1,357 THE 2024 “SHIIINE ON” WEEKENDER, Various Venues at Butlins Resort, Minehead, Friday 15th – Sunday 17th November 2024

 

For the 8^th time in a row, November means “Shiiine On”! However, and even more so than last year, this was one I really wasn’t that keen on beforehand. Definitely more of an impending “Shiiite On” than a “Great Eight”, this, thanks to the weakest and most unimaginative bill in the festival’s history by some considerable distance; plodding dullards and indie landfill aplenty, and the very real prospect of absolutely nothing to do, musically at least, after mid-afternoon on Sunday thanks to utter crushing bores Starsailor and Embrace “headlining” the main stage. This left me, prior to the weekend at least, putting my faith in Saturday headliners Echo And The Bunnymen to deliver, which these days, even from my mid-teens “home team”, is a dangerous prospect. And further salt was rubbed into the wound with the announcement of a 10^th Anniversary special in Skegness in March, featuring highlights from the first 10 years and including such luminaries as The Wonder Stuff, Ash, Peter Hook, Boo Radleys, Glasvegas and more, thereby making our weekend’s entertainment look even more anaemic by comparison. Bah!

Oh yeah, also about Sunday; a scheduling mess-up (and IMHO a real opportunity lost by the organisers… more on that later) meant our usual Old Ship Aground lunchtime carvery, one of the highlights of the weekend, had to be cancelled at short notice. Bah! Again…

Last month’s awful news of my dear lady wife’s lung cancer diagnosis furthermore threatened to scupper the whole weekend for us; however, Rach responded very well to the first few days of her immunotherapy tablets, so we decided to go for it anyway, organising a last-minute change to a ground floor apartment and disabled platform access, and anticipating plenty of rest breaks back at the apartment. Suddenly, the prospect of a poor musical bill didn’t seem so terrible; at least Rach might have plenty of company! So, at least looking forward to a nice weekend away with Rach and good friends, we hit the road just after 10, encountering a bit of queueing traffic on the outskirts of the ‘head so meeting up with Matt on the seafront for the traditional fish’n’chips lunch slightly later than planned… although not as late as the Truro contingent, who had to turn back to get meds 2 hours into their journey! Sarah turned up with her friend Rich in tow, and her 2 chalet-mates Duncan and Rick arrived, so we all booked in, sorted wristbands in short order and settled in, before popping out to the Inn On The Green for mid-afternoon. ELECTRIC SHEEP INC. were on in front of a respectable early crowd, a young lot peddling fairly generic baggy-influenced stuff, so Matt and I wandered into the sparsely populated Skyline Arena for the last knockings of EASY. A band whose name I remember from those 90’s baggy days but whom I largely blanked on, they gave me no reason to regret that with some (again) unobtrusive generic baggy Britpoppy noise.

Popped back to the Inn, then to the benches outside for socialising. Caught up with the Abstraction Engine boys, here as punters only this year; shame! Martin and Simon arrived after their medical double-back, so we met our new Shiiiner; an amiable, softly spoken chap with a dry wit which emerged and entertained us throughout the weekend, so another welcome addition to our coterie. Glad you could join us, Simon! We all wandered in for JIM BOB at 5 to 6 in the Skyline, running into erstwhile 2000 Trees buddy Mal in the process! Jim, my former Jamie Wednesday correspondent and of course long-time Carter USM main man, tried something different this year, taking the stage with a Ramones “Gabba Gabba Hey” placard and delivering a set of Carter classics via the medium of voice and piano only. Quite a polarising idea, this, not least with the man himself (Jim commenting at one point, “this is a weird idea! What was I thinking of, just me and a piano on this enormous stage!”); when it worked, it gave a slightly different slant to the material (“Is Wrestling Fixed” taking on a jaunty Vaudevillian air, and the old JDub number “Prince In A Pauper’s Grave” inheriting a heavy, menacing feel slightly removed from its normal sea shanty march), but other tracks felt shorn of their required dynamism. Jim himself paced the stage like a latter-day Mark E Smith, firing off pithy comments in line with his sardonic lyricism (e.g. “I wanted to put on my backdrop, “Fuck Pontins”!”), and bigging up his book talk with “Steve Lurpack” and his old Carter mate Fruit Bat’s Abdoujaparov set, both tomorrow, but overall this was a curious and slightly understated set.

We took a break for tea, leaping into the pasty shop as it opened at 7, and partaking of its scalding wares (although not as lava-hot as feared) before Rach and I took advantage of the disabled platform, house left, for REVEREND AND THE MAKERS’ early evening slot to an already packed house. Hefty rabble-rousing main-man Jon McClure took the stage, promising us, “Friday night music! Good time music!” but a couple of poor and dated-sounding baggy dance numbers later, I feared that the reason the Salford Village Idiot Shaun Ryder wasn’t on this year’s bill was because he’d sent his understudy instead…! Happily, the set improved notably, an early “Heatwave” a schmaltzy but tuneful 70’s funk track, and a bouncier “Bandits” fairly decent actually, and I warmed to McClure, who clearly cared about his massive, with constant exhortations to look out for each other’s mental health. Overall, though, this strange melting-pot of slower funky and upbeat bouncy, almost ska stuff didn’t do a great deal for me, despite McClure’s tongue-in-cheek boasts that, “I’m a big deal in Sheffield – Bono level, me…!”, but the brass blare of the “Marmite” ad song, “Silence Is Talking”, got the whole arena bouncing, so it seemed I was in the minority there… 

We were however back in our usual house right spot by the pillar for headliners KULA SHAKER. Again, I’d largely blanked on them in their early 90’s pomp, finding the bits I’d heard a little dull, and thinking main man (and nepo baby before there was an actual term for it) Crispian Mills a bit of an Indian culture appropriating, pretentious pillock. From the off however, he set out to prove me wrong; “Hey Dude” was a potent psych pop opener with a very 60’s Byrds/ Love US West Coast feel, setting the tone for the set, and an early “Gaslighting” was a herky-jerky rhythmic Kinks-esque pop choon with a stream of consciousness vocal from the annoyingly slim and youthful Mills, who was a relaxed and engaging performer throughout. “It’s Friday night, it’s a full moon, we’re going to do a spiritual detox,” Mills announced before the rocking upbeat psych-blues of “Naryana”. I didn’t enjoy the Mondays’ “Hallelujah” reference during an otherwise okay actually “Tattva”, but they redeemed themselves afterwards with the powerful descending riffery of a big harmonic singalong “Hush”. “It’s been a great pleasure to play for you – I hope we don’t fuck this up…” announced Mills before closer, an unexpected and jolly run-through of John Lennon’s “Instant Karma”, rounding off a very pleasant surprise of a set, from (dare I say it) worthy Day 1 arena headliners! 

