Rock Werchter 2004: Thursday

Belgium | by Roy Kasius01 July 2004

THURSDAY

He comes, he sees, he parties. Michael Franti and Spearhead, first act of the festival, make us all forget about the dark clouds looming above. The man knows how to play his crowd and keeps us entertained with a bone-crunching mixture of reggae, rock, dance, and a whole lot of funk.

Now how can it be that a band originating from a cold, windy British island can create such a warm and sunny sound? No time to think about that. Let's enjoy the opening band on the Pyramid Stage, The Bees, who bring a tropical party, mixing reggae, soft rock, and a hint of blues, topped off with layers of trumpets and samba balls. The Bees provide a very visual show, band members constantly changing places and instruments. A terrific rendition of the classic 'A Minha Menina' provides the highlight.

Watching reggae popster Sean Paul live is just like watching his videos and the Jamaican's hordes of barely dressed dancers quickly become more interesting than his dental drill of a voice. The show dies within minutes and we're grateful when The Rapture take over. Why? You simply can't stand still to the sounds of the New Yorkers, who prance about the stage looking like their thin-as-knitting-needle frames could snap at any time. The grating voices of Matt Safer and especially Luke Jenner are heaven-made for the crispy house beats and hooky guitars on songs like 'Olio' and 'I Need Your Love'.

Pink's show on the other hand is like a jukebox. Put a quid in the slot and you'll get every song you've heard hundreds of times on the radio. Even though she plays almost all her singles, the album tracks shine just as well. Pink puts down a good show, but not a very spectacular one, with some slightly out of joint singing. Her rendition of 'What's Up' by the 4 Non Blondes manages to tingle a few spines, but how do you account for finishing with 'Let's Get The Party Started'?

Strange party indeed when you consider her successors, those kings of goth-pop, The Cure. Led by the scarecrow-like figure of Robert Smith, the band look far more up for a night of 80s noir doom rock. The 40-somethings do their best, but their cold and ghostly music doesn't warm many on this chilly opening night. An hour and a half of Cure classics tends to get a bit boring without the more up-tempo cuts, 'Love Cats' and 'Friday, I'm In Love'. All in all it's a mediocre performance.

Cypress Hill cannot fail to lift us then and they certainly bring us da good stuff. The most energetic show of the day fills the evening with their grinding rap/rock cross over. The crowd feeds on the band and we simply can't help but jump around manically to 'Insane In The Brain'. A couple of songs later though they've all started to sound alike. Okay, so it's good but they could do better to build us up for Basement Jaxx, who are the final act of the first day.

The Jaxx bring regiments of guest vocalists and musicians with them and make a thunderous, stomping journey spanning their first three albums. The hits are accompanied by crazy bootleg mixes and rare covers but the best thing about the whole show are the truly astonishing videos and animation on huge screens. Highlights? 'Red Alert' and a pounding electro version of The White Stripes' 'Seven Nation Army'.

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