Our big green friend, the Green Man Festival, never disappoints and once again provides one of the best festival weekends this side of Pluto.

As always the depth and quality of performances was magnificent, with nary a dud in evidence. The oh-so unpredictable Welsh weather remained the right side of sub-Arctic, and on more than one occasion I spotted people applying sun tan lotion. Yes, suntan lotion! Not something I can remember ever seeing in Wales before.

Friday

Arriving with the dawn on the Friday via a breakfast at Waitrose in Abergavenny, we threw ourselves into putting up a tent badly.

This done we were lured by The Lovely Eggs up at the Far Out marquee and were greeted by some very lively punk action. Guitarist Holly was great, playing speedy tunes and throwing shapes. Despite the garish yellow tights she looked and sounded like a star. The crowd loved them.

The Lovely Eggs

An hour later The Lemon Twigs played Beatlesque slacker pop to an enthusiastic crowd. They certainly won me over but by then whiskey had been taken, so they could have been rubbish, who knows ? Nice vibes, I think.

The best at the Green Man Festival on Friday was a superb set from Joan as Policewoman. A small woman with big talent,  blessed with a multi octave voice that transports you to heaven via Bonnie Tyler’s chip shop in Crickhowell. Her band was super tight, soulful and classy, and what did she do as an encore? Only bloomin’ well Kiss by Prince. Utterly sublime and it’s not even teatime.

Joan as Policewoman

The  Green Man Festival layout is great. It’s not too big although there did seem to be larger numbers of people here this year, which was slightly disconcerting. You don’t expect the Walled Garden to be rammed mid-afternoon listening to obscure Australian folk singers.

In the past there was always room to collapse in a semi-catatonic heap next to a rubbish bin and not get your head trodden on.

Next up was a look at the Green Man Rising emerging talent competition, to sample the delights of fresh new blood. They don’t get any fresher (or madder) than Gentle Stranger.

Gentle Stranger

The compere said they were like the bastard sons of Ian Curtis and Talking Heads, which is rubbish. In fact, they were more like the bastard offspring of the Mothers of Invention and a small white sliced loaf.
Among Gentle Stranger’s line up was a drummer who also played oboe and looked like he should be at a Metallica covers band audition. A skinny bassist in awful make up laying on his back holding his bass guitar with his feet whilst applying hair gel. They also featured a topless hairy bloke with braids in a blue midi skirt and hobnail boots playing guitar and blowing on things. Totally fantastic.

The Hungry Ghosts

Were also impressed by the dirty, rock ‘n’ roll filth of The Hungry Ghosts from Birmingham. Then had to administer self flagellation for missing Snail Mail, which shows the depth of talent at this year’s Green Man Festival.

Back at the main stage it was time for  headliners King Gizzard and the Lizard Wizard. The Australian psychedelic rockers have inexplicably become hip. Their lengthy guitar work outs, nimble ensemble playing and nicely complimented vocals went down well. But I failed to achieve orgasm, unlike the other five thousand other folk in the crowd. Mind you their 2016 track Rattlesnake was groovy.

King Gizzard and the Lizard Wizard

Time to party until the late hours, 11:55pm in our case. We were knackered.

Saturday

We awoke to no rain, at all, not even drizzle, remarkable.

After a dodgy dinner the Walled Garden played hosts to Goat Girl who seem more popular than The Beatles. The place was full, and quite rightly as they did their no nonsense pop-lite thang.

A duo under the name of Ider did it for me. Poppy niceness to the fore. They should be pop stars tomorrow with their nice bouncy tune and big singy choruses.

Baxter Dury

Happiness achieved but  had to curtail my enjoyment to rush over to the main stage to catch the late Ian Dury’s son (thats him on the cover of new boots and panties), Baxter Dury.  Top notch swearing and funky jams predominated the proceedings. He seemed slightly aggrieved but was all the better for it. A riveting set.

The evening then turned into a cosmic trip with a visit down memory lane with the ever dependable Teenage Fanclub.Boy Azooga, despite a hesitant start, won in extra time but then it was time for John Grant.

If you know Grant, you’ll know he was inevitably superb and if you’re unfamiliar with him then where have you been for the last few years?

It’s been heartening to witness  him graduate from touring half full pubs with Midlake five years ago to thrilling eight thousand people in a Welsh field on a nippy night.

