All back to Butlins again, for the 9th
instalment (for us at least) of the 80’s/ 90’s UK “Indie” Festival Celebration
that is “Shiiine On”! As usual, we’d booked onsite at the end of the 2024
weekend, trusting in the organisers that they’d come up with something a little
more imaginative than 2024’s rather weak bill. April dawned, and with it a
solid, unspectacular but interesting bill announcement, lacking one specific
band like a Midway Still or a Chameleons (or even a Stuffies or Hooky) to make
me really go “wow!” but definitely an improvement over the previous year, and
with a couple of high profile, intriguing debutants. I have to admit, though,
despite being an indie music fan of long-standing, I’m not entirely within the
“Shiiine On” demographic, having skirted around rather than fully immersed
myself in the likes of Madchester and Britpop, so I’m never going to be 100%
sold on any bill. Still, this was a relatively good one, and it’s always a
great weekend for other reasons too. Now, if only the weather will hold out…
Joining
Rachel and I for the trip from the ‘don this year for his first “Shiiine On”
was our 18 year old son Logan, so after a last-minute car tyre pressure scare,
we loaded the Skoda up and hit the road. So what about my weather hopes? Well, that
was the first thing that let us down; torrential double-wiper rain pretty much
the whole way – happily, despite standing water on the M5 around Gordano, it
didn’t delay us too much, and after a quick stop in Minehead Tesco for
provisions, we met Matt at the seafront for the traditional fish’n’chips.
Unfortunately, the rain then decided to go biblical on our asses, so lunch was
taken huddled in the car! Sarah and fellow first timer niece Liz arrived and we
set off to book in, rather stupidly going to the wrong car park entrance, then joining
a massive queue in the rain for wrist bands, finding our accommodation was
closer to the other car park so moving the car, and finally getting drenched
and totally breathless hoying luggage from motor to apartment! So, not the best
of starts, all in all…
My
drowned rat-ness necessitated a sartorial rethink, so one clothes change later,
we were out through mercifully easing precipitation, and into the Skyline Arena
for SENSER, first band up at 4.30. Their aggressive sub-Rage Against The
Machine rap/ rock stylings and occasional PWEI samplings were well outside my
wheelhouse, and at odds with the dual lead singers’ smart mom and pop clothes.
I bet they looked waaaay different, back in the day... I recognised
belligerent old 90’s Lev fave “Switch” and I liked the anti-corporate
sloganeering, but that was about it… unlike our Welsh friend Mel, who
proclaimed them his band of the weekend. Yeh, already!
“Welcome
to Rain On!” was the apposite intro from the perennially youthful Mike Edwards
of JESUS JONES, next up on the big stage. Always good value for “Shiiine On”,
Edwards and his kinetic keyboard player gave an energetic, thrusting
performance of their techno-inflected 80’s indie rock/ dance collision,
although without the retina-scalding psychedelic fever dream backdrop visuals
that accompanied previous sets, it felt a little sludgy and pedestrian in
comparison. Still, “Never Enough” was its’ usual racey and pacey self,
“International Bright Young Thing” was the first unexpected singalong as the
Arena gradually filled with soggy punters, and the rhythmic clatter of “Real
Real Real” and stop-start techno-rattle verse and pounding choral hook or set
closer and best number “Info Freako” got me throwing a shape or two!
Having
no interest in the hairy old 70’s blues via a Britpop filter of Reef, next up,
Logan and I had a break at the apartment via a chat with the Abstraction Engine
gents, then back in via a short chat with “Shiiine On” regular Miles Hunt (due
up solo tomorrow), and a much lengthier one with voluble Fierce Panda boss (and
former 80’s NME journo of note) Simon Williams. Back in place though for current
FP signees and tonight’s headliners ASH, the nearest to a sure thing on the
bill, having won my 2022 “Band of the Weekend” honours, albeit courtesy of a
landmark run-through of “Alternative Ulster” with Therapy?’s Andy Cairns.