Rach, sensibly pacing herself, decided that was it for the day, so Matt and I popped up to the already-rammed Centre Stage for ECKO. A pet “Shiiine On” band, this lot (along with Deja Vega), they were sonically okay in an early 90’s psych rock/ baggy trance dance vibe, but I didn’t appreciate the Scottish vocalist’s put-on fake Mancunian sneer, or the fact they went massively over time, not clearing off until 10 past 11. So tribute act TRUE ORDER, due on at 11, didn’t make an appearance until 11.30… Having seen Hooky recently, I was in a New Order frame of mind, but this lot were terrible; I didn’t even recognise opener “True Faith” until the vocalist started singing it, badly too, I might add… By the 3^rd number, an equally savage massacring of “Perfect Kiss” sung totally out of key (I know NO’s Barney isn’t the best vocalist in the world, but he’s like Scott Walker compared to this guy), we’d had enough.

Over to Reds for SACK, then, joining Martin and Simon in the seats house right. I initially found them pretty decent in an early Inspirals/ Divine Comedy jangly groovy singalong kind of way, and was encouraged that at least they could play and sing (some decent 3 point harmonies particularly appealing to me); however they were ultimately let down by their material for me, which seemed clumsy and very average, one number featuring a piano part which sounded as if a cat was wandering up and down on the keys! A shame really, but at least they got me to the final act tonight… 

On the barriers then for the 12.45 emergence of MODERN ENGLISH, early 80’s pioneering proto-goth/ shoegaze post-punkers. I wasn’t a massive fan at the time, more in thrall to my Liverpool post-punk sound, but I remember enjoying what I’d heard back then (usually played to me by old buddy Paul Crowfoot), and also, during my more recent mid-2010’s voyage of post-punk rediscovery, enjoying delving into them (and the likes of The Sound and particularly The Chameleons) a little further via their “Life In The Gladhouse” collection. This veteran band took the stage to a “standby for danger!” tape loop, opening with the taut, urgent off kilter hurtle of “16 Days”, dapper vocalist Robbie Grey yelping off-mic like an Adam Ant or Robert Smith. This pretty much set the tone for a tense, menacing and deliciously brooding set of textural guitar-driven atmospheric post-punk, with more than a few nods to early (so, good) Cure for me. “Gathering Dust” was a building and careering thrill ride, and even the new material, such as “Long In The Tooth” from 2024’s “1 2 3 4” release, stood pat with the oldies, albeit slightly more conventional and harder edged. “Tables Turned” was a synth and bass-propelled chugger, featuring some almost virtuoso low-end manipulation from Michael Conroy, however the set was climbing inexorably up to the summit… 

The sturdy and unmistakeable strum along opening to post-punk classic “I Melt With You” was stupendous, plunging into a taut and utterly joyous hooky chorus, a stripped-back atmospheric break and a wonderfully extended and speeded up outro, ending both the Best Song and, ultimately, the Best Set of the Weekend on a none-more-higher note. Tremendous stuff – and more so because I’d been bouncing in my barrier spot alongside Irish post-punk songstress, recent facebook friend and potential musical highlight for tomorrow, Keeley Moss! A quick chat then, before I headed off to conclude Day 1! 

Day 2 dawned slowly and lazily, before we gathered for the usual Saturday “Big Man Big Breakfast” – serving 7 this time, as Sarah and friend Rich joined us later. A slight deviation from the norm thereafter; as Rach had just started her meds and wasn’t up to the usual pool party, we headed to Studio 36 to catch the last knockings of Jim Bob’s chat on his new book “Where Songs Come From”, catching the end of a witty and laconic – and very well attended, over 1,000 in! – discussion. Matt and I bought a book and got them signed by the man; then we grabbed a table for the 90’s quiz, compered by former Shed Seven drummer Alan Leach, with Matt, Rach and myself being joined by Sarah and Rich plus a couple of Sarah’s friends in “TheFookinButlins” team, which (once the quiz got going after a few technical hitches) finished a creditable 23^rd out of over 100 teams – but nowhere near top in the Best Team Name stakes, which was clearly won by “Your Dad Wanks On All Fours”! 

A 3 way band clash split us up thereafter; whilst various folks headed off to see Bentley Rhythm Ace or Kingmaker 4AD, I plonked myself front and centre on the Inn On The Green barrier for KEELEY, eponymous musical vehicle for my fellow Modern English dancer Keeley Moss. And, to return the favour, all of Modern English had turned up to see Keeley, so I grabbed a quick chat and pix with a couple of the boys, discovering bassist Michael Conroy had played on the 80’s proto-dreampop classic This Mortal Coil album, so appreciated me rocking a TMC tee-shirt today! Anyway, Keeley and her backing band kicked off promptly at 2; opener “Last Words” was a buoyant and jangly indie-pop opener, and “Inga Hauser”, second number up, featured a dark, melancholy choral hook delivered with conviction by Keeley, and accentuating the gravitas of the subject matter…

Oh yes, about that subject matter; “Inga Hauser”, like ALL of Keeley’s songs, without exception, are written for and about the eponymous Ms. Hauser, a teenage German student shockingly murdered whilst backpacking in Northern Ireland in 1988, a case which has never been solved. This understandably imbues Keeley’s material – even the more upbeat jangle-alongs – with a heavy pall of melancholy, a bleak and poignant atmosphere which conversely makes the material (for me at least) more intriguing and captivating. Add to that Keeley’s own deep and mahogany-rich low tones and insouciant onstage persona, and you’ve got a potential-loaded new post-punk/ dreampop find. “Arrive Alive” was a racier wall-of-sound shoegaze rocker recalling early Ride and my set highlight, and the absorbing metronome of “Trans Europe 18” rounded off a fascinating and evocative (if short at 6 songs only) set. 

I hung around afterwards and grabbed a chat and pics with Keeley and the band, then wandered off to Reds, bumping into lurking Wonder Stuff main man Miles Hunt on the way for a brief chat about my recent Barcelona trip to see his erstwhile 90’s support act the Gigolo Aunts (gig 1,348). Gave YOUNG KNIVES another go; they’d raised my pretentiousness hackles the last time I’d seen them, and after a couple of messy prog numbers (one of which sounded as if it was being played out of time!) and a clear feedback attempt to find the brown note (!), I was gone, their repetitive cries of “Barbarism! Barbarism!” ringing in my ears. Back to the chalet for a mid-afternoon chill for an hour or so, eventually being joined by Rach for a while before we wandered back into the Skyline Arena for the last number of THE FARM’s popular set, predictably an inclusive and roof-raising singalong to unofficial “Shiiine On” anthem “All Together Now”. 

However, t’was back up onto the Disabled Platform for Rach and myself, for the second act in the Scouse Saturday triumvirate, namely THE LIGHTNING SEEDS, on at 7.20. The only previous time I’d seen Liverpool post-punk veteran Ian Broudie’s band of wide-eyed popsters was their frustratingly tech gremlin-beset “Shiiine On” 2019 performance (gig 1,161), so I was at least hoping the sound would be kinder this time. It was – and how! Opener “Marvellous” sounded great, clear as a bell, the hook singalong, buoyant and Summery, setting the tone for a shiny, happy and perfectly delivered set of ebullient pure pop. “Ready Or Not” was a slightly harder-edged outlier to all the magic pop thrills, featuring a descending choral hook and a false finish; the Beatles-esque orchestral swell of “Perfect” saw Broudie manfully raise an octave to the higher choral vocal line; and a robust “Lucky You” saw Broudie challenge the crowd (“you’re a bit restrained…!”), prompting an “ooh ooh” singalong which elicited a fists-aloft response from the singer. 