John Grant

Such is his charm and self-depricating wit that he can make these intimate, lyrically subversive songs work even on a grand scale.

They don’t get grander than Queen of Denmark which tonight is bombast incarnate, yet there is so much more to his music. You have the whimsy Marz. The electro incisiveness of Black Belt and Pale Green Ghosts. The beautiful Glacier and even an almost hit-single singalong GMF.

I asked Grant before he went on to sign a Barry Gibb and Barbara Streisand album. He laughed, signed it and then asked him to do a Bee Gees number. He said he’d think about it but sadly it didn’t happen [what an anecdote that wasn’t].

This Green Man Festival gig was one of the last times you’ll hear this material for a long time, he admitted. It’s new stuff from now on in , and personally I can’t wait to see where he’s going to go next. It is certain to be intriguing.

One of the absolute standouts of the entire weekend was an appearance by Simian Mobile Disco, performing with Green Man Festival regulars Deep Throat Choir.

This was an aural massage the likes of which will live long in the memory of those who witnessed this performance. The two guys within  their jumble of leads, decks, cables , laptops and other magical devices (probably stolen from magic pixies on a night with a full moon), delivered the most deliriously sublime set. Murmerations was performed in its entirety. The choir building up tension as waves of beautiful sound crashed like waves of pure love over our collective heads. I forgot the number of people I spoke to  the next day who thought it was astonishing.

Two hours later and we’ve still not got back to the tent. There were a few distractions. Impromptu Aretha Franklin singalongs, a cocktail bar, a merman and a mermaid, an art installation that was just some lights outside the toilets and a chat with a bloke dressed as a bacofoil deep sea diver thankfully was all I can remember.

Sunday

Sunday and your despicable soundchecks from War on drugs. I’d only been asleep three hours, still we are veterans after all and by 10 o’clock we were asleep again.

First band on at the Mountain Stage at dinnertime were the new project featuring Simon Raymonde from the Cocteau Twins, called Lost Horizons.

Black Angels

They excel at atmospheric gritty soundscapes with vocal contributions by the bassist, the keyboardist and especially their very expressive lead singer.  A very good way to start the day.

Such is the current vogue for glamping we found an area where you can sit in a hot tub and be served champagne. We were quite rightly immediately ejected.

We tried to enjoy Anna Calvi. But I appeared to be sitting next to the Abergavenny under-fives acrobatic team. It was difficult to concentrate but she was good and the version of Don’t Beat the Girl Out of My Boy was stunning. As was the encore  – a cover of Ghost Rider in the Sky from Suicides’ debut album.

An evening of dark intense brooding rock ‘n’ roll at the Green Man Festival followed. First up Chilean trio Follakzoid who put in an unbelievable performance.

They only did two songs, the first was 25 minutes long, the second 20 minutes and that was only shorter because their enigmatic guitar shaman Domingo Garcia got increasingly angry over the mixing desks inability to hit maximum volume on his monitors. He pulled over the speakers and flounced off in a Chilean huff. After five minutes he came back on due to public demand and finished off the set.

It was great to watch as he played about with his pedals and various fuzz boxes. Then he’s doing the dance of the seven veils and swinging the guitar round his neck as it squeals its protests.

This was in the Far Out tent as were the three remaining acts we saw.

Rolling Blackouts Coastal Fever

Rolling Blackouts Coastal  Fever from Australia recalled fellow brethren The Triffids, with some great guitar interplay and punchy tunes.

But the  best was to come. The Black Angels were relentless –  a fucked up marathon boogie  kept in the air by non stop drumming from Stephanie Bailey, the likes of which I haven’t witnessed for years. The woman is a machine built of steel and unsmiling stamina. It was like the Velvet Underground but with better tunes.

The icing on the  psychedelic cake of this year’s Green Man Festival was an appearance by the Brian Jonestown Massacre. Imagine the aroma of late 1980s Primal Scream inhaled from a pipe of Exile on Main Street. Loose but tight. Rough but nice. Good cop, bad cop but mostly bad cop. Oh man, this is my rock ‘n’ roll.

Brian Jonestown Massacre

I am unable to describe any further events of that Sunday night as I appear to have run out of superlatives.

Not one bad band or performer at Green Man Festival all weekend. No hassle and no downsides, apart from the small matter of missing the Wedding Present, Tom Wrigglesworth, War on Drugs, Public Service Broadcasting, Kelly Lee Owens, Phil Wang and Teleman.

