WOMAD 2014: 'The friendliest and most open event anyone could wish to attend'
Review originally published on Virtual Festivals
Since its creation by the prog-rock primate playing Peter Gabriel, it's often wrongly assumed that WOMAD Festival’s rosta follows similar narrowly defined white lines. In fact, it can be the friendliest and most open event anyone could wish to attend. This mix of goodwill, genuine enthusiasm and passion spills from the organisers down to the artists and audience.
WOMAD is unique as it brings the world to the festival goer - artists and bands from 42 different countries played at this year’s sold-out festival, the first time WOMAD has sold out since the event moved from its Reading site in 2007. Musicians are given the power to push beyond cultural and language barriers to really thrill and surprise onlookers. Often first-timers walk around this festival, discovering new, unheard of artists, leading them to say: "Why isn't this artist bigger than Beyoncé?"
One artist who could certainly out-booty Beyoncé would be Eno Williams from Ibibio Sound Machine (9). Williams gives a wonderful performance, embodying a female Fela Kuti with added dancehall attitude. Her guitarist, Alfred "Kari" Bannerman - who played many early WOMADs as part of Peter Gabriel’s band - adds extra rockstar cred and sheer dexterity to the eight-strong band. One other new discovery is Daka Brakha (10), a Ukrainian band distinguished by their tall hats, akin to Horse Guards’ Busbys. Although their dress might be traditional, their sound certainly isn’t. During their Siam Tent set there’s a rapping cellist, touches of techno and a guitarist who could stand in for Jonzi from Sigur Ros.
The BBC Radio 3 Stage moved from the Arboretum into the main arena this year, and continues to champion interesting artists. From the trip-hop folk of the Welsh singing 9Bach (9) through to Amira Kheir (8), a Sudanese-Italian artist whose opening song sounds like 'Thali'. An unfortunate reminder to rumbling stomachs, because the voluntary run Madras Cafe next door don’t start serving their unbeatable thalis until after 12:30pm.
There are headliners of course. New Zealand’s Fat Freddy’s Drop (7) swing by as part of the UK summer festival tour and work the audience with their irresistible dub tracks with sweet soulful vocals. The legendary Richard Thompson (8) at his ripe age continues to prove himself more adept than ever with one acoustic guitar - although it sounds like three. And Sinead O’ Connor’s (7) voice remains as clear as cut glass and she’s still fighting (well, boxing) fit, dedicating her set to the late Bobby Womack who had been booked to headline the festival.
On an equal billing are world music superstars such as Mulatu Astatke (7) whose Ethiopian vibraphone Jazz is continually referenced and sampled as pointed out by his version of "Yègellé Tezeta" which enters into Nas and Damian Marley’s version. The divine Mali diva Fatoumata Diawara teamed up with Havana pianist Roberto Fonseca and the combination of exquisite voice and deft Latino groove is another winner (8). And Songhoy Blues (9) the biggest thrill of Africa Express have a mournful indie quality made all the more poignant when reacting to real conflict in Timbuktu rather than the usual British bedsit blues.
Another main attraction this year is the addition of the Society of Sound Tent which uses a Bowers and Wilkins speaker system of Abbey Road studio fame. David Holmes (7) utilises the quadrophonic surround speakers to play rare Northern Soul records as crackling vinyl ricochets around the four banks on Friday. The next day, Peter Gabriel spends a morning talking about the importance of hi-fidelity but the sound is so smartly directional that from outside the tent it's virtually inaudible. Ashley Beedle (8) brings up the bottom end on Saturday with some disco and finger-pointing house. On Sunday, the real test of the system is when the stage is filled with old electronic equipment as The Radiophonic Workshop (8) bring their backroom boffin skills to the fore. The sound of many a geeky 1970's Beeb show are audibly panned to full effect and given a bit of pep by The Prodigy's former live drummer. Obviously, The Doctor Who theme wig-out finale is what everyone is waiting for.
Some of the best highlights this year were off the sun-beaten track in the Arboretum, sat appropriately under a tree by the solar-powered Ecotricity stage. Sans (8) music is mix of hypnotic Finnish mythological tales given a dramatic bite. Imed Alibi’s (9) percussive Tunisian beats make a sweltered hot audience dance with the kind of swirling arm gesturing movements that you only see at this festival. It’s here, as the smell of honeysuckle wafts from the trees and as Taste of Womad serves up another delightful dish concocted by the band playing on stage, it truly feels like you’re at the core of the festival.
Mid-North Western Alt.Country Boys
Tim Burgess with special guests Lambchop, 23rd June, Barbican.
The Charlatans were once billed as the world’s longest surviving rock band. This may have been tied up in record company rhetoric and the tragic circumstances that surrounded the making of Tellin’ Stories but there were other reasons for their longevity.
Feeding into the band was a pudding bowl of musical influences. Although their haircuts and swagger cashed in on Madchester, they were essentially outside the city. As Burgess’ autobiography affectionately details (new updated edition out July 4th) they stirred in elements of The Byrds and The Meters from the very beginning. Additional remixes by the fledgling Chemical Brothers created a unique blend.
As the band rose, and Burgess broadened his lyrical palate, bits of Dylan and Gutherie crept into Tellin’ Stories. Then as Burgess expanded his vocal scale there was even a touch of Curtis Mayfield mixed with mid-western slide guitars and occasional gospel choirs joining the congregation on Us And Us Only.
Burgess’ involvement with Lambchop followed after he went to see them at a gig in Manchester then helped lead singer Kurt Wagner load his van. Burgess asked him whether he’d like to work with them to which Wagner replied, “you write the music, I’ll write the lyrics”.