A tune-packed, redemptive and timely performance culminated in a touching and rather lovely “Pure”, still their best number, and the “God Only Knows” soundalike intro (only just noticed that today!) to a cheesy but singalong “Three Lions”, Broudie happily leaving the stage with a broad grin and the audience’s cheers ringing in his ears this time, rather than a tech glitch-induced scowl. Nice one, lad! 

I was then back onto the floor for tonight’s headliners, greeting my crew then leaving them to it as I ventured nearer the front! Had a chat with Keeley again, as the anticipation grew (or was it just me?), and dry ice predictably swathed the stage in advance of the entrance of ECHO AND THE BUNNYMEN. A band I’ve loved for over 40 years and hosts of my second ever gig, back in December 1981, but a band whom these days stand or fall “live” on the whims and mood swings of main man and “voice” Ian McCulloch. Mac’s longtime oppo Will Sargent’s virtuoso guitar may shimmer, swoop and weep, the young band may ably back them up musically, but if Mac’s head’s not in the game (or if his nose has been in the drinks cabinet, or worse, in the powder beforehand), this could be a car crash…

Overall, I was pleased to report that it was, well, okay… Opener “Going Up” crept absorbingly in with its’ air of menace and mystery, then Mac’s vocal was stripped bare for all to hear; low, moody, understated, a little throaty and raspy, but definitely Mac. The backbeat drums of “All That Jazz” followed, Mac delivering a clipped verse vocal before Will’s strafing riffery bounced off the tent ceiling, and an early “Rescue” was relaxed, plangent and singalong. However, there had clearly been some, erm, “imbibing” beforehand on Mac’s part, although at least he was a happy drunk tonight, rambling on about Al Pacino’s new baby, Arne Slot and VAR, and bigging his material up as expected, introducing a tremendous, careering “Over The Wall” with, “this one is a bit mad, sort of neo-psychedelic,”, commenting, “I’m not going to boast but this feels great,” prior to the Doors-like keyboard-fuelled, loose-limbed “Bedbugs And Ballyhoo”, and proclaiming, “this next one is brilliant,” before “The Cutter”. Because, well, it was. So. 

Not without its faults, this, though; the band were constantly enveloped in dry ice and the side-screens were off, so they were often impossible to make out through the murk, the set selection was again one for the purists rather than the casual fan (generally fine for me, but fine for Shiiine? Debateable…) and even despite pacing his voice and making infrequent use of the higher octaves, Mac’s vocals became increasingly ragged towards the end, the singer making increasing use of the tactic of muting the band to allow the devoted down the front to fill in on vocals, a rather divisive move which earned a fair bit of criticism from my crew afterwards. I guess I was just pleased that I wasn’t disappointed, which I appreciate may be damning Mac and The Bunnymen with faint praise, but these days, you never know…

A stripped back “Killing Moon” rounded off the “set”, after which the band took a pause before returning for “Lips Like Sugar”, which finally saw Mac’s voice soar during the choral hook. Caught up with the crew via the mixing desk, the excellent arena sound-guy making good on his promise beforehand to save me a list, then we headed back to the chalet for a cuppa! Rach then decided that was her limit for the day, so it was Matt, Martin, Simon and myself who headed back in, for a Saturday night revelation… 

I’d seen David Lewis Gedge’s frantic jangly C86 survivors THE WEDDING PRESENT a few times in the last 10 years or so, once on a Wonder Stuff undercard in 2016 (gig 981) and then at “Shiiine On” in 2017 and 2019, and, the opening salvo of that 2017 set aside, had been mostly disappointed, finding the choppy guitar onslaught of legend largely absent, and both material and performance understated, turgid, samey, dated and really rather dull. So I was semi persuaded, semi press-ganged by the boys to give the Weddoes another chance, but honestly I was expecting to give them 3 numbers, then piss off and leave them to it.

Hoo boy, was I wrong, or what? The snowy-topped Gedge led his troops onstage at 11.30 to a rapturous reception from an utterly rammed Centre Stage, cantering into the strident descending riff of opener “A Million Miles”, overlaying this lovelorn paean with his low stentorian growl, and from the off it sounded great, purposeful, big, fulsome, guitar-led, and with a dynamism, conviction and cutting edge sadly lacking for oh so long. The edgy slow/ fast “Don’t Talk Just Kiss” saw Gedge bent double, sawing at his battered guitar for all he was worth, recalling visions of the first time I saw them supporting The Mighty Lemon Drops in 1986 (gig 58) and being utterly astonished by his wrist dexterity! Even early newie “I Am Not Going To Fall In Love With You” was imbued with power and purpose, the mosh causing the sprung floor to bounce along in time. Who is this band, and where have they been since the 80’s??! 

Yup, that cutting edge restored, The Weddoes were easily band of the day for me and a close runner-up to Modern English for the overall weekend honours. “Nobody’s Twisting Your Arm” was an unexpected huge singalong, segueing into a powerful, bouncy “Kennedy”, then the yearning ascending chorus of “My Favourite Dress” was a set highlight, until the inevitable finale of a breathless, roaring and hurtling “Brassneck”. Just a great set, and I wasn’t the only one so surprised, as we discussed this triumphant and restorative set with a vindicated Martin (who’d had no doubt), before I headed back for the night. 

So, onto day 3 of a swift and, happily, very surprising “Shiiine On”, musically at least! Another fried breakfast today, as, as previously mentioned, our usual Sunday carvery was postponed after the line-up timing announcement last week, given that the only 3 acts I/we were interested in today were all on in Centre Stage, consecutively from lunchtime! Bah! Anyhoops, off we wandered after brekky, through the drizzle to the first of the three… MAT FLINT, 90’s genre-hopping guitar roustabout but best known, by me at least, as frontman for sadly short-lived melodic shoegaze/ dreampoppers Revolver, had actually initially been scheduled to play the Inn On The Green, but was bumped up (?) to the 12.45 opening slot for Centre Stage Sunday, following the announcement that he intended to play a full Revolver set with a new 3-piece band. So, we headed in 10 minutes beforehand, only to find the place utterly deserted! Yikes! 

Nonetheless, Matt and I took barrier spots, along with a mere dozen or so bleary-eyed interested parties, for Mat’s entrance. He and the band opened with Revolver’s best number, the brilliant “Crimson”, a regular handover number for me during my 1991 Lev DJ-ing days (finishing my stint and asking DJ partner The Big Man to start his sesh with it, so I could head down and dance to it!). Slightly thin, echoey and understandably understated as Mat and the band bedded themselves into the set, it was nonetheless great to hear it again after so long. “Drowning Inside” was an early, eerie textural affair, Mat jumping on the pedals with glee to overlay his lilting, high-pitched vocals, and a later “Cradle Snatch” was an elongated and atmospheric psych workout. Revolver’s best-known number, the debut “Heaven Sent An Angel” was a lengthy, loose-limbed piece of absorbing loveliness, and the off-kilter tumbling drums and discordant psych of “Venice” closed out a slightly uneven, taciturn but welcome slight return from Mat… and Revolver? 