This festival spoils you every time and you have to make choices.

I choose Greenman.

Words by John Haylock, pictures by Arthur Hughes

We’ve been regular visitors to the Green Man Festival over the years. Nestled in the Brecon Beacons it’s line up is always one of the best in the festival calendar and this time around is no exception.

Among the many highlights are Australian psychedelic rockers King Gizzard and the Lizard Wizard. After seeing them twice at Glastonbury we can confirm their live shows are not to be missed.

King Gizzard and the Lizard Wizard

John Grant, another we have seen live on a number of occasions, is also an essential act to catch, as are Grizzly Bear, Dirty Projectors and Fleet Foxes.

Further down the bill Teenage Fanclub are a welcome addition to any festival line up. We have being watching them at venues across the UK for nearly 30 years and they always delight us.

John Grant

New bands also feature strongly, with Atlanta act Omni’s jerky pop and Amber Arcades among our top picks.

Big Jeff is there too DJing! Jeff has been a regular gig-goer in Bristol for the last 15 years and will be drawing on that vast array of experience to delight you. If Jeff’s there you know it’s the best gig in town.

For more information about Green Man, which takes place August 16-19, visit their website here.

by John Haylock

Welcome to the second part of our end of year round up of the best albums 2017. This latest instalment reveals who has earned a coveted place in our top ten. The first part (20-11) can be found here

10. The Magnetic Fields – 50 Song Memoir

In which Stephin Merritt celebrates his 50th birthday by writing an auto-biographical song for each year since his birth. The results are pretty great and it is his best hit-rate since 69 Love Songs in 1999. Sprawling concept albums clearly suit him.

9. Guided By Voices – August By Cake

This 32 track double album is the 100th album that GBV frontman Robert Pollard has released. It is also the first album released with the latest Guided By Voices line-up, which brings Doug Gillard’s guitar skills back to the fold. Every band member gets some songs on this one, and the results are typically uneven in excellent GBV fashion.

8. King Gizzard and the Lizard Wizard – Polygondwanaland

Perhaps the only act that can compete with Robert Pollard’s production rate is Australian psychedelic rock outfit King Gizzard and the Lizard Wizard. They set themselves the ambitious task of releasing five albums this year, with a fifth due to be released “very very late in the year” according to frontman Stu Mackenzie.

Of the four released so far this is our favourite for our best albums 2017 list – full of prog rock/jazz treats like 10 minute opener Crumbing Castle and psyche pop gems such as Deserted Dunes Welcome Weary Feet. And what’s more it is available as a free download.

7. Mile Me Deaf – Alien Age

Sound the breakthough album klaxon. Wolfgang Möstl’s Mile Me Deaf act  has always been experimental but they are on the cusp of the big time on the basis of this Best album 2017 release

On previous album’s he’s been looking to push the boundaries of indie rock and guitar pop. Here he’s pushed, then smashed his way past them, veering off into trip hop, dub, jazz, and ambient. Above all, as XTC once proudly sang, This is Pop. Lead single Blowout is a great jumping in point for this entry into our Best albums 2017 list . Read our full review here.

6. The Flaming Lips – Oczy Mlody

This is best Lips release since they unleashed Yoshimi on those evil bastard pink robots during their last pop phase. After the mildly entertaining albums Terror and the awful Embyronic, Wayne Coyne and co have gone accessible again, with new classics such as How?? and There Should Be Unicorns among their best ever. Read our full review here.

5. Girl Ray – Earl Grey

We are delighted to include this impressive debut from Girl Ray, a quirky lo-fi pop trio from North London. This will particularly appeal to fans for Gorky’s Zygotic Mynci with Don’t Go Back at Ten among our favorites. Read our full review here.

4. LCD Soundsystem – American Dream

The LCD Soundsystem split didn’t last too long, and this album is a high-quality return by the band to recording. The sound is unmistakably LCD Soundsystem (even down to the usual influences) and there are a few playful tracks among some slightly sombre numbers. This is a welcome entry into our best albums 2017 top ten.

3. Robyn Hitchcock – Robyn Hitchcock

It’s taken 21 albums but Robyn Hitchcock has finally gone down the self-titled route for a release, which by happy coincidence just happens to be one of his best in years.