Opening with Strauss’ “Zarathrustra” (AKA the Apollo theme!), this epic intro
was followed up by thunderous newie “Fun People” and the groovy chug of new
album title track “Ad Astra”. However, just as I was thinking, new ones, fine,
I’m not really up for moshing anyway, the ticking chimes of my fave number, the
moshpit catnip of “A Life Less Ordinary”, rang out, and I was away down the
front, dragging Logan in my wake…
The
surf-punk harmonies of “Angel Interceptor” and off-kilter cacophonous drum
crescendos of “Orpheus” got various folks joining in in an expanding, generally
good natured (despite one woman who objected to getting bumped – sorry, love,
this is what happens at the rock show…!) mosh, Ash keeping it fully fuelled
with a fine set selection of bangers from their now-extensive indie-pop back
catalogue. A few newies for good measure as well, the beefed-up calypso cover
of “Jump In The Line” (which followed a rocking, Ramones-esque mid-set
highlight “Walking Barefoot”) getting the crowd singing along as well. But the
final 3 blew the set out of the water; a buzzsaw “Kung Fu”, which saw bassist
Mark Hamilton pile into the mosh next to me (!), then the driving anthemic duo
of “Girl From Mars” and ringing closer “Burn Baby Burn”, rounding off a
breathless mosh-bound first day highlight – as expected from the Ash lads!
Snagged
a set-list, yay! Caught my breath before we headed to an already utterly rammed
Centre Stage for CLONE ROSES. I’d not been impressed with them on previous
viewings (TBF I’m not a huge Stone Roses fan anyway) and little changed tonight
– except maybe the singer being more off-key than previously, and thus more
authentic to Ian Brown’s oft-bricklayer karaoke flat tones! So I took a
breather, sitting down in the walkway and running into old 80’s mate and “Shiiine
On” virgin Leggy, here with my mate Andy. A nice catch up (and lament that the
likes of Bauhaus weren’t on the “Shiiine On” bill!!) before we were joined by
Logan, then he and I headed off to Reds for their late-night festivities,
grabbing a seat by the side of the stage, house left. S*M*A*S*H joined us at
11.30; they’d passed me by in their New Wave Of New Wave 90’s heyday, although
by reputation I was expecting some seething and punchy angry punky stuff. However
they were much more polite and formulaic New Wave fodder, more Jags than Costello
or Strummer (although I liked their “Tommy Gun” outro on the opening number). A
mid set number featured some unexpected feedback (“just like the Jesus and Mary
Chain,” quipped the singer… hmmm, don’t think so, bud), and later numbers such
as “Morphine For The Pain” had more of an NYC CBGB’s/ Iggy bluesy swagger about
them, but overall I found them pleasant listening but eminently forgettable,
I’m afraid…
Logan
turned in and I toughed out the Listen Up DJ’s who were stinking the place out
with some terrible 80’s techno/ rave bollocks, eventually grabbing a barrier
spot for final act THE OTHERS, slightly late at 1 a.m. I’d seen them 20 years
ago on a Psychedelic Furs undercard when they were another hotly-tipped NME
press darling act that never got anywhere (remember Terris, kids?), and I
recall liking their New Wave/ Cure taut noise whilst bemoaning the absence of
tuneage. However tonight they were much improved, attacking their set with the
kind of snarling sneer that I’d expected from S*M*A*S*H. “Lackey”, urgent and
claustrophobic, set the tone out of the traps, and “Southern Glow”, next up,
featured some Fall-like staccato one-note riffery and a vocal not so much sung
as spat out dismissively by wild-eyed singer Dominic Masters, who gave me
uneasy Davey McManus (Crocketts/ Crimea) vibes throughout. Newie “Nightmare”
from their current, 5th (!) album, was a galloping hellscape
propelled by some dark and sinister keys and guitar licks; oldie “William”
featured a strident and anthemic opening riff and a racey “ba ba ba” choral
hook, and closer “This Is For The Poor” was a bass driven dark and morose hymn
for the downtrodden with a savage chorus. Overlong at nearly an hour (Dominic
regularly complaining of his lack of fitness), but The Others were solid Friday
“Best of The Rest” after Ash, and a fine way to end Day 1!