I chatted with Mat’s charming wife Emma briefly afterwards, as Mat responded to my request for a set list by writing me one out especially! Chap! Kept my spot for “live” favourites of mine (and my son Logan’s!), 80’s folk/ punk class warrior veterans yet “Shiiine On” virgins THE MEN THEY COULDN’T HANG, due next up at 10 to 2. I’d actually chatted with TMTCH mainstay Paul Simmonds about “Shiiine On” at their recent triumphant 40^th Anniversary gig at the Thekla (gig 1,345), trying to allay his misgivings about their being booked to play what seemed to them prima facae a Madchester/ Britpop Festy by saying it’s about all 80s-90s indie, you’ll do great, if you’re on late on Saturday night or something like that it’ll be a raucous drunken singalong encapsulating the spirit of the band etc. etc… to which he then replied, “we’re on Sunday lunchtime…” I mean, “Shiiine On” organisers, WTAF???

Making it a bit worse was a lengthy, fiddly and seemingly unnecessary backline soundcheck, delaying their start until 2 in front of a more respectable (if still no more than half full) dance floor. “We’re going to liven things up a bit!” announced main man Phil “Swill” Odgers, opening with the rambunctious if a little low-key fiddle-diddle of “Raising Hell”. A more robust “Going Back To Coventry” got me bouncing down the front, after which Swill remarked about being up all night (“so it’s late for us!”) then called for a sing-along to a bolshy, anthemic “Ghosts Of Cable Street”, pointing me out and saying, “I know you’ll sing!” 

So sing I did, giving my pipes a proper workout (my usual TMTCH duetting partner Logan being absent from “Shiiine On”, I had to sing for two!) as The Men maintained their jolly fun, inclusive folky punky form from that Thekla gig, occasionally going slightly off-piste with the set selection (the sea shanty feel of “The Lion And The Unicorn” and a slow-burn “Silver Gun” being unexpected inclusions) but bringing it right back with a poignant and emotive “Green Fields Of France”, particularly the haunting, stripped back lump-in-the-throat 4^th verse. “Smugglers” enlivened the mood thereafter with its’ soaring terrace chant chorus, then the subsequent Miners’ Strike story of “Shirt Of Blue” was moody and menacing, and “Island In The Rain” a touching ballad featuring some virtuoso sawing from veteran violinist Bobby Valentino (Swill announcing beforehand, “[this one is] Bobby’s favourite – and he works us hard!”). Damn that lengthy soundcheck, as they had to cut “Colours” from the end of the set at short notice, but absolutely nailed a brilliant and breathless “Ironmasters” to conclude a joyfully singalong and, ultimately, well-attended and well-received set. See, you do belong here at “Shiiine On”, Simmo!

I’d been bouncing and singing along, so, hoarse and a little knee-sore, I joined the crew in their seats, house left at the edge of the dancefloor, for “Shiiine On” regular MILES HUNT, this time doing the solo thang instead of being backed by the full Wonder Stuff line-up, and again bafflingly on mid-afternoon, 10 past 3 in this instance. It’s as if the organisers didn’t notice just how well his last solo set (late Sunday evening in Reds and following a disappointingly received Teenage Fanclub headliner slot) went down, seeing out “Shiiine On” 2022 (gig 1,253) on a real inclusive singalong high. Nuts. Just nuts. Still, the mid-afternoon slot didn’t seem to dampen Miles’ bullish, buoyant mood, immediately giving us, “fair warning, I’m going to be calling for some audience participation,” thereafter noting, “I know my 20-year-old self would hate my 58-year-old self [for] sitting on a stool encouraging singalongs, but I like pissing that guy off!”

As expected, this was another jolly, inclusive and entertaining showing by a man totally at ease with himself and his history, and with the demands of the “Shiiine On” crowd. Give them what they want, and Miles is happy to do so, delving gleefully through the Wonder Stuff back catalogue for this set, and augmenting the selections with stories and vignettes from his near-40 years (!) in rock. So a couple of stories of near-interactions with Bob Dylan were interspersed into a meandering “Caught In My Shadow”; “Here Comes Everyone” followed a story about a brief fling during a US tour, and trying to subsequently dump his girlfriend in letter form; and “Maybe” saw Miles assuring the crowd that he means no disrespect to “the great Michael Stipe”, despite the possibly disparaging reference in said song’s lyric. 

Ploughing past the hour mark (“I hate the pantomime of the encore; it’s patronising on both sides…”), Milo rounded off with a few more upbeat singalong Stuffies cuts in “No For The 13^th Time”, “Don’t Let Me Down, Gently” and, following an audience vote, “Size Of A Cow” (“the no’s have it, but fuck you, I’m in charge!”), before finishing with “Give Give Give Me More More More” and a thought of how lucky we are to still be here, which hit home with us, and Miles personally too, given the recent loss of his beloved dog The Winkster. “Thank you for propping me up,” was the man’s comment, but the feeling as ever is mutual.

Then that was that! Given the swathes of Indie landfill subsequently on the Skyline stage, the musical element of our “Shiiine On” was done by half four on Sunday afternoon! We grabbed noodle tea from Chopstix and headed back to the apartment for the 5pm England game. Rach and Sarah drifted back into the arena rather than watch the footy, so I wandered back in to find them, running into old Level 3 friends Sara and Sharon and introducing them to Milo, hanging out in the Inn On The Green. Eventually found Rach and Sarah, hiding in the arena back bar from STARSAILOR’s admittedly proficiently delivered but to my ears oh-so-dull plodding material. We eventually headed back to the apartment where we all gathered for some fun and raucous card games, especially “Spoons”! Much more fun than Embrace, as far as I'm concerned, anyway!

Come 10 o’clock, and Matt and I popped back briefly to a spottily attended Centre Stage to catch a bit of young bucks THE RATS. Musically they were okayish in (yet again) a generic baggy way, but they soon put me in mind of a poor-man’s Stereo MCs, and the vocalist’s grating tones were hurting my head, so we headed back in short order, done for the night. Packed up and (eventually) gathered everyone together the next morning, popping in to book for next year and bid farewells to Martin and Simon (Matt having left earlier) before heading off, dropping Sarah off in Bristol and getting back to the ‘don just after 2. Another excellent weekend, with some surprising bonuses, music-wise, and great company and fun times during those musical black holes. “Shiiite On”? On reflection, that was harsh… it was a “Great Eight” after all!

 

SHERIFF’S SHIIINE ON SELECTION

Friday Best – MODERN ENGLISH

Saturday Best – THE WEDDING PRESENT

Sunday Best – THE MEN THEY COULDN’T HANG

Overall – 1. MODERN ENGLISH, 2 THE WEDDING PRESENT, 3. THE MEN THEY COULDN’T HANG, 4. MILES HUNT, 5. KEELEY 

Best New Band – KEELEY! Well, first time I’ve seen them, so I’m counting that…

We Can Be Heroes – MY CREW as usual; kudos to new guy Simon! RACHEL for sensibly pacing herself. The ubiquitous KEELEY MOSS for being friendly and chatty, as well as a great performer. MILES HUNT, ditto actually. THE SOUND GUY for sorting me 3 lists. MAT FLINT for writing me one!

