On Wednesday, I set off to the Glastonbury Festival 2024, I was taking Selina and Phil to the festival. The first time for Phil, the third time for Selina (98, 99, 24) and the fourteenth time for me (98, 99, 09, 10, 11, 13, 14, 15, 16, 17, 19, 22, 23, 24). The only gap for me was between 1999 and 2009. The other gaps in the years were when Glastonbury had a fallow year or Covid circulated. We were going to be staying at a glamping site called Love Fields.
We set of at 10.30, stopping at Starbucks near Frome, intention of charging the car with some free BP electricity. Alas all chargers were in use. Arrived at The Love Fields just before 2. A note to myself, ignore Google Maps, it will see the holdups on the main roads around Glastonbury, and attempt to find a quicker route, this inevitably will take you down small single-track roads, and roads that are closed to non-residents during the festival.
I had booked a large Ash Yurt at The Love Fields for the three of us. This is in the VIP area, where there is a selection of accommodation at different costs. There are several bars in the VIP area, and other bars outside the VIP area, but still in Love Fields. There are a couple of stages are in the area, with some bands playing both here and in the main Glastonbury festival. I have always wondered if you could come to The Love Fields and not attend Glastonbury Festival.
The yurt came with electricity and double bed for Selina and Phil, and a single for me. Checking in was quick and easy, driving down to the yurt to unload, and then taking the car back the car park. Slight irritation was by the Friday, the parking was full, and some vehicles were parked in the driveways. We picked up our wrist bands and guides from reception. The glamping site is very convenient to the festival. Straight out of Love Fields and you are at Pedestrian Gate C to the festival. It is also not far to walk to the Pyramid stage. Many staying at the festival site would have a longer walk than us.
Not many bands are playing on the Wednesday, it’s an arrival day. We did go for a walk around the site so Phil and Selina could get their bearings. Met up with Ed for a pint at the Stonebridge bar and headed back to Love Fields to watch the fireworks. Missed Mary, she was initially coming to work, but unfortunately her brother had an accident a few days before, so she stayed behind to look after him.
There is an excellent view of the fireworks from Love Fields. We also got to see the drone display, a first for Glastonbury. To see this, we had to be in the upstairs bar in the “Barn”. I had a Negroni here, but timeline is hazy.
Afterward the fireworks I went for a walk around the site, visiting the Avalon bar, the Ribbon Tower, and then I headed over to Woodsies stage to see the new Tree Stage. Then it was back through the Wood, walking through the trees on a platform. Final walk back to Carhenge to see Fulu Miziki. A Congolese band that makes music from rubbish. Somehow missed them, but they are on again. Good to see Car Henge in the dark. Fabulous use of old American gas guzzling icons set up in the formation of Stone Henge. A nod to the origins of the new age travellers influence on Glastonbury. They had been cast out from Stone Henge in the Battle of Beanfield in 1985 .
This Wednesday, the weather was kind. It was sunny and warm. There had been several days break in the wet weather (we had been soaked at Download), and we were not going to receive any rain this weekend. There had been quite a lot of rain in the preceding weeks, but thankfully it had stopped, and the land had dried out to a considerable extent. Unfortunately, in preparation for continued rain, all the main stages had wood chippings laid out. This meant there was no lovely grass to sit down on at the West Holts stage.
It had been a lovely start to Glastonbury Festival 2024
Video from The Love Fields of the Glastonbury 2024 drone display.
Today was another dry day for the folk festival. Sunday was definitley going to be a bit iffy. Andrea, Richard and SImon were coming to the festival. We met up and watched what we wanted to.
Angeline Morrison and The Sorrows Band delivered a stunning performance at the Cambridge Folk Festival 2023, showcasing their album The Sorrow Songs: Folk Songs of Black British Experience. The album, which was released in 2022 to widespread critical acclaim, is a work of re-storying, of lives and experiences, into songs in the folk style. It shines a long overdue spotlight on the historic Black experience in the UK folk tradition, which dates back to at least Roman times, yet is often hidden, forgotten or unacknowledged.
The band, composed of Angeline Morrison (vocals, autoharp), Cohen Braithwaite-Kilcoyne (anglo concertina, vocals), Hamilton Gross (violin, vocals) and Clarke Camilleri (banjo, guitar, vocals), blended influences from the Caribbean and Orkneys, where they have roots, with elements of soul music, literature, 60s beat pop sounds, folklore, myth and the supernatural. Their songs explored themes such as slavery, racism, identity, love and loss, with a deep love, respect and curiosity for traditional song.
The highlight of their set was the haunting rendition of The Brown Girl and Other Folk Songs, a song cycle based on the ballad of The Brown Girl (Child 295), which tells the story of a Black woman who is rejected by her lover for a fair-skinned woman. Angeline Morrison’s voice was captivating and emotive, conveying the sorrow and resilience of the protagonist. The band’s harmonies and instrumentation were exquisite and atmospheric, creating a spellbinding effect on the audience.