An
overcast but mostly dry outlook for Day 2, as we eventually stirred our stumps
late morning and Rach rustled up fried breakfast for 6 (we washed up!), mine
unfortunately not entirely agreeing with me, I’m afraid… Anyway, eventually off
the loo and into Reds for the last knockings of BLACK JACKALS and their bluesy
psych pop. A little more emphasis on the groove rather than the tunes for me,
but an eminently listenable part-set for starters from this hybrid NYC/ Scouse
rabble, their final number recalling The Von Bondies (remember them?) with its’
repetitive “c’mon c’mon” hook. However I was in a barrier spot for an early
Saturday highlight, namely IAN PROWSE AND AMSTERDAM, on at 1 p.m. “Good
evening, erm, afternoon!” the man announced before his traditional opener, the
bullish “Taking On The World”; then the bouncy fiddle-powered good time music
of his former charges Pele’s “Megalomania” led into a lengthy and passionate
positioning diatribe for an affecting yet uplifting first-pumping singalong to “Dessie
Warren”, and a call to talk about one’s mental health before the subsequent “Different
Battle”.
Musically,
Prowsey occupies that territory between the folk/ punk rebel music of my
long-time faves The Men They Couldn’t Hang and the poppier singalong fiddle
touches of “Hup”/ “Elvis” era Stuffies. Lyrically, however, he’s right in Swill
and Cush’s corner, with class struggle polemic permeating his work. And he
cares, passionately and volubly, coming across as one of the nicest, most
sincere blokes in rock, particularly when his roadie Morgo slipped at his feet
mid-set! Stark and windswept ballad “Home” (“my favourite song I’ve written,”
admitted Prowsey) was just lovely; “Raid The Palace” was a boisterous and
rousing “na na na na” singalong powered along by “the fiddle of fire”, Laura
McKinley; and one final chant for the fallen (but OK!) Morgo preceded set
closer and highlight “Does This Train Stop On Merseyside”. Again, a little
cracker of a set from The “Scouse Springsteen”!
It
got predictably busier down the front but I kept my barrier spot and Rach
joined us for MILES HUNT at 2.30. “The undisputed King of “Shiiine On” is with
you!” the man rather accurately proclaimed, “[now] I need you to sing every
single fucking word!” “Mission Drive” and “Circle Square” then kicked another
all-inclusive and celebratory set of acoustically delivered yet still rousing
indie bangers from the breadth of The Wonder Stuff’s impressive
first-time-round 4-album canon. Lots of chat and audience interaction too, Miles
discarding his shirt then responding to wolf whistles with, “fuck off – I’m 60
next year!”; introducing “Can’t Shape Up” with a reference to bad relationships
in his 20’s, “[although I’ve been] single now for 8 years!”; and admitting his
younger self was, “also very good at falling out with people!” No shit, Sherlock!
A
welcome run through of Vent 414’s “Fixer” was preceded with a plug for Vent’s
support turn for the Stuffies for their forthcoming tour (I’ll be there in
London!), then his previous remark returned to haunt him, Miles remarking,
“it’s hot as balls! I haven’t been this hot since…” one wag then shouting, “8
years!” The audience fill for a rollicking “Don’t Let Me Down, Gently” was a
late highlight, as was the ladies “audience participation” screams during the
late “Unbearable”. “Give Give Give” closed out another splendid showing from
the King; he might have meant it tongue in cheek, but as I always say, Miles,
above all others, totally “gets” “Shiiine On” and gives the punters what they
want – every time!
We
cleared out and I paused briefly to check out the psych-blues pop stylings of
DREAM MACHINE in the Skyline Arena. They sounded decent enough in a
Blossoms-ish way, but nothing was sticking after a couple of numbers, so I
headed back to the apartment for a rest in preparation for a busy and possibly
late evening. Back into the Skyline Arena for 6 p.m., and late 70’s New Wavers
THE UNDERTONES. Still soundchecking when we arrived, they eventually gave the
thumbs up and were straight on it, strutting singer Paul McLoone announcing in
his soft Irish brogue, “we’re the Undertones and this is an Undertones song…” Sure
enough, “Jimmy Jimmy” was said opener, an energetically delivered version of
this old pop-punk classic from back when pop-punk meant something other than
the likes of Blink and co., and The Undertones only had the Buzzcocks as
serious competitors for the throne of short, snappy, buzzsaw fast yet
ridiculously infectious earworm pop hookery. That set the tone for a 23-song
strong (!) set from 4/5ths of the original Undertones line-up, the singer the
only exception to the rule, but delivering the vocals in a similar
tight-trousered, high-pitched tone to original voice Fergal Sharkey, albeit
without his slightly irksome quaver (I know, I know, but it’s a matter of
taste, right?). Happily, most of the set mined that classic first album, a New
Wave classic and touchstone for me, and I found myself singing every word to
the likes of “Family Entertainment” and the later, excellent “Jump Boys”,
despite not having heard them for possibly decades! Predictably, “Teenage
Kicks”, stylishly inserted mid-set, was a predictably rousing singalong
highlight, but bettered for me a couple of numbers later with a dramatic,
drum-propelled best-of-set “When Saturday Comes”. A splendid set rounded off with
McLoone deadpanning, “all the people in the bucket hats; I know you’re confused
but it’ll soon be over!”, the irresistible choral hook of their finest hour,
“Get Over You” ending a breakneck-speed hour of prime New Wave.