From its purple, cat stroking, cover to its backwards guitars, it is a psychedelic explosion of awesomeness, with oodles of noodles of nods to the late 1960s and early 1970s.

The twinkling, shiny pop of Mad Shelley’s Letterbox is a particular highlight. Read our full review here.

2. Broken Social Scene – Hug of Thunder

Just like the Flaming Lips, the almighty Canadian collective of Broken Social Scene also saw a return to form in 2017. The return of Leslie Feist to the line up takes them back to their early hey-day, especially with her jaw droppingly awesome vocals on the title track.

New member Ariel Engle, who takes lead vocal duties on Stay Happy, is another impressive addition. While Halfway Home is A fantastic alternative rock anthem that shows just how good this album is within their already prolific two decade spanning back catalogue.

1. Eyelids – OR

Featuring members of the Decemberists, Guided by Voices and Stephen Malkmus’ Jicks, Eyelids have leapt to the top of our list thanks to their sweet, jangly melodies on tracks such as Falling Eyes.

This second release from the band also adds ex-REM man Peter Buck into the mix as producer to give it extra class and a 1980s alternative rock feel. A triumph and deserved number one album in our best albums 2017 list. Read our full review here.

Compiled by Joe Lepper and Dorian Rogers

One of the hardest working bands in music – Australia’s King Gizzard and the Lizard Wizard  – are now over the half way mark in their hectic schedule of releasing five albums this year.

Exponents of psychedelia, rock, pop, jazz, you name it, this third outing of 2017 sees them team up with mellow 70s nostalgist Alex Brettin, aka Mild High Club.

The result is part jam session, sounding improvised at times as they seek to capture studio spontaneity. But it is also a seriously well constructed blend of all their styles. What emerges is the best, and possibly only, eclectic psychedelic lounge album you will hear all year.

For example, on D-Day, one of many short instrumentals across the album, King Gizzard and Brettin move seemlessly from funk to a Marrakech bazaar backdrop. This almost demands the invention of a time machine to provide a ready made soundtrack to an early 1970s Bond film.

There’s also early hours club sounds aplenty on the rampant A Journey to (S)hell.

In addition, there is lashings of pop too – with the radio-friendly The Spider And Me and Countdown particularly standing out.

Brettin has done a fine job honing the 1970s sounds across this album and this is clearly a collaboration borne from mutual respect and one that will hopefully continue with further releases.

For those who have only heard King Gizzard’s heavier rock albums this may jar. But by now most who are familiar with the band should know that they can’t be so easily pigeon holed and are always willing to surprise their listener.

As well as being one of the hardest working bands around King Gizzard continue to be among the most interesting recording acts. This album, with Brettin bringing extra class to proceedings, is no exception.

8/10

by Joe Lepper

With 2016 at the half way mark we thought we’d present our list of the ten albums that have impressed us the most so far. All within our broad focus on indie and alternative music, we’ve some old stagers, new bands and plenty of rage. We’ve also got an act at number one who probably never would have thought they’d be acclaimed as the best indie act of the year in 2016 back. In addition to the ten below we also wanted to mention new albums by Shearwater, Pete Astor, The Wave Pictures, Steven James Adams, Picture Box and Rapid Results College, which are all in contention for a place in our end of year extended best albums list.

10. Robert Pollard – Of Course You Are

Incredibly, this is now the 22nd solo album from the hardest working man in music and proves another high point in an illustrious career. Read the full review here.

9. Bob Mould – Patch the Sky

Third album from the former Sugar and Husker Du man’s most settled line up for years. The key to its success is its ability to tackle the tough issues of life in the most fun way possible, as Mould’s rage and melody once again combine perfectly.  Read the full review here.

8. Dressy Bessy – King Sized

Fabulous return from a six-year break for the US act. This works particularly well by merging their beefier pre- hiatus sound with the pop nous that made their early work so infectious. Read the full review here.

7. King Gizzard and the Lizard Wizard – Nonagon Infinity

Like an extended rock jam, taking in science fiction, monsters and, naturally, some awesome guitar riffs this is another stellar release from the Australian psych rockers, with a little help from some robots and a gigantic wasp. Read the full review here.

6. Woodpigeon – TROUBLE

Heartbreak, loss and a globe trotting meander prove the powerful inspiration for Mark Andrew Hamilton’s latest album. Beautiful and inspiring. Read the full review here.