Tonight, Wagner tells us that when he first met Tim he wasn’t quite sure who he was. He’s also distracted by Tim’s hair when he comes on to duet during Lambchop's set quipping “what happened? when I met him he looked normal you know quite preppy, is it because he’s gone vegetarian?” Wagner’s easy humour is a contrast to his gentle yet lyrically dense tales that have a soporific effect on a warm Sunday evening.
To be fair, Tim’s pudding bowl haircut bears a striking resemblance to his early years, cut when he was writing the chart-topping Weirdo and perhaps the new straw coloured thatch is a nod toward his alt.country roots?
When Lambchop is replaced by Burgess’ band after the interval, the influence is clear and the lush sound, similarly interchangeable. Wagner stood by his word and worked with Burgess on his most recent solo album Oh No I Love You, Tim still reverts to a trademark pimp shuffle when he delivers Wagner’s lyrics and the songs have a bit more bounce to them than a standard Lambchop tale but it’s an authentic take rather than a pale Northern imitation. Or what Tim calls “Mid North-Western”.
Obviously the biggest ripples of recognition are with the key-changed Charlatans songs. Starting with The Only One I Know then bringing on a string quartet for White and the already country hued A Man Needs To Be Told is taken to new heights. Wagner partners up for Weirdo and it’s at this point that you release that he is as much an outsider to country as Burgess. As Burgess’ set increases, so do the number of Lambchop members until finally there's a full ensemble performance of the closest Wagner ever had to a cross over bouncy chart hit, Up With People.
As the recent remix album of Oh No I Love You highlighted, it’s also refreshing to see an artist who won’t settle into a trend and solely chug out the back catalogue. Unlike rock dinosaurs headlining Glastonbury this weekend, Tim Burgess refuses to be stuck in a musical rut or, indeed, framed by a (Jesus) hairdo.
Pre-Efterklang, The Asylum, Birmingham, 29/10
Tonight I’m going to head off to see Efterklang at a new Birmingham venue called The Asylum .
I'm still thinking of appropriate ways to write a music review for #Brum. I know that people have done Tweeting events before but trying to stop it being a novelty and integrate it more effectively. If you are going tonight and you will be tapping away occasionally on a keypad, do let me know. If you would rather enjoy the experience but want to get in touch with me via a more traditional route afters then also let me know – although snail mail is probably not the one. All suggestions and comments welcome, even if it’s ‘Why don’t you just enjoy the moment rather than try and flatten it with technology?’
If you have just stumbled across this randomly and you live in Birmingham, you should definitely come along it’s going to be ace! If you’ve found it because you saw them at the Barbican last night, it would be great if you could let me know what to expect.
Maps, Hare And Hounds, Kings Heath, 25/10
“Cycling to MAPS with new bike lights”
Was the first Tweet I sent out as I cycled up to Hare And Hounds, Kings Heath last night. My father-in-law had come round in the daytime and fixed my bike whilst I locked myself away in the study trying to get my head around Pixel Pipe. The up-hill pedal to the venue was an absolute pleasure. Nothing rattled for a change and I had brand new lights – one attached to my bike and another pinned to the strap of my camera bag – to guide my way.
I may have lost some of my cool by accidently leaving the camera bag flashing light on as I wandered up to the bar. But my mobile LED disco may have added further ambiance to Arc Vel's superb set. The new solo project from the former (much missed) Grandscope member was aided by his own visuals, which according to another former Grandscope member Hydey, had taken a week and a half to pull together.
“Gutted only caught last song by Tour Eifel, quality electronica with home made visuals”
Arc Vel should have been second not first as the next act didn’t really compliment the shoegazing frug of Maps instead being a falsetto voiced navel-gazing guitar player called It Hugs Back... hmmm.
“Maps kick off with It Will Find You followed by Papercuts”
A strong start indeed, James Chapman has now employed ‘a Dane’ to add extra texture on tour. It sounds superb and the new material swims happily alongside the old. About five songs in Chapman speaks and it’s then that I realise that he’s pretty ratted.
“Maps (chap)man is smashed but septembers provide more than ample support” I Tweet.
And the fact I didn’t spot that predictive text made that message partially incoherent indicates my state too. It’s a funny situation actually that someone like Ozzy Osbourne can spend the best part of his music career off his face but live electronic acts should always be sober and serious whilst they prod away at a laptop. I blame Kraftwerk.
“At some point in the near future you're going to choose between another pint or an album from Merch. How depressing is that?”
I Tweet before I head to the Merch store and find out that the new album is a tenner. It is signed though, and quality is worth paying for. Besides my freewheeling downhill cycle saves forking out on a taxi and is about 30 times more enjoyable.
And So I Watch You From Afar - Academy Birmingham 19/10
Since ASIWYFA first dropped their incendiary first LP I’ve been keeping an eye firmly fixed on them. But, even though I wrote about them for Metro, I’ve been forced to miss several of their gigs. Instead only catching snatches of them energetically leaping around on YouTube.
This week, despite having a tiring day at uni, I couldn’t resist the opportunity to finally to see them unpixellated. The Belfast-based lads were supporting This Will Kill You so I went down nice and early and got myself pressed up against the barrier in an active attempt to relive my teenage years. I've mostly moved away from rock bands in the last 10 years but there's something about this band that stirs the young rock beast inside me.
Only against the barrier can you see flying splinters from shattered drumsticks, the sweat dripping from bent heads onto their guitars. They band's name might imply considered distance but the only way to watch the band up-close in full visceral effect.
