As Jarvis Cocker said to mark Pulp’s first appearance at Glastonbury Festival for 30 years and four days, the event is something to “succumb to”.
Some years it is to give in to the mud and rain and some years, like this year, it was to succumb to the heat and the sun.
Luckily there was plenty of acts to amuse our increasingly red faces. There was plenty of politics too, with the plight of Palestinians in Gaza grabbing the headlines.
Friday
For me it was a festival of seeing the art of stage craft and showmanship first hand, especially as my Glastonbury started with a bit of a whimper with sedentary indie band Horsegirl opening the Park stage, barely moving or talking mid songs. Their tracks are good, but it was one of those performances where the act forgot they were there to entertain.
Horsegirl
Elsewhere on the day the BBC Introducing stage was on top form, especially Nectar Woode’s fantastic set. We are huge fans already, with the soul singer making one of our three long list picks as a judge in this year’s Glastonbury Emerging Talent competition. While not making the shortlist, she is going from strength to strength, appearing on Jools Holland’s BBC show recently and playing two sets at the festival. Bigger stages beckon.
Nectar Woode
Speaking of our Glastonbury Emerging Talent picks. Another, Master Peace, who did make the shortlist was one of two guests to appear during Franz Ferdinand’s masterclass-in-showmanship set on the Other Stage. His appearance during Hooked was a highlight of the festival. Former Dr Who himself Peter Capaldi was another Franz Ferdinand guest, appearing on Take Me Out. The last time I’d seen the band, they ably assisted Sparks, so collaborations still clearly suit them.
Franz Ferdinand
And it was back to BBC Introducing again later for two further brilliant examples in stagecraft. Brighton punks Lambrini Girls involving the crowd well, with mass dancing while they scream their hate at the police and transphobes.
They were followed by Alt Blk Era, who were full of their own routines on stage as they defied genres. My Drummer’s Girlfriend was especially good.
Saturday
I hear that the Kaiser Chiefs rip roaring set to open the Pyramid Stage was not on tele. For those at home I’m happy to report they were on top form. Their version of ‘I predict a Riot’ was particularly good, especially with 100,000 enthusiastic backing singers.
With the sun beating down I craved a tent and Croissant Neuf duly obliged with Gemma Rogers unique take on punk rock proving that small tent or big stage there are some great front people at the festival. She is full of fun and commanded the stage, with Molly 1989 among many highlights.
Gemma Rogers
Ahead of Weezer over at the Other Stage, I managed to baggsy one of the last patches of shade, by a barrier near the front. Great view, shade, and a band rolling back the years as if it was 1995 again. What was great about their set was the amount of young people at the front, as Weezer get introduced to a new generation with their indie rock.
Weezer
Over to the Pyramid and in attempt to find a brave friend of mine at the barrier at the front, I ended up with a great view ready for Pulp. In the meantime, John Fogerty was mighty pleased to get the rights to his songs back. Apparently, he’s an octogenarian, not that he showed his age as he belted out classics such as Bad Moon Rising. There’s a painting of an elderly Creedence Clearwater Revival front man in his loft, surely?
And next up Pulp, with Jarvis Cocker feeling relaxed, unlike their first appearance three decades ago as an 11th hour replacement for headliners The Stone Roses. His actual first Glastonbury was as a youth with his girlfriend, and he ended up leaving early after failing to succumb to the festival.
Pulp
Unusually for a group rekindling their youth, their new tracks, especially Spike Island are now fans’ favourites too. But Babies and Common People, complete with Red Arrow flypast, were the undisputed highlights.
It was almost 7:30pm and I felt I’d already seen my personal headliner for the day, as I was a little reluctant to sit through three hours of Neil Young. To put this thought into context, I live near the site so rely on buses in and out each day, so an early departure with weary legs is not uncommon.
Nevertheless, I thought I’d see someone I’d not seen before to round off the day. Step forward Kate Nash who tore through an incredible set of punk, rock, pop and lots of angry politics to headline the Leftfield tent. Her new track Germ, taking aim at JK Rowling’s gender views, ended her set and was as remarkable as it is on record.
Kate Nash
Who knew she was so punk rock! Certainly not the music industry, which she reports still don’t know what to do with her.
Sunday
Another plug for the Emerging Talent Competition here. Westside Cowboy, the worthy winners of the competition this year opened Woodsies and put in a confident set of a band that has already emerged and will no doubt be further up the bill in future years.
Westside Cowboy
I’ve Never Met Anyone I Thought I Could Really Love (Until I Met You) is among their more well known tracks but they filled their half an hour set with plenty more fan favourites. As they continue to plough their ‘Briticana’ field they ended with an old time sing along around one mic. A nice touch. Music industry faith is well placed.
It was still a bit cloudy so the elements over at the Park could be braved next. And what an eclectic mix was on offer. I started with prog-rock, calypso, jazz rock, Frank Zappa if he was a Maths teacher, Geordie Greep. The former Black Midi man dazzled with tracks including Holy Holy and Bongo Season.
Geordie Greep
Katy J Pearson was another excellent live performer, opening with Those Goodbyes and ending with Sky, her set flew by. I want to see her again immediately.
Katy J Pearson
The crowd swelled considerably for the next act, Australia’s Royel Otis. What a fun live act, full of laughs as they churned through firm crowd favourites such as their cover of Murder on the Dance Floor, as well as their own including the excellent Oysters in my Pocket.
Royel Otis
I wanted to see Divorce over at BBC Introducing to end my night and had an hour or two to kill so decided to go and visit some chums and see what they were watching. One was over at Lonely Hearts Club watching singing fluffy electro kids from Stroud Mermaid Chunky. When I last saw them in Bristol I wasn’t impressed, but with a backing group of dancers and a festival stage in the heart of the Silver Hayes area they were much better.
Then on to woodies to see another friend, watching Black Country New Road for folk rock prog. Not a band I’d heard before but was extremely impressed, great musicianship and the only time I’ll hear a recorder and not want to rip my ears off.
Next up was St Vincent, who is every bit as good as when I last saw her at the festival a few years back at the Park. She is Frank Zappa, David Byrne, Prince and god knows who else all rolled into one. Live she is simply remarkable.
St Vincent
And the night wrapped up in Divorce, the band that is not the domestic rows between couples after five days in the dusty heat. Antarctica is just one of their very many good songs they showcased from their latest album Drive to Goldenhammer.
Divorce
There are similarities to Westside Cowboy, with their country twinged take on indie rock, so the day had a nice symmetry to it.
Words and pictures by Joe Lepper
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