5. Evans the Death – Vanilla

On album number three London act Evans the Death have upped, shredded, beaten up and garrotted the ante. It’s full of rage, the guitars are heavier than before, the vocals fiercer and the ambition turned to stadium sized proportions, with a brass section and even a funky bass added to the mix. Incendiary album from what very well be Britain’s best rock band. Read the full review here.

4. Papernut Cambridge – Love the Things Your Lover Loves

Former Death in Vegas man Ian Button and crew have created their very own 1970s pop band. Full of fuzzed up guitar riffs and stomping rhythms there would have been plenty to satisfy the charts back in the day, especially the album’s title song, and its best pop tune, Radio. Read the full review here.

3. Darren Hayman – Thankful Villages – Vol 1

One of Hayman’s best pieces of work and possibly his most important, preserving the oral history of the relatives of those who survived the horrors of the Great War as well as paying tribute to the village life these soldiers left and thankfully returned to. Read the full review here.

2. Emma Pollock – In Search of Harperfield

Childhood memories and the toils of adulthood mix wonderfully on the former Delgados singer’s latest album. With the track Parks and Recreation she has also created one of the best songs of recent years. Read the full review here.

1. The Monkees – Good Times

The comeback to beat all comebacks. Originally planned as merely something to sell on their 50^th anniversary tour this album has ended up grabbing the headlines in its own right. With Fountains of Wayne man Adam Schlesinger at the helm, a stack of lost demos to dust off and new tracks from talented Monkees fans such as Andy Partridge and Ben Gibbard, Good Times both pays tribute to their place in 1960s pop history and creates a great, modern day indie and alternative pop album in its own right. A well deserved number one slot. Read our full review here.

Top Ten Albums of 2016 So far was compiled by Joe Lepper and Dorian Rogers

King Gizzard and the Lizard Wizard are continuing their charge to becoming our favourite Australian band. Their Glastonbury Festival appearance last year left us impressed, then came last their album Paper Mache Dream Balloon, an acoustic rock re-imagining of a 1970s kids show soundtrack, which was as superb as it sounds. Now they are back again, barely having time to catch breath, to unleash a fully plugged in rock onslaught.

Called Nonagon Infinity,  the entire nine-track album is like an extended rock jam, taking in science fiction, monsters and naturally some awesome guitar riffs. At first the tracks are loosely based around the various fantastical things that emerge from the ‘Nonagon Infinity’, whatever that is. Be it robots, a gigantic wasp or people-vultures.

By the end that idea seems to fall away and there’s just some damn fine songs left. Invisible Face is among the best, complete with psychedelic calypso breakdown. The Gamma Knife and People Vultures segment is another and also spawned one of the year’s most ludicrously fun videos.

It’s all designed as a continual loop with the final track Road Train merging back into first track Robot Stop “like a sonic mobius strip” says their press release.

What I like about this band most is their sense of fun but don’t mistake that for parody though. While they don’t take themselves too seriously they are still properly good at the art of creating excellent psychedelic rock.

9/10

by Joe Lepper

For more information about King Gizzard and the Lizard Wizard – Nonagon Infinity click here.

King Gizzard and the Lizard Wizard were one of the breakthrough acts at this year’s Glastonbury Festival as they brought their brand of psychedelic rock to the Park and William’s Green stages.

However, these are no new artists, since forming in Australia in 2010 King Gizzard and the Lizard Wizard have churned out seven fun packed albums ranging from heavy rock to this piece of perfect pop psychedelia.

For Paper Mache Dream Balloon out go the distorted guitars and lengthy conceptual moments and in comes purely acoustic instruments, allowing front man Stu Mackenzie’s excellent flute playing to shine amid the double basses, harmonicas, violins, acoustic guitars and clarinet.

The result is a whimsical album, like the soundtrack to a lost Australian kids pop show from 1969. Fans of more latter day psychedelic exponents such as Dukes of Stratosphear and more recently Papernut Cambridge will love this especially as it harks back so vividly to those innocent days of lava lamp pop.

At times it is bizarre, like the frenetic Trapdoor and Bitter Boogie that sounds like a warped version of Norman Greenbaum’s 1969 classic Spirit in the Sky.

Mostly though its just great pop with Bone, the title track, Dirt and NGRI (Bloodstain) among many, many highlights.

After seeing them live I realized how fun this band is. Here they take the fun to a new level and produce one of our favourite albums of the year.

