Supergrass spin off play special set at Glastonbury

The Hot Rats get cover happy on the Park Stage

Supergrass spin off play special set at Glastonbury

Photographer: jon cox26 June 2009

Beating off rumours of Beyonce and Muse, the duo went cover crazy with time to play ‘Fight For Your Right’ by Beastie Boys and Elvis Costello’s ‘Pump It Up’ in the beaming sunshine.

Earlier in the day, James Hunter gave the Park Stage a touch of class, announcing, “This is our hit, you can leave after this – I’m going to,” before playing 'Don’t Let Them Change Your Mind’. The set is all funky double bass and old school cool, with a bit of trumpet adding some pizzazz without sounding too cheesy. Gentlemanly Hunter was relaxed and chatty, with songs like ‘No Smoke Without Fire’ and 5 Royles cover ‘No Smoke Without Fire’ are feelgood and jazzy – a triumphant set.

The whole crowd wave arms to the instructor with the tenor sax who asks are we having fun yet, big yeses all round in appreciation of this Hot 8 Brass Band from New Orleans on the Jazz World Stage. They mix blues, jazz and more than a smattering of hip hop in this lively set with several tunes harking back to their homeland – ‘I Really Miss My Home’ gets plenty of foot tapping and booty shaking. Marvin Gaye's ‘Sexual Healing’ gets a great response with a full on sing along accompanying the clapping.

The bouncy pop of Golden Silvers reawakened the Park Stage early in the afternoon. Having wandered into a maths lesson in the adjacent free University of Glastonbury tent, the keyboard catchiness of ‘Magic Touch’ was an anecdote that got the feet tapping and hands clapping. Dressed in a white suit, singer Gwilym Gold lead the happy hand claps as a carnival atmosphere crept into the ever-growing and rather chirpy crowd.

At 3pm the run shone through and the people at Jazz World cheered, mid song whilst watching Stephanie McKay - an exponent of soul jazz reminiscent of The Brand New Heavies, wonderful powerful voice accompanied by a tight 4-piece - and she can hold those notes.

Peter Gabriel signing, Speed Caravan, perform their first Glastonbury. The Algerian French 'rock' band open up with a seriously thumping bass courtesy of Pascal Teillet accompanied by the worlds only electric oud. Eastern influences punctuate each of the first two instrumental tracks, and a bass - on a level with Alabama 3 - think opium den and Belly Dancing on acid. Percussionist Mohamed Bouamar throws your mind to far away dessert landscapes, but there is no interaction with the crowd who are happy to bounce to the bass in the absence to knowing the words. They finish with a Prodigy meets Faith No More meets Morocco stormer - absolutely, completely, brilliant, and then the power went - it left the crowd chanting “we want more,” but, sadly they couldn't oblige.

An enchanting set form Icelandic act Lay Low kicked off things on the Park Stage. Donning an acoustic guitar and broken English, the singer of the trio sings, “songs for everyone that is wet,” which is practically everybody watching. The irony of a country-tinged ‘The Sun Shines For You And Me’ isn’t lost, but their dainty tales of lovely hearts warmed the cockles.

Fucked Up were all bass drumming, fast riffs and screaming vocals in the John Peel Tent, which whipped the afternoon crowd into a frenzy. Frontman Pink Eyes admitted to the crowd that they, “we thinking of covering [Lady GaGa song] ‘Pokerface’ for a singalong,” opting instead for ‘Can’t Win’ with the audience leaning in for the “fuck the police” chorus.

Debuting new tracks like ‘Daniel’ from their Mark Ronson-produced new album ‘Welcome To The Walk Alone’, The Rumble Strips gave singer Charlie Waller a chance to stretch his lungs during a brass heavy set. The band had a large crowd in the John Peel Tent, partly due to the rain outside playing fan favourites ‘Girls And Boys In Love’, ‘Motorcycle’ and set closer ‘Time’ with energy and aplomb.

Straining against the other stages and the incessant rain on Friday morning, The Perceptions deliver a tight jazz funk set to a small, but largely appreciative group who applauds each of the brilliant solo's from bass (Gary Crockett), sax (John Willmott), Hammond Organ (Sam Gamborini), percussion Neil Robinson), rhythm (Leigh Gracie) in particular Snowboy on the Congas. The band have several James Taylor Quartet members, which adds further quality to this engaging start to Jazz World. Lead artist invites the crowd to "launch the first bottle of piss" no one obliges. At the end of the set the crowd has grown 10-fold and they finish with a crescendo of cymbals to a big (ish) cheer which coincides with the first glimpse of sun coming through the hitherto unbroken cloud.

The weather does not dampen spirits here - a group of four 'bumble bees' who can not talk, but buzz to each other, pursue folk outside the Cabaret like a mini swarm. In the Poetry and Words tent five 'sailors' take in some prose contrasting with the sculptures in Trash City and Arcadia seen slightly more  sinister in the wet, quickly replaced by an upbeat jazz funk beat emitting from Rocket Ray's Juke Joint outside Shangri La.

“Hello Glastonbury, we feel very privileged to be opening the John Peel Stage,” is the most onstage banter given out by Irish trio General Fiasco. Drawing a sizable hoard thanks to poor weather, the stand out track is ‘Sometime Sometime’ while the crowd pleaser is the catchy ‘Rebel Get By’.

Glastonbury Festival 2009
continues today with performances from Animal Collective, The Horrors and more.

Click here to watch BBC Glastonbury Festival highlights on Virtual Festivals.

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