The
bucket hats were of course waiting for INSPIRAL CARPETS, on in short order at
7.20 and happily once again to the strains of World Of Twist’s classic “The
Storm”. A bullseye as far as the “Shiiine On” demographic is concerned, the
Madchester survivors eased in with a low-key (for me) Doors-ish organ fuelled
“Dragging Me Down”, before the tumbling backbeat hook and dissonant organ
middle-8 of “She Comes In The Fall” precipitated the first of many singalongs
from the mooing massive. After 2023’s disappointing set – particularly the
performance of original vocalist Stephen Holt, whose softer, more nuanced tones
stacked up badly generally to the more strident, overt delivery of the
out-of-favour Tom Hingley but which were particularly flat on that occasion –
I’d adjusted my expectations accordingly, but I have to admit Holt did a better
job tonight. “Let You Down” was a bit muddy and monotonous, but the subsequent
“Move” (always a favourite of mine) was melancholy yet uplifting. A messy “Joe”
however seemed to suffer with vocal tech issues (either that, or Holt simply
forgot the words!), but the elegiac “This Is How It Feels” with its extended
acapella singalong from the crowd, was a highlight. The Fall’s much-missed
leader Mark E Smith’s distinctive tones were piped in as vocal overlay to a
spiky “I Want You”, and after bandleader and organist Clint Boon shoehorned in
a couple of additional numbers (“we’re playing so fast!”), the insanely jolly
toy organ riff and big hook of “Saturn 5” rounded off a somewhat inconsistent
set which at least was better than before.
We
finally caught up with Simon, whose “Shiiine On” attendance this year was
unfortunately sporadic due to other commitments, albeit better than our other
intended Shiiiner and friend Martin, who had to pull out at short notice due to
health reasons. Shame! Well, at least we’re Shiiining for you mate… and ready
for a surprise in headliners THE JESUS AND MARY CHAIN. Celebrated squalling
leathered-up post-punk noiseniks from the 80’s turned scuzzy Iggy-esque proto
rock’n’roll mavericks, they, like the Bunnymen last year, fitted the “Shiiine
On” time-zone but possibly not the vibe, so, as the requisite wall of dry ice
enveloped the stage, we wondered how these sleazoid Scottish veterans would go
down here…
Well
then, how? For me, it seemed that JAMC were as divisive as the Bunnymen last
year, and as previous headliners Teenage Fanclub, as throughout the set,
pockets of space seemed to open up from our usual house right spot by the front
Skyline tent support pole, for myself and interested party Logan to step into;
so much so that by set end, we were front and centre a couple of rows back, in
prime spot to grab a ridiculously easy mainstage set-list! But I’m jumping
ahead of myself… abrasive, strobe-backlit opener “JAMCOD” was followed by the
laconic chug of “April Skies”, a tremendous, absorbing “Happy When It Rains”
and a, “how you all doing?” greeting from the usually taciturn vocalist Jim
Reid through the smoke. The bleak, soda bar from hell doo wop of “Some Candy
Talking” burst into cacophonous noise in the middle 8 for another early
highlight, but that aside, the early set was full of unfamiliar newies,
slightly alienating the “Shiiine On” massive, particularly “Pure Poor” which
was frankly a plodding dirge.
However
a superb “Head On” signalled a sea change in the set, and then it was pretty
much sleazoid rock bangers all the way, Reid lifting his mic arm up after each
number to signal his thanks. Singer Jane Weaver guested on the insouciant
makeup/ breakup call and response of “Sometimes Always”, then the widescreen
“Just Like Honey” was a delicious set highlight. A plaintive and understated
“Darklands” was similarly heart-tugging, before Reid proffered thanks prior to
the caustic, dramatic death wish chant of “Reverence”, closing out a polarising
set which I nonetheless really enjoyed, particularly after “Head On”…
That
was 10 p.m. and the end of the Skyline bands; we grabbed a bench by the gin bar
at the back of the Arena and Logan had a dirty kebab late tea before he and
Rach headed off for a rest, intending to come out later for the Lamacq indie
disco at 2 a.m. in Reds. I stayed put, being joined by Matt, and running into
Simon Williams for another brief chat that turned into a long one! Note to
self, if you see him tomorrow, block out the next half-hour…! This however
bridged the gap to my next act, namely CUD at ¼ to 12 in a busy Reds.
Thankfully I’d earlier plonked myself on the barrier, house left as the
ebullient Carl Puttnam led his troops on and burst into the booming indie pop
opener “Now Is The Time”. I’d not seen the quirky C86 survivors since their
2017 set here, but time hasn’t changed their off-beat, slightly “Carry On”
eccentric charm, or Puttnam’s slightly risque gyrating showmanship. And the man
can sing; a rich, resonant and occasionally octave straddling baritone,
reaching the high hooks of the stomping “Eau Water” and the later upbeat jangle
and regimented rhythm of a surprisingly singalong “Only A Prawn In Whitby” with
ease.
Prior
to that, the funky smut of “Strange Kind Of Love” saw Puttman announce, “it
took 8 hours to get here and 4 hours to forget I was in a van!”; the likes of
“One Giant Love” and “Hey Boots” were bouncy, flouncy and groovy as fuck; and
the Higsons-esque 80’s white funk of “Robinson Crusoe” was overlaid with fruity
wah wah effects from guitarist William Potter. The chugalong lasciviousness of
“I’ve Had It With Blondes” rounded off a slightly offbeat yet entertaining Cud
band set, which took us up to ¼ to 1, so I had a sit-down break, and then a bit
of a dance to a decent indie disco (Modern English! Dinosaur Jr.!), which took
us to 10 past 1, and the arrival of AIRCOOLED after a fiddly set-up. This lot
featured Olly from Shoegaze Queen Miki Berenyi’s band, plus former Elastica
drummer Justin, and my initial investigations suggested a shoegaze Stereolab type
of sound, worth checking out. However, they kicked into a clattering,
migraine-inducing techno synth riff then pounded the shit out of it for what
seemed like hours but was probably only 5 minutes or so. The second number was
exactly the same, albeit at a slightly slower tempo, so I decided this blend of
industrial krautrock and trancey synth wasn’t what I wanted to hear after 1 in
the morning. So that was it for “Shiiine On” Saturday, and I wandered back to
the apartment to find Rach and Logan already tucked up and fast asleep. So no
Lamacq indie disco for any of us this year!
Potential
early musical highlights and general lack of interest had again prompted the
cancellation of our intended Sunday Carvery, so we again had a lazy morning
before I checked the car tyre, wandering into the Skyline Arena from the Studio
36 side and thus running into an arriving David Gedge and Rachael Wood from
last year’s revelation The Wedding Present, stopping them for a quick chat and
pic. It was then into Centre Stage at 12.15 for another early start; still very
quiet but happily not as tumbleweed-deserted as last year, for the 12.30
commencement of BMX BANDITS. Given that the last time that they’d played
“Shiiine On” was Saturday afternoon in 2017 (gig 1,062), when I had to miss
half their set to escort my rather drunk wife back to our chalet to sleep it
off, I was happy to get to see their full set this time! Opening with “Little
Hands” (“a golden oldie for you,” according to vocalist Duglas Stewart), this
band of C86 jangle pop heroes (and, apparently, favourites of Nirvana’s much-missed
Kurt Cobain) delivered an understated yet utterly charming set of hooky,
melodic and harmonic Big Star-esque strumalong pop, with Stewart a voluble,
witty and entertaining raconteur. “Serious Drugs”, covered by my beloved Gigolo
Aunts, was lower-key yet beautifully singalong, and introduced by Stewart as
his, “retirement fund”! The subsequent twee yet delightful acapella “Your Class”
followed Stewart’s claim that, “we are possibly indie pop’s most romantic band,
according to Jakki Brambles’ radio show!”; the bouncy “Disco Girl” was about as
rocking as BMX Bandits got; and closer “Spinning Through Time” was a cinematic
yet touching and personal ballad dedicated to Stewart’s late wife. Not the best
set this weekend, but quite possibly the nicest…
Matt,
Rach and I grabbed a seat for the next act; not a full band performance from
80’s swirling post-punk heroes The Icicle Works as advertised, but a solo
performance from IW bandleader IAN MCNABB, apparently due to illness.
Unfortunately, the capricious McNabb suggested, “you might be rock’n’rolled out
so I’m going to play some acoustic numbers…” thence kicking into a lengthy and
heavy-going “Dreams Of Heaven”, a solo number of his. And whilst I liked the
more sweeping desert ballad of “Merseybeast”, next up, subsequent numbers
delved into introspective and frankly dull Young/ Dylan-esque folk/ alt.
country territory. A shame really, as I’ve seen McNabb waaay better than
this, and this felt like an opportunity missed; with everyone expecting the
band, just play some better-known Icicle Works songs for starters, eh? Read the
room, mate… I headed off before I nodded off, and it seemed I wasn’t the only
one…
So,
off to a rapidly-filling Reds in advance of the arrival of the DAVID GEDGE DUO,
next up at 20 to 3. I still managed to grab my habitual house left barrier spot
before it got really busy and whiled away the time with a lively conversation
with Rachael, a lady who admired my Smiths shirt! So, come the hour, we were
joined onstage by Wedding Present main man Gedge plus another Rachael, the
erstwhile Ms. Wood, who for me is a key reason behind The Weddoes’ return to my
listening habits and gig itinerary, thanks to her dynamic and powerful axe
work. She wielded the electric guitar whilst the snowy-capped Gedge bashed away
at a road-weary acoustic with his usual gusto for opener “A Million Miles”, his
low stentorian growl a little throatier than usual. “Thank you, good evening,
I’m Rod Stewart,” he quipped at its’ conclusion, alluding to a cold which
nearly forced him to cancel, his work ethic ultimately prompting him to power
through (although apparently when he picked Rachael up en route and said
hello, she just laughed at him!). Nonetheless, he and Rachael did power
through, the additional dynamism provided by the new guitarist being evident
even in this acoustic setting. “Dalliance”’s slow burn moody intro led to a
great thrashy strumalong denouement; the groovy 60’s ish “It’s A Gas” was preceded
by a story of Gedge getting a letter marked from the House of Commons, believing
it to be from apparent WP fan Kier Starmer, but it turning out to be a notice
of roadworks (!); and the excellent “You Should Always Keep In Touch With Your
Friends” was a delightful inter-twining jangle fest.
The
set was coming nicely to the boil then, with “Brassneck” next up, but I had
already tendered my apologies to D&R during our earlier convo that I was going
to miss half of their set due to the most upsetting clash of the weekend. I raced
back up to Centre Stage then, grabbing a central spot a row behind the barrier
this time, for recently reformed Scots combo THE SOUP DRAGONS, taking the stage
shortly after my arrival. Rach had seen them at the “Gigantic” Bristol gig last
year and returned with a less than favourable opinion, but from the outset they
seemed determined to bury that, opener “Whole Wide World” an amphetamine-fast colourful
burst of C86 buzzsaw punky pop, and “Crotch Deep Trash”, next up, a splendid
sounding sleazy psych wah wah fest. Nothing wrong with either of those!
The
Soup Dragons, for me, were effectively 3 different groups; the Buzzcocks-esque C86-adjacent
surf punk lot I saw in 1986 (gig 53!), then the more Stones-influenced trad
bluesy psychedelia- tinged first album band I saw in 1987 (gig 69), and finally
the baggy dance troupe of late 80’s chart fame, who I didn’t see at all. A lot of
moving parts in their sound, then, but for me the set, leaning more towards those
first 2 phases until towards its’ end, was well balanced with a great flow to
it, delivered with gusto by these Scots veterans. The slightly ramshackle “Hang
Ten” was nonetheless irresistibly happy surf punk; “Can’t Take No More” (vocalist
“Hi-Fi” Sean Dickson lamenting, “I wrote this with no space to take a breath,
so if you see me pass out…”) was an undulating and growling NYC proto punk rocker;
and “Soft As Your Face”, apparently based on a riff Dickson wrote at 13 (!),
was more melodically redolent of the 80’s Glasgow vibe, with a lovely plaintive
guitar riff. “Head Gone Astray” (Dickson remarking, “some people used to call
this “Head Gun Ashtray”” – I certainly did!) was a soaring and melodic
best-of-set for me, although the barnstorming buzzsaw pop of oldie “I Know
Everything” was Dickson’s favourite – so much so, in fact, he played it twice! Finally,
the baggy dance of “Mother Universe” and an extended “I’m Free” got the ample crowd
singing along, “Free” being preceded by an on-point exploration by Dickson of
the concept of freedom. A new, punky protest number “No Music On A Dead Planet”
was an apt slogan to end a superb set balancing The Soup’s various styles excellently
and ultimately winning my Set Of The Weekend by a very short nose. And even Rach
admitted they sounded a completely different band to “Gigantic”!