1,304 THE 2023 “SHIIINE ON” WEEKENDER, Various Venues at Butlins Resort, Minehead, Friday 17th – Sunday 19th November 2023

 

For the 7^th time in a row, it’s November, so it must be time to “Shiiine”! Once again we prepare to immerse ourselves in the annual weekend celebrating the 80’s/ 90’s/2000’s UK indie scene in its various guises, but this time there was a slight element of trepidation and even reluctance on my part, due to 3 factors. Firstly, the bill; a couple of intriguing late 90’s reunions aside, it was solid enough but a little unspectacular for me, lacking the real “wow” factor of, say, a Bunnymen, Chameleons or Midway Still level of band who could really be potential highlights – well, The Wonder Stuff aside, but then they or singer Miles Hunt play every year anyway, right? Secondly, the weather; heavy rain and storms had already damaged much of the site, resulting in accommodation being cancelled for about 300 or so punters following an anxious wait, and further heavy storms were also forecast over the weekend… yuck! And finally, one of my 3 all-time favourite bands, Gigolo Aunts, announced a trio of reunion dates in New York and Boston supporting Letters To Cleo on their annual US East Coast Thanksgiving jaunt, completely clashing with “Shiiine On” which itself was a weekend later this year! Bollocks! So, I was prepared for a soggy weekend – in Minehead in body, but with a part of my soul in “The Hub”… 

Nonetheless, I put aside concerns and we picked up Rachel’s friend Sarah, a first time “Shiiiner” who’d booked separate accommodation, and we hit the road for a decent run down, bumping into Martin and his friend (and fellow first timer) Jon at an impromptu pitstop at Minehead’s Tesco. No breakfast shop today as we’d all bought fixings down, for reasons which will quickly become apparent, however the fish and chip seafront meal tradition was observed as usual, Matt arriving as we ordered. After Rachel’s friends Duncan and Rick arrived (the boys staying with Sarah after their own chalets fell victim to the storms), our convoy parked up after picking up our welcome packs from the gates, then we grabbed our wristbands and were ready to go! No time to unpack, though, as ABSTRACTION ENGINE awaited us at Inn On The Green at 1.45… hence no Tesco run! Swindon’s finest are regular punters here, and this time had inveigled themselves onto the bill, albeit at an indecently early time. Thankfully, we weren’t the only ones up for some early rock, and a respectable crowd greeted vocalist David and the boys as they, bedecked in fluffy jackets, eased into the plaintive slow build of opener “Placeholder”. By the upbeat Summery britpop vibe of “What Would You Say”, however, they were into their stride, and the harder-edged 70’s rocker “Dreamer” and best-of-set “Walk Through Walls”, a haunting yet propulsive rocker, formed an impressive-sounding mid-set triple. The pastoral Wheat-like “Shine” fittingly rounded off an early yet worthy and well-received inclusion for the boys on the “Shiiine” bill – a bit further up next year, maybe? 

Greeted the boys as they unpacked, then the crew departed to check out other stuff and I stayed for THE MALAKITES, a painfully young looking bunch whose opening psych-pop salvo was intriguing, but as they veered into more bluesy trad-Britpop sounding stuff, a little too close to the likes of Ocean Colour Snore for my liking, I lost interest and headed back to the apartment (as far back this year as it’s possible to be without caravanning!) to unpack. The crew had done the same, so we chilled awhile, before our first jaunt into the Skyline Arena. A respectable crowd awaited JESUS JONES, on slightly late at 4.35, and straight into the upbeat techno-indie of “Zeroes And Ones”, the svelte Mike Edwards putting in an energetic shift as ever (though not as energetic as his crazed keyboardist!) yet initially sounding a little lost in the mix. We need more Mike on the mike! Thankfully, by the clattering rhythms of “Bring It On Down”, the sound was more balanced, and the hectic dynamism of “Never Enough” was my set highlight. “The Devil You Know” – “from the band’s but not the public’s favourite album,” remarked a rather bitter Edwards – was a bit dull really (the public are always right!!), yet the understated lugubrious sway of “Right Here Right Now” got a good singalong, so fair play. The barking jagged rhythm of closer “Info Freako”, accompanied by lurid colourful film backdrops, rounded off a solid and rabble-rousing yet a little one-dimensional set. 

JIM BOB was up next in short order, the former Carter USM man thankfully backed by his Hoodrats, and playing a popular and bright set largely based on recent album “Thanks For Reaching Out”, yet delving regularly into his former band’s canon. I’d seen him recently at Bristol’s Rough Trade (gig 1,287), so enjoyed the likes of the melodic, inclusive title track and sarky, snarky punk rock hurtle “Sebastian’s On A Ridealong”. I could have done without the unannounced cover of “Geno” (a song I never liked anyway) but the punkish “Stuff The Jubilee”, with suitable punnish stream of consciousness lyrics, was a subsequent highlight. The sinister sea shanty paean “Prince In A Pauper’s Grave” (which, I say every time, I saw JB’s old band Jamie Wednesday do in 1987 – gig 78, folks!) was stark and eerie as ever, yet the subsequent “Angel Strike!”, dour, dark and stunningly melancholic, was easily my set highlight. Ye Gods, that’s a song! The rambunctious “Bloodsport For All” (preceded by an affable, deadpan Jim introducing the band, including impressive bassist Lindsay Scott, then himself as “Dirk Diggler”!) capped an overall fine set from my old Jamie Wednesday correspondent. Great to see him in fine fettle again!

My knee was barking by now, so I took a break in Hotshots, sharing a table and a chat with Joanne and Nick from Oxford, before Rach joined us as we sheltered from the inevitable onstage car-crash that is Shaun Ryder, this time with Black Grape. However, we were of course all in for the headliners; Miles Hunt bounded onstage at the appointed hour in his cheesy game show compere alter-ego, declaiming this evening’s entertainment (“some songs from The Groove Machine! (cheers) Some songs from Hup! (more cheers)” etc.) before announcing, “to do that, I’m gonna need me a band!” THE WONDER STUFF then joined Miles onstage, kicking off with the coruscating circular riff of the brilliant “Feet To The Flames”. Great start, but Milo then deadpanned to guitarist and loyal wingman Malc Treece, “d’you want to play them something they like, Malc?”, before the fiddle-driven build of “Mission Drive” ignited the crowd.

 Thence followed a typical Wonder Stuff “Shiiine On” set; fully inclusive, perfectly executed, brilliantly played, melodic, roof-raisingly singalong, fun psych/folk tinged indie rock of the first water, comfortably Set Of The Weekend… you know, the usual from Milo and crew! Unlike quite a few who pass through this Fest, Miles totally “gets” “Shiiine On”, gives the people what they want, and is rewarded with overflowing bonhomie and huge ovations throughout. The melancholic yet uplifting “Caught In My Shadow” was an early highlight, “Red Berry Joy Town” was driving and robust, and the superb “On The Ropes” saw me pile down the front, joining an ebullient if a little boisterous mosh. “Golden Green” was its’ usual singalong hoedown, Miles challenging us to “keep that singalong going” for the fairground ride of “Size Of A Cow”. Props from the singer to Janice Long for championing the band at their inception, before “Unbearable”, then the irrepressible bounce of “Give Give Give Me More More More” saw the band take a breather, returning for an encore which Miles announced as “[one] we’ve learned especially for you fuckers; and we might not play it again ever!”… only their cheesy Vic & Bob No. 1 hit “Dizzy”! A proper “check your cool at the door” moment, this was a fun singalong and a “Shiiine” highlight. The more typical “Ruby Horse”, the slightly-delic swirl of “Wish Away” and the usual thunderous “Ten Trenches Deep” rounded off another quite brilliant “Shiiine On” Wonder Stuff set. Familiarity in this instance definitely NOT breeding contempt; on this form I’d have them headline every year! 