9/10

by Joe Lepper

“Why aren’t you playing the Pyramid Stage,” shouted a heckler at Billy Bragg’s headline set at The Leftfield tent on Friday. Bragg’s response, to remind him of the event’s varied 100 plus stages, was obvious but too often forgotten by those at home watching on TV.

Billy Bragg

In the spirit of Bragg’s comments this article will take you away from the 50,000 strong crowds of the Pyramid and Other stages to focus on those smaller venues, which this year offered a world of prog rock, punk legends, French eccentricity, young stars of the future and even Ron Mael from Sparks having a laugh and a dance.

Friday

As with last year the tented William’s Green stage continues to impress with the most eclectic and interesting line up. Opening on Friday was Declan McKenna, the winner of this year’s Glastonbury Festival Emerging Talent Competition. As a judge in the competition I was keen to see how this teenager, who has already garnered Radio 1 airplay, would tackle the festival crowd.

Declan McKenna

Turns out McKenna performed like an old pro, with his guitar and vocal looping allowing the tracks to build up before turning into perfect pop, in particular his best song Brazil. He even threw a beach ball into the crowd to gee up the weary Friday morning crowd as he proved he was certainly not intimidated.

Canada’s The Burning Hell sound like a cross between Camper Van Beethoven and King Missile, were full of laughs, have been going for a decade and have seven albums already. I’d never heard of them until Friday afternoon at William’s Green, where they completely won me over with tracks such as Nostalgia. How have they passed me by?

King Gizzard and the Lizard Wizard

Over at The Park stage and once again away from any TV cameras King Gizzard and the Lizard Wizard, the seven strong psychedelic Australian act, were putting on one of the best sets of the day. They are surely destined for larger stages on this evidence for future festivals, especially thanks to singer Stu Mackenzie tongue wagging and guitar noodling.

Heavenly Records are 25 years old this year and William’s Green snapped up their latest crop of acts for the rest of the afternoon. Hooton Tennis Club are for those that adore the likes of Teenage Fanclub, but it was Stealing Sheep who stole the show. Although their second album, which dominated their set, doesn’t have the same quality of songs as their debut this Liverpool trio’s great stage presence and sense of fun makes the tracks far better live. Roping in Dutch Uncles singer Duncan Wallis to sing with them for a track was also great to see.

Stealing Sheep

Rain can really scupper plans at Glastonbury. It can also reveal some surprises. As I ducked for cover at the Acoustic Tent during a late afternoon shower I made a new discovery – rock ‘n’ roller JD McPherson, who was one of Rolling Stone’s artist to watch in 2012 for good reason. His was a blistering proper rock ‘n’ roll set. Speaking of which the TV cameras missed a trick in not popping by the Acoustic Stage after JD McPherson to catch the legend that is Wilko Johnson.

Wilko Johnson

Like a crazed bird Johnson made a mockery of the cancer that last year threatened to take his life, as he weaved around stage, machine gun chording the audience with his trademark Fender telecaster. He and his band’s bassist Norman Watt-Roy are a sheer joy to watch.

Back at the Leftfield for the end of my night Billy Bragg was doing more than putting hecklers in their place. On the day the US Supreme Coast legalised gay marriage his version of Sexuality took on an extra special meaning. He never fails to deliver as a live performer and the hits came tumbling out on his now regular Friday night Leftfield set.

Saturday

At the foot of The Park area lies the tiny Bimble Inn, which proved a great venue for emerging singer songwriters and folk artists over the weekend. Kezia, from Falmouth was among the best I saw here. It took me a while to pinpoint who she reminded me of, as I searched for female singer songwriters to compare her to. Turns out it wasn’t a woman at all, but Sufjan Stevens. She must surely be a fan, with her whispering vocals and introspective lyrics showing another hidden talent at the festival this weekend.

Kezia

A few years back I saw Giant Sand in the giant foyer venue at one of ATP’s festivals at Mineheads Butlins. It was a poor choice of venue for Howe Gelb and co’s sultry brand of American indie rock. The blazing, and I mean proper blazing sunshine, of the dusty Park was far better. Here joined by JB Meijers and Ilse DeLange from The Common Linnets Gelb took in a perfect festival set, mixing old and new as well as slow and fast paced reminders of their trailblazing 1980s indie rock roots, including a great version of their 1985 track Tumble ‘n’ Tear to end. The TV cameras turned up for this one and rightly so.

Giant Sand

On my way back over to William’s Green I passed a couple of more smaller venues with interesting acts. Just a Couple of Mums, the Sussex based, energetic feather-duster waving DJ pair were putting in a stonking set at Spike’s Bar, while at the Fluffy Rock Café youngster (and I mean youngster as in primary school age) Tom Smith, was dazzling the crowd. Often little kids can’t sing, but we smile and nod in appreciation anyway. That’s not the case with Tom, he can actually sing and play really well. One of the festival’s youngest stars.

Tom Smith

Performance of the day, perhaps the weekend, was La Femme, from Paris. I already knew their eccentric surf dance pop tracks from their excellent debut album Psycho Tropical Brazil and live they are nothing short of incredible. At their William’s Green set there was crowd surfing, crazy dancing and wonderful banter. This is a fun party band and I urge you to see them if they play near year.

La Femme

To round off my day Father John Misty was putting in a rock star performance, running into the crowd and rolling all over the stage. Passionate performance barely touches on describing how good he was.

Sunday

Ron Sexsmith is celebrating two decades of music this year. How he has evaded me all this time remains a mystery. Those that saw his Acoustic Tent afternoon were treated to a career spanning set from early tracks like Strawberry Blonde and There’s a Rhythm to the more recent Getaway Car. Crowd pleasers for fans and newbies like me alike.

Ron Sexsmith

Success has consistently evaded The Bevis Frond, as its mainstay and frontman Nick Saloman tells his audience. He’s at the stage now in his career where he’s just happy that people want to hear him, however small the crowd. Saloman though has every right to expect more, not only are his songs great but his guitar playing is superb. Billed as prog rock, he’s more than that after pretty much laying down the blue print for Dinosaur Jr and grunge in the 1980s. Highpoints included Saloman bringing out his electric-sitar guitar for some complex noodling mid way through.

The Bevis Frond

Saloman and co loved every second of playing, even in front of a half full William’s Green due in part to the blazing sunshine outside. Meanwhile, The Phantom Band, who followed, looked like they’d rather be anywhere else. During a subdued performance dominated by their excellent latest album Strange Friend they looked like band going through the motions, yearning to be out in the sun with everyone else.

The Fall are both brilliant and terrible all at once. Mark E Smith shouting and mumbling over a pounding rhythm section thanks to the addition of an extra drummer in recent years. Its hypnotic and wonderful, but as ever Smith seeks to create tension, twiddling the knobs and instruments of his drone musicians, as he wanders around stage picking up random mics to shout into.

The Fall

Nowadays Smith’s drones, including wife Eleni on keyboards, are used to this part of the act and smile through it. They say play the hits, nothing but the hits at festivals. The Fall ignore this though with their recent album dominating the set and nothing older than 2003’s Sparta FC for those craving something recognisable.

Another Manchester punk legendary act Buzzcocks are surprisingly playing at Glastonbury for the first time in their 39-year history. They have plenty of hits, and in stark contrast to The Fall play pretty much all of them as they rattle through Noise Annoys, Promises, Ever Fallen In Love and many more. Singer Pete Shelley still sounds great and although larger of build and greyer of hair still has that boyish glint in his eye.

Buzzcocks

Buzzcocks’ Guitarist Steve Diggle was in full rock star mode, and even walked on clutching a bottle of Moet. He clearly loves every minute of playing live and spent the set going through the full list of rock guitarist clichés with his foot on monitor and arm aloft after each chord. It was great though, the guy’s happy and his constant winks and smiles at the audience made you realise that underneath that rock pomposity is a lovely bloke.

For my final act of Glastonbury I ventured over to the half full John Peel Stage to see FFS, aka Franz Ferdinand with Sparks. They were competing with the Chemical Brothers and The Who after all, but this didn’t stop them putting on a great set as they ripped through each other’s hits and showcased their remarkable and fun debut album from this year.

FFS

Highlights included Alex Kapranos and Russell Mael’s endearing acting during the splendidly ironic Collaborations Don’t Work. Top moment though was the surprise sight of Ron Mael emerging from behind his keyboard to laugh and dance for a quick 30 second mesmerising burst of pop history. Not bad dancing skills for a man for whom John Lennon once said “bloody hell, its Hitler on TV.”

Words and pictures by Joe Lepper