Grabbed
a list and queued up with Rach and Logan (who’d finally hauled himself out of
bed for some Sunday entertainment!), getting it signed and having a fun chat
with drummer Ross. Out into the Skyline Arena for some of NORTHSIDE’s baggy
stylings, meeting Matt there. They were never my cup of tea back in the day, so
I didn’t stay long, instead grabbing a dirty kebab tea (same as Logan’s,
yesterday!) and hitting the apartment to watch the England footy game! Back
out, however, for SLEEPER in the Arena at 7.20. From the outset, however, they sounded
tepid, the guitar sound barely audible, falling very flat even in comparison to
the Sleeper-by-numbers first part of their recent Bristol set (gig 1,404). Even
that brilliant undulating guitar intro to “Delicious” sounded perfunctory at
best, and Louise’s vocals, breathy at the best of times, sounded as if she’d
just run a marathon, emerging almost one syllable at a time before a breath!
Yup,
sorry, I’m a fan but Sleeper tonight were about as disappointing as I’d seen
them since their reunion; the backbeat rhythm of “Lie Detector” was the most
dynamic sounding number up to then, but that proved a false dawn until the
bubbling synth of “Atomic”, again interspersed with a middle 8 crowd singalong
to the “Love Will Tear Us Apart” hook. “She’s A Good Girl” was plodding cabaret
at best; “Inbetweener” saw Lou drop her vocals right own to a whisper; and
final number “Sale Of The Century”’s Britpop snark was actually the best non-“Atomic”
number, albeit powered by an audience singalong. Overall, soporific and
disappointingly dull – and I wasn’t the only one with that view, a “Shiiine On
Appreciation Society” Facebook member posting “will someone ask Sleeper to play
at the right speed?” Ouch!
And
that was about it for me – I’ve seen headliners Cast enough times here to know
they’re not my cup of anodyne Britpop indie landfill, so I briefly ran into
Gedge and Rachael for another quick chinwag, then hung out and chatted with the
crew at the back of the venue before we headed back to the apartment. They all
went back to see Space at 10.15 in Centre Stage who by all accounts utterly
smashed it (even winning a “SOAS” “Best Band” poll), but they’re again a band
who’d never landed with me (Tommy Scott’s vocals are like fingernails down a chalkboard
for me – sorry but that’s how I feel!), so I watched some American Footy in the
apartment before turning in! A bright Monday dawned, seeing us pack up, bid
farewell to crew and various friends then hit the road for a circuitous journey
home, reflecting on another lovely weekend away with family, good friends and overall
fine music. The Soup Dragons may have won my SOTW but honestly, The Undertones,
Ash and/ or JAMC might also have taken that accolade. So, another successful “Shiiine
On” in the books – see you next year, Minehead!
SHERIFF’S
SHIIINE ON SELECTION
Friday
Best
– ASH
Saturday
Best
– THE UNDERTONES
Sunday
Best
– SOUP DRAGONS
Overall – 1. SOUP DRAGONS,
2 ASH, 3. THE UNDERTONES, 4. THE JESUS AND MARY CHAIN, 5. MILES HUNT
Best
New Band
– No-one really!
We
Can Be Heroes
– MY CREW as ever, including first-timer Logan (despite sleeping almost all day
Sunday): RACHEL for sensibly pacing herself again: MILES HUNT for a short but
friendly chat: SIMON WILLIAMS for a couple of much longer ones (!): DAVID and
RACHAEL for not minding too much that I went off to see The Soup Dragons: ROSS
from the Soup Dragons for signing my list as per 1987!