A breather and quick bite was then called for, before I split from my Clone Roses-bound crew, I was up for seeing MIKI BERENYI TRIO in Reds. The Queen of Shoegaze joined us at 11.15 with a deadpan, “oh good, you’re all still awake then, that’s fucking great!”, easing into plaintive opener “Light From A Dead Star”, her high register vocals a feature. “I haven’t had a drink yet! I’ll be allowed when the Boo Radleys are on,” she intoned brightly as the initial set drifted hazily by. Ironically, “Suzanne”, a Moose number presumably in deference to her partner and guitarist “Moose” McKillop, was a mid-set highlight with a galloping, almost Western movie soundtrack feel, and the plangent atmospheric march of “Love At First Sight” was also rather splendid. However, a full hour seemed a little wearing, particularly given Miki’s taciturn nature and the band’s stripped-back set-up, and the dramatic, discordant closer “Baby Talk” was not only the best of set, but quite welcome after a variable performance, albeit one with many highlights. 

I took a wander outside and spotted Miles Hunt outside Reds, once again holding court and generously giving his time to anyone who asked. I bought the man a drink and we had a brief chat about those pesky Gigolo Aunts before I wandered back in for THE BOO RADLEYS at 12.45. Sans former songwriter Martin Carr (who’d impressed last year with a Sunday afternoon solo set), I was still looking forward to them as they’d totally smashed it with a “Giant Steps”-centric showing in Reading earlier this year (gig 1,283), and the alarm strafe and descending riff of said album’s opener “I Hang Suspended” kicked off the set in some style, buoyant vocalist Sice once again in fantasy band camp, sporting a grin as wide as the Mersey throughout, and greeting us with a cheerful “good evening everyone! It’s way past my bedtime!” The breezy C86 strumalong of “Wish I Was Skinny” was an early highlight, and the descending poppy hook of the 60’s-esque “Find The Answer Within” provided a moment of redemption for the singer; “[when I played here solo] I totally fucked this one up!” 

Boo Radleys were great again, giving the lie to their oft-variable “live” reputation, picking pure upbeat indiepop classics from the breadth of their canon. “Barney And Me” was an irresistibly groovy layered singalong, the off-kilter “Lazy Day” (“from our shoegaze album!”) a fuzzed-up delight, and newie “How Was I To Know” (“we’re chucking in [this] new one cos it’s a fucking banger!” boasted Sice) an upbeat, robust rocker with a big hook. “Lazarus”, inevitably, was the widescreen, sky-scraping set highlight, and the inevitable jaunty “Wake Up Boo”, Sice conducting the crowd singalong, was actually a fine way to send us all off to bed, to end a happy, bouncy set and the best day of the weekend, musically at least! 

Shiiine Saturday started as Shiiine Saturday’s often do; a lazy lie-in, a “Big Man” big fried breakfast, then a late trip to the pool party for some lazy river action and an impromptu crazy game of keepie-up with a beach ball! A quick turn-around at the apartment as I was up for IAN PROWSE AND AMSTERDAM, on at 10 to 2 in Centre Stage (not Reds, as I quickly found out when I erroneously went there first!). Never mind, in in time to grab a bit of barrier as the man emerged, kick-starting his set with “Taking On The World”, an empowering piece of chunky, Frank Turner-esque folky pop with a punk attitude and sensibility, setting the tone for an inclusive, rabble-rousing, politically motivated yet never hectoring set of fine rebel music, which doubtless would have had The Men They Couldn’t Hang’s late agent provocateur Stefan Cush staring down in approval. An upbeat “Megalomania” had tinges of mid-period XTC; an affecting “Dessie Warren” was an inspirational folk number preceded by a preamble about the man and the cry of, “Fuck The Tories!”; and “Name And Number” featured a lengthy – and funny! – interlude about Prowse meeting Freddy Mercury in a vision, who bequeathed him the band for “Shiiine On”! A rollicking good set ended with a quite beautiful “Does This Train Stop On Merseyside” and the usual anti-“Sun” newspaper rant from a bullish Prowse. Cracking stuff again from the man! 

My crew then stayed in for Mark Chadwick; I’m not a Levellers fan, so I left on the first note and headed to a quiet Inn On The Green for the mid-afternoon CANDY OPERA set. A shorter than planned performance, this, due to bassist Frank Mahon not feeling well. Mahon nonetheless struggled on gamely, as “See It Through Your Eyes” was a shimmering slow burn into a big hooky 80’s-tinged chorus, an unplanned “Left Right Centre” had a distinctive Motown blue eyed soul feel, and “#Text Delete” galloped along with a rootsy rockabilly vibe, powered by some resonant guitar licks. After the upbeat 70‘s NYC Lou Reed vibe of “Crash”, affable badger-haired vocalist Paul Malone introduced the band, including 16 year old (!) drummer Sonny (“we’ve had to lie about his age!” quipped Malone). The excellent, widescreen and crafted “These Days Are Ours” and darker “Enemy”, which featured Malone going all McCulloch/ Burgess on us by throwing in lyrical vignettes from The Beatles, Bowie and Joy Division, rounded off another fine set from these “Shiiine On” staples. As with the Stuffies, for my money they’re welcome every year!

 

A pic and chat with a friendly Mr. Malone about Liverpool rock then preceded a (thankfully dry, the forecast showers holding off for now) wander back to Sarah’s apartment where Rach was hanging out. Enjoyed some down-time, chat and snacks before wandering back to the Skyline Arena and hooking up with the rest of the crew for “Shiiine” debutants TERRORVISION, a band who largely passed me by in the 90’s, but who were clearly this year’s nomination for the “Grunting Rock Pig” slot ably filled by the likes of Midway Still and Therapy? in previous “Shiiine”s. An early “Pretend Best Friend” was overt and shouty noisy post-grunge rock with a slight hint of Kiss-like 80’s hair metal, setting the tone for a dynamic set. Not just one trick ponies, however, this lot; “Don’t Go” featured a fine descending outro hook reminiscent of Bowie’s “All The Young Dudes”, and “American TV” was a slightly uncomfortable meld of glam stomp and 90’s rap. All eyes however were on bearded Sami Zayn lookalike singer Tony Wright, a man who not only lifted the performance above its occasionally average material with his all action, dynamic performance, but also who, in his bright pink suit (borrowing my son’s prom suit style!) with tight tight trousers, clearly dresses to the left… or right… or… (it was all rather hypnotic really…!) 90’s Level 3 floor-filler “Oblivion” was the highlight of an overall pretty decent – and definitely eye-catching! – set. 

