is cut short to just six tracks, they are exceptionally well received. Expect great things.
*Van Morrison* has not played in Somerset since 1993's festival. His rhythm and blues set goes down well with the sun-drenched crowd, although most are merely waiting to hear 'Brown Eyed Girl' and 'Gloria' which he saves for the encore. Putting the golden oldies in the Sunday afternoon slot is a Glastonbury tradition, and Morrison fits the bill.
However the unquestionable highlight of the weekend follows on the Pyramid Stage. *Brian Wilson* had promised a greatest hits set taken from 'Pet Sounds' and 'Smile' and by the end of his set, that's exactly what the crowd are doing (smiling!). Wilson looks unwell, and for many of the audience, this is likely to be the first and only opportunity to see a true legend. So they take advantage, dancing and singing along to the Beach Boys' classics, the Californian sun-drenched anthems including 'Wouldn't It Be Nice', 'I Get Around' and a truly special performance of 'God Only Knows'. An encore of 'Good Vibrations' and 'Surfin USA' has everyone on their feet, and the crowd-surfing at the front of the pit is a sight to behold.
There's no time to reflect on the genius of Wilson though, as it's straight
over to the East Dance Tent for an eagerly anticipated Glastonbury debut by *Mylo*. 'Destroy Rock And Roll' has been a slow burner of an album, but Scotland's Myles MacInnes has a sweaty packed out dance tent ready to rumble. The bikini-clad girls at the entrance to the tent twist and shake. Arms are held aloft to 'In My Arms', accompanied by what appears to be a blonde lesbian porn video. And when the bassline of 'Drop The Pressure' kicks in, the tent quite literally erupts. It's the most euphoric moment of the festival - complete strangers hug each other and bounce up and down, screaming out the chorus line "motherf**kers gonna drop the pressure."
After that, Glasswerk has no choice but to keep on dancing for the rest of the festival. Which means that next up must be *LCD Soundsystem* on the Peel Stage. James Murphy, decked out in a pristine white suit, yelps his way through a set of electronic dance-rock noise, including tracks from their most recent album such as a crazed performance of 'Tribulations'.
With no Kylie, Glasswerk ends Glastonbury 2005 back in the East Dance Tent for *2manydjs*. The Soulwax side-project has been wowing festival crowds for years, but unfortunately, something appears to have gone awry, and instead of a set packed with the crowd-pleasing remixes that we've come to expect, we get an hour of unrecognisable techno, with just a few remixes thrown in to prevent the crowd from vanishing. Admittedly, it's an inspired decision to open the set with 'Teenage Kicks', and playing 'Blue Monday' earnt them brownie points after New Order's failure to do so the previous night. Other than that, the highlight is a bizarre mix of 'Higher State of Consciousness' with 'House of the Jealous Lovers'. But it's a disappointing end to a
wonderful festival.
Michael Eavis called it "the greatest Glastonbury ever", and although he says that every year, it might just be true this time. The extreme weather conditions contributed to a phenomenal camp spirit, and performances from the likes of The Killers, The White Stripes and Coldplay - all bands right at the top of their game - as well as that legendary set from Brian Wilson ensured that Glasto 2005 will go down in the record books as a cracker. Bring on Glasto 2007. |