Angeline Morrison and The Sorrows Band are a rare gem in the folk scene, offering a unique and powerful perspective on the history and culture of Black British people. Their performance at the Cambridge Folk Festival 2023 was a memorable and moving experience that will stay with me for a long time.
Le Vent Du Nord was one of the highlights of the 2023 Cambridge Folk Festival, bringing their infectious and energetic Québécois folk music to the main stage. The band, composed of five multi-instrumentalists and singers, delighted the audience with their mix of traditional tunes and original compositions, sung in French and English. Their repertoire ranged from lively reels and jigs to poignant ballads and songs of protest, reflecting their rich and diverse cultural heritage. They also demonstrated their impressive musical skills on instruments such as the hurdy-gurdy, the fiddle, the accordion, the guitar and the banjo. The band’s charisma and humour, as well as their interaction with the crowd, made their performance a joy to watch. Le Vent Du Nord received a standing ovation from the enthusiastic fans, who sang along, clapped and danced to their catchy melodies. Le Vent Du Nord proved once again why they are one of the leading forces in Québec’s progressive francophone folk movement.
Gangstagrass was one of the most surprising and exhilarating acts at the Cambridge Folk Festival 2023, bringing their unique blend of bluegrass and hip hop to the main stage on Saturday night. The band, led by Brooklyn producer Rench, combines authentic bluegrass instruments and vocals with rap lyrics and beats, creating a new genre that bridges the gap between urban and rural cultures. Gangstagrass is best known for their Emmy-nominated theme song for the FX television show Justified, “Long Hard Times to Come”, which they performed with gusto and swagger.
The band’s setlist featured songs from their latest album, No Time For Enemies, which debuted at #1 on the Billboard bluegrass chart in 20202. The album tackles themes such as racism, social justice, unity and hope, with a deep respect for the roots and traditions of both genres. Songs like “Freedom”, “Ride With You” and “Ain’t No Crime” showcased the band’s lyrical skills and musical versatility, as well as their ability to engage and inspire the audience. The band also played some of their older classics, such as “Bound to Ride”, “Barn Burning” and “I’m Gonna Put You Down”, which had the crowd clapping, stomping and singing along.
The band’s chemistry and charisma were evident throughout the show, as they interacted with each other and the crowd with humour and warmth. The band members are Rench (vocals/guitar/beats), Dan Whitener (banjo/vocals), Brian Farrow (fiddle/vocals), R-Son The Voice of Reason (vocals) and Dolio The Sleuth (vocals). They each displayed their impressive musical talents and personalities, creating a dynamic and diverse sound that appealed to both old and young fans of folk and hip hop.
Gangstagrass proved that they are more than just a novelty act, but a serious and innovative force in the music scene. They delivered a stunning performance that was one of the highlights of the Cambridge Folk Festival 2023, showing that rap and grass can indeed mix harmoniously.
Baskery are a trio of sisters from Stockholm who have been making waves in the folk and roots music scene with their unique blend of banjo, guitar, bass and harmonies. They call their style “banjopunk”, “fierce folk” or “nordicana”, and they are not afraid to mix the straightforwardness of punk with the subtlety of singer/songwriting. They have toured with Robbie Williams, Gary Clark Jr and Brandi Carlile, and have released four albums and two EPs.
I had the chance to see them live at the Cambridge Folk Festival, where they played on Stage 2 on Saturday, July 29th. They delivered a stunning performance that captivated the audience with their energy, charisma and talent. They played songs from their latest album, Coyote and Sirens, as well as some older favourites like “One Horse Down” and “Fall Among Thieves”. They also covered some classics by Led Zeppelin, Fleetwood Mac and The Beatles, giving them their own twist.
The sisters have amazing chemistry on stage, and they interacted with the crowd with humour and warmth. They also showcased their impressive vocal skills, switching between lead and harmony parts effortlessly. Their instruments sounded great together, creating a rich and dynamic sound that filled the tent. They used a variety of effects and loops to add layers and textures to their songs, making them sound fresh and original.
Baskery are one of the most exciting bands I have ever seen live, and I would highly recommend them to anyone who loves folk, rock or anything in between. They are definitely preferable to Abba, in my opinion. They are a band that deserves more recognition and exposure, and I hope they will come back to Cambridge soon.
Niteworks, a band from the Isle of Skye, delivered a stunning performance at the Cambridge Folk Festival 2023. They closed the stage on Saturday night with a fusion of bagpipes, drums and keyboards that had the crowd dancing and cheering. Their music is a blend of traditional Gaelic songs and modern electronic beats, creating a unique and captivating sound. They were joined by the talented Beth Malcolm, who added her haunting vocals to one of their tracks. She sang in both English and Gaelic, showcasing her versatility and range. The highlight of the show was their rendition of “Air Fàir an Là”, a song that celebrates the beauty of Skye and its people. The band and Beth Malcolm received a standing ovation from the audience, who were clearly impressed by their talent and energy. Niteworks are a fabulous band that deserve more recognition and appreciation for their innovative and inspiring music. They are one of the best acts to come out of Scotland in recent years.
The Cambridge Folk Festival kicked off its second day with a late start, giving the attendees plenty of time to catch the bus and enjoy the ride. On my way to the festival, I met a colourful storyteller who had performed at Glastonbury in the kid’s field. He entertained me and the other passengers with his interactive stories that involved remembering the order of some animals. It was a fun way to test our memory and imagination. A good Alzheimer test?
I arrived at the festival site and headed to Stage 3, formerly known as the Club stage. This name change had caused some discontent among some long-term folk fans, who felt that the management was ignoring their feedback and losing the charm of the festival.
Stage 3 featured some lesser-known artists who showcased their talent and diversity. I watched a couple of acts there and was impressed by their originality and passion.
First up was Heather Ferrier who was a remarkable performer who combined tap dancing and accordion playing in a dazzling display of skill and rhythm. She played a variety of tunes, from traditional folk songs to modern pop hits, while tapping her feet in perfect sync. She also engaged the audience with her witty banter and charming personality. She was a joy to watch and listen to.
The stage was then taken over by Maddie Morris, a solo folk singer who captivated the audience with her guitar and storytelling skills. She sang songs that reflected her personal experiences and social issues, such as gender equality, mental health, and environmental activism. She also shared some anecdotes and insights between the songs, making the listeners feel connected and inspired. She was a powerful and authentic voice of folk music. Unfortunately, my time was limited because I wanted to see Symbio for the second time.
But Symbio’s enchanting journey didn’t stop there. As the festival’s energy lingered in the air, the duo found themselves enthralling an intimate audience within the marquee at the Coldham Common campsite. Here, their music found an even deeper connection, wrapping around listeners like a comforting embrace, resonating within the cozy confines.
Symbio’s performances were more than just musical interludes; they were journeys of the soul. The intricacies of the hurdy-gurdy and the harmonious dance of accordion and kickbox demonstrated the boundless potential of folk instruments in the hands of true artisans. Their presence at both Stage 2 and the campsite marquee marked a pivotal moment in the annals of the Cambridge Folk Festival, etching Symbio’s name into the hearts of all who had the privilege to bear witness.
Jinda Biant is a singer-songwriter who blends blues, folk, and Indian classical music into a unique and captivating sound. He started his musical journey by playing tabla at a young age, and later picked up the guitar and learned from the legends of blues and rock. He released his debut album “Restless” in 2022, which featured his powerful vocals, slide guitar, and stomp box. He also appeared on BBC Radio 1’s Huw Stephen’s Show and gained recognition for his originality and talent.
This year, Jinda Biant performed at the Cambridge Folk Festival, one of the longest running and most famous folk festivals in the world. The festival, which started in 1965, showcases a diverse and eclectic mix of music from different genres and cultures.
Jinda Biant is a rising star in the folk scene and was a must-see act at the Cambridge Folk Festival. His live performance was electrifying, inspiring, and unforgettable. Don’t miss your chance to see him in action and witness his musical journey.
I took a break from the music and explored the festival grounds. There were gardens of colourful flowers, a pond with ducks, and some smaller stages with different acts. I tried to snap a picture of a duck at the pond, but it was not easy. Then I returned to Stage 1 for the last four performances.
Eliza Carthy, one of the most impressive and engaging performers of her generation, performed at the Cambridge Folk Festival in 2023 .
Eliza Carthy had been twice nominated for the Mercury Prize and had won numerous other accolades over her 20-year career. She had performed and recorded with a diverse array of artists including Paul Weller, Rufus and Martha Wainwright, Patrick Wolf, and Bob Neuwirth . Eliza Carthy had revitalized folk music more than most and captured the most hardened of dissenters with intelligent, charismatic, and boundary-crossing performance.
Eliza grew up immersed in the world of traditional music. She still divided her time between touring and recording with her legendary parents, Martin Carthy and Norma Waterson, as well as engaging in numerous pioneering solo and band projects. In what had become something of a parallel career, Eliza had co-presented the BBC Radio 3 World Music Awards, been a regular guest-presenter on the BBC Radio 2 Mark Radcliffe Show and had made many appearances on BBC TVs ‘Later with Jools’. In her own right, Eliza had been the subject of an hour-long ITV documentary (‘Heaven & Earth’) and ‘My Music’ on Channel 5.
Eliza Carthy performed with her band ‘The Restitution’ at the festival on Friday, July 28th. The Restitution band was known for its splendid performances that were sure to leave you spellbound.
In conclusion, Eliza Carthy’s performance at the Cambridge Folk Festival was one that I didn’t want to miss. With