A wander out of the arena to grab a pasty and a sit-down on a bench in the walkway; despite this year’s festival being slightly under capacity due to the cancellations (which, due to the number of chalets and apartments being cordoned off, might have been more than the mooted 300…), there was still a paucity of seats, the rear-arena deckchairs having mysteriously gone missing as well. Note for next time, “Shiiine” – we’re not getting any younger, we all need to sit down once in a while! Anyway, thus (slightly) revived, I decided to subject myself again to NEDS ATOMIC DUSTBIN’s tender mercies. A band I’ve never gotten on with, and once again they did nothing to change my view. This just felt like a relentless throbbing and thudding bass-driven and monotone trial of endurance, one song merging into the next like so much mulch, and little in the way of vocals to distinguish the songs (vocalist and charisma-free zone Jon Penney’s dull vocals being submerged in the mix for me as well). “Happy”s change of pace and “Grey Cells Green”s slashing backbeat verse build-up to a racey hooky chorus were far and away their best numbers, also followed by the popular “Kill Your Television”. If they’d have just played those 3, I’d have been a happy boy (!), but then my crew mostly thought they were ace, so what the fuck do I know, eh?

 So then we were up for Saturday’s headliners INSPIRAL CARPETS, making their first “Shiiine On” appearance since the first one (AKA the one I didn’t go to). Now reunited with original vocalist Stephen Holt after keyboardist and main man Clint Boon fell out with Tom Hingley (who’d sung on the Carpets’ better-known songs and who had played a rather good actually “Shiiine” set with The Kar-Pets back in 2016), I was rather looking forward to them, as I’d come in with their “Trainsurfing” EP, which had featured Holt. Coming on to World Of Twist’s classic “The Storm” and a huge ovation for the buoyant Clint Boon, they were straight into the frantic baggy beat and Door-like keys of terrace chant opener “Joe”. However, things unfortunately immediately sounded off, the rendition rushed and cluttered. The 60’s B Movie car chase call-and-response of “Butterfly” was better, but Holt, his vocals more exposed in the mix, sounded flat and droney, even missing half a verse. Things didn’t improve with the puzzlingly early “This Is How It Feels”, the elegiac anthemic singalong being totally crowd-driven, and it became apparent that Tom Hingley might be a bit of a twat, but he was a much better singer for the Inspirals!

 I took a wander back to meet up with Rachel and Sarah behind the mixing desk and to see if things sounded better back there – however, they didn’t! “Move”, my favourite Inspirals track, was muddied and “I Want You” frankly dirge-like, all overlaid by these disappointingly flat vocals. I wouldn’t say this was the worst vocal performance I’d ever seen at a Festival – I’d seen Ian Brown’s self-destruction at Reading 1995, after all – but this was a major disappointment. The crowd lapped it up, lots of “moo”s greeting every track, which made me think either they didn’t care about the sound, or were totally twatted, or a bit of both… 

We took an early wander to Centre Stage before the Inspirals finished, and I grabbed a bit of barrier for the first of those intriguing late 90’s reunions I’d mentioned earlier. RIALTO, who’d impressed as Sleeper’s support at the Oasis in 1998 (gig. 368) took the stage at 10.15, the 5-piece smartly dressed in slightly baggy (but not David Byrne-level) suits and led by the floppy fringed, impossibly handsome Louis Eliot, who remarked, “It’s been a minute! This is the first gig we’ve played in 21 years!” If that was so, then this was an utterly remarkable return, as from the off their sweeping, 60’s kitchen sink drama Scott Walker meets Suede material sounded taut, tight and mighty fine, even shorn of the swelling orchestral arrangements which underpinned their studio output. “Hard Candy”s 60’s inflected plaintive riff ceded to the slow burn build to the sky-scraping choral hook of “Untouchable”, followed in short order by the seedy, Pulp-like moody rocker “Broken Barbie Doll” and Ziggy-era Bowie-esque backstreet ballad “London Crawling”. Eliot, clearly loving it up there, threw a Rialto tshirt into the crowd (their only piece of merchandise!) before the stately Walker Brotherisms of “The Underdogs”, then closer “Monday Morning 5.19” was the set highlight, wallowing, melancholy and yet soaring at the same time. Overall, a triumphant return! 

I took a wander back to the crew’s table on the balcony, and kept a watching brief for SLEEPER, next up. Attracting likely the biggest crowd of the weekend into Centre Stage, and led onstage by vocalist Louise Wener, clearly observing Sequin Saturday, they kicked things off with the bright ringing Britpop of “Pyrotechnician”, Lou’s breathy Eartha Kitt vocals to the fore. Unfortunately, for me the set took a little while to get going, a bit too much anonymous Indie fayre for my liking, despite the best efforts of an energetic Lou and hired hand guitarist, Desperate Journalist’s Charley Stone. However, “What Do I Do Now” was a bouncy singalong, and an unexpected cover of Pixies’ “Wave Of Mutilation”, Louise stretching the verse into a slow burn crowd singalong, was a surprise, to say the least! The more anticipated cover of Blondie’s bubbling disco classic “Atomic”, interspersed again with a mid-song singalong to “Love Will Tear Us Apart” was easily the best of set for me, the strutting “Inbetweener” and knockabout “Sale Of The Century” closing out a crowd-pleasing set which had some fine moments, but again from songs belonging to other people! The place then emptied and less than half the Sleeper crowd were left to greet THE SUPERNATURALS, on late at 1.15 a.m. after a fiddly soundcheck. I gave them a few numbers – they’d largely passed me by back in the day, and tonight initially sounded Summery and melodic in a sub-Teenage Fanclub way, but again the vocalist was too grating and monotone for so late in the day, so after they diverted into more OCS-landfill indie territory, I bailed, leaving my crew to suffer through them in order to get to Steve Lamacq’s Indie Disco at 2.30. Fair play – they all did!

 A threat of rain greeted us Sunday morning; thankfully it held off, so we didn’t need to drive over for lunch! So, we all took a nice wander along the Minehead seafront and over to The Old Ship Aground for a fine Carvery Sunday lunch, annoyingly being required to wait awhile for our lunch tokens, but ultimately well worth the wait! Unfortunately, the delay meant that a slow wander back pitched me up at the Inn On The Green about ¾ through JETSTREAM PONY’s well attended early afternoon set. Damn shame, as what I caught was bright, chunky and melodic female-fronted indie pop in a pacey strumalong C86 meets early Teenage Fanclub vein. Hopefully they’ll be back next year, and I can catch all of their set… 

I was however in place on the barrier for the second of the intriguing reunions I’d alluded to earlier, next to a chap I’d spoken to last year about my World Of Twist tshirt! Anyway, back to the music… I’d briefly caught LINOLEUM’S last number at Reading Festival 2000 (gig 456) and dismissed them as dated doom merchants. However I’d done my due diligence after seeing their name on this bill, picking up cheapo CD copies of their 2 albums, and realised my mistake, thoroughly enjoying their introspective goth/ post-punk tinged bedsit mood music, overlaid with the Mary Lorson-esque little girl lost vocals of Caroline Finch, who with trowelled-on mascara and a black beehive so high it needed scaffolding, was quite a looker in the old days… 23 years on, the mascara is still in place, along with a perma-grin rivalling Sice’s, as she led on her recently reformed (4^th gig in 21 years, apparently, this one…) 4-piece and eased into opener “She’s Sick”, all pseudo-goth drama and harsh slashing riffery from guitarist Paul Jones. The droney, Velvet Underground meets “Christine”-House Of Love “Your Back Again” followed, the band immediately hitting their stride, and the excellent “Dissent”, with the downbeat descending hook, was next up and an early highlight. “Marquis”’s discordant post-punk pin-prick rhythm recalled early Wire, and “Restriction” was a galloping dismissive moody piece which could have even been lifted from the first Pretenders album. However, their reading of early 80’s post-punkers’ The Passions’ classic “I’m In Love With A German Film Star” (“Our most recent single; it came out 23 years ago!” quipped a bubbly yet hitherto taciturn Finch) was the set highlight, eerie and building, with the band hitting that fine balance of remaining faithful to the original yet moving around enough furniture to make it their own. Overall, another impressive return! 

Grabbed a pic with a besieged Finch afterwards and chatted to the Abstraction Engine boys outside the Inn, before a light drizzle saw me head for the Skyline Arena, meeting the crew and catching the last number of ALEX LIPINSKI on the Skyline stage. His punchy Britpop/ powerpop sounded half decent actually, so I was sorry I missed most (if not all) of his set. Then, having little interest in The Farm and none at all in Fun Lovin’ Criminals, next up in the Arena, I headed back to the apartment for a late-afternoon lie down! 

Back in however for the last knockings of “Shiiine On”, for me at least; met Rach, had a pasty and phoned home, then back in our usual Skyline spot for the “Shiiine On” debuts of a couple of late 2000’s bands. First up at 20 past 7 was THE VIEW (who we arrived late for, following our pasty break!). I wasn’t much sold on this lot when I saw them on the 2007 NME “Brats Bus” new bands tour (gig 723), particularly their own crowd chant “The View are on fire”, and the first number we heard tonight, sung by bassist Kieren Webster and sounding like a mess of 2 numbers welded together, did nothing to change that view (sic). However, things improved when usual vocalist (and clearly part flamingo, judging by his propensity to stand on one leg) Kyle Falconer resumed lead duties, with “Allergic To Mornings” a knockabout Kinks-like singalong, and “Double Yellow Lines” a decent driving indie rocker. “Face For The Radio” was a quirky strumalong veering into Coral territory, and “Sunday” was my favourite, a galloping rocker with a helium chorus, “ramping up the tempo to cray cray,” as the affable Falconer put it. “Same Jeans”, their big hit and millstone number, was inserted late-set, but for me is still a total rip-off of Cornershop’s “Brimful Of Asha”, and I sang “BFA”’s lyrics along to it, whilst fending off some bloke who came up to me and announced, a propos of nothing, “that’s Kell Faulkner, he’s a wee fanny fae Dundee!” OK then! A couple of bouncy upbeat indie pop numbers and a rabble rousing closer “Shock Horror” rounded off a quite enjoyable set actually, better than I expected… Are The View on fire? Not sure, but smouldering nicely…

 The place got noticeably busier, and I lost Rach, who went for a drink and then piled down the front for Sunday headliners THE ENEMY, on at 8.45 to a purple smoky stage and The Who’s bilious, fist-pumping “Teenage Wasteland” as musical backdrop. This number pretty much set the tone for their set, as it happened, as vocalist and angry young man-in-chief Tom Clarke made it his goal to fire up and ignite the crowd into one final fist-pumping anti-establishment singalong sesh. “All you sleepy fuckers at the back! I can’t hear you!” he cried as they ripped into an intense and earnest opener “Aggro”, followed in short order by the bolshy, Jam-ish anthem “Away From Here”. Time clearly hasn’t calmed Clarke down, it seems… 

The Enemy were clearly a band on a mission and in a hurry tonight, with an aggressive “Had Enough” preceded by a “here we, here we, here we fucking go!” chant from Clarke, and initially the frantic pace seemed a bit unfocussed and relentless, particularly coupled with Clarke’s constant rabble rousing (one cry of, “I know some of you are getting old, and it’s past your bedtimes, but I don’t give a fuck!” being a bit jarring, with Jon at this point dipping out of the set because he was tired of being shouted at by the vocalist – fair enough really…). However, they hit their stride for me with the heartfelt “That’s Entertainment”-esque strumalong “We’ll Live And Die In These Towns”, the message of urban deprivation being more articulately conveyed by this number, followed up by an almost Bauhaus “Dark Entries”-like descending riff opening to the frantic, almost ska-rhythm of “You’re Not Alone”. Talking of ska, “40 Days And 40 Nights” saw Clarke reference fellow Coventrians The Specials, throwing a couplet from “Ghost Town” in the mid-section hook; then “This Song” was an anthemic manifesto for The Enemy massive, the hook ringing around the arena, then reprised a couple of numbers later to finish the set on an inclusive note. I liked them fine, loved the energy, and their hearts are definitely in the right place, but the intensity and earnestness seemed a little wearing at times. However, they fully justified their position as Sunday headliners, a point underlined by Rach who’d been in the mosh throughout; on the previous occasions we’d seen The Enemy she’d been pregnant both times (!) so happily made up for lost time tonight!

 That was it for me, musically at least; half the crew headed off to catch Stereo MCs in Centre Stage and I happily steered clear of that one, wandering back under an inky black but happily dry sky to our apartment with Jon and Martin. We chilled and chatted awhile, Jon ultimately deciding to go back and catch The Primitives’ late 12.30 set in Reds; remembering what an utterly shambolic car “Crash” they were at “Shiiine On” 2018 (gig 1,112), I decided not to join him, but afterwards Jon reported back that they were quite good, so hey ho… I hit the hay instead, then the following morning we once again had one final breakfast, checked out of the apartment and packed cars, then booked for next year! Fond farewells before a swift drive back to the ‘don, home at 2.30 after dropping Sarah off and doing the school run for our daughter. So, despite my trepidation, this was another brilliant weekend, because, as ever, “Shiiine On” is more than just the bands; it’s a time to catch up with old friends, relax, and enjoy the vibe. Plus, the weather was nowhere near as inclement as feared… and as for my last point, well, Gigolo Aunts are welcome to come over and play “Shiiine On” whenever they want!!

 

SHERIFF’S SHIIINE ON SELECTION

 Friday Best – THE WONDER STUFF

Saturday Best – RIALTO

Sunday Best – LINOLEUM

 Overall – 1. THE WONDER STUFF (3^rd time Top Band in 4 appearances across my 7 “Shiiine On”s)!

     2. BOO RADLEYS

     3. RIALTO

 Best New Band Got to be ABSTRACTION ENGINE! Yeah, I know I knew them already, but they’re new to “Shiiine On”, so there!

 We Can Be Heroes – MY CREW as ever, including newbies Jon and Sarah, and especially Rachel for making up for lost time in The Enemy moshpit; MILES HUNT for being a genuine bloke happy to chat with all and sundry; PAUL MALONE from CANDY OPERA who was happy to chat Liverpool rock’n’roll with me until the cows came home!