Indietracks is a pretty unique event, in many ways. Most obviously in that it takes place at a heritage railway, but also in terms of what it means to the people who attend each year, and the way it is organised. The people who attend are passionate about the music and the event, and the organising team bring together a wonderful mix of music each year that manages to simultaneously follow a comfortable pattern and throw in some really delightful surprises.
You get a few industry veterans (Bis, The Catenary Wires, Tracyanne & Danny), some Indietracks mainstays (Martha and a tearful farewell to The Spook School), bands that are just starting out (Cheerbleederz) and bands that are starting to generate some industry buzz (LIINES, Porridge Radio).
There is also a lot of variety of band style considering that most people would see the indie-pop scene as being fairly straightforward in terms of musical focus. There’s black feminist punk (Big Joanie), Euro-J-Pop (Kero Kero Bonito), surf instrumentals (Surf Muscle), pop-punk (Fresh), Hong-Kong shoegaze (Thud) and hard-to-define-pop (The Orielles).
I could write hundreds of words giving my personal view on the dozens of bands I saw but what would be the benefit of that? I know from just the experience of myself and my colleagues over the weekend that everyone will find different things to like from a festival like Indietracks. Be that the different bands, or the owls, or the train sheds, or the miniature railway, or perusing the merch stalls, or surviving the falling speakers at the campsite disco.
So instead I’ll leave you with my personal three favourites from the weekend and a selection of pictures of the event. If you’ve never been then I urge you to give the festival a go next year. If you’ve been already you don’t need me to tell you how much fun it all is.
So, in no particular order, my top three:
This, like most of my favourite music over the weekend, was entirely new to me. I’d heard of Owen Ashworth’s previous act Casiotone for the Painfully Alone but never listened to them. I also knew that he’d recorded work by The Magnetic Fields but never listened to any of those tracks either. In some ways it sounded exactly as I would have expected, downbeat, synth driven and built around some great word-play. What I hadn’t expected was such a beautiful tone to his voice, and so much emotional weight to the songs.
Seazoo play a type of music that has defined my record collection for most of my adult life, noisey(ish)-indie-guitar-pop. They aren’t breaking much new ground but the older ground they are covering is pretty great. They’ve got good tunes, they play well and they seem thoroughly nice. They have just the right quantity of quirk to their sound to make things interesting and I’ll definitely be visiting their recorded output.
I don’t think many people would argue with Stealing Sheep being the most polished stage performance of the weekend. Matching outfits, vocoder vocal introductions and synchronised moves sit alongside some pretty slick pop songs. It is joyous stuff and goes down a storm with the crowd. I loved every minute of it and ‘Joking Me’ could well be the song of the year as well.
Words and pictures Dorian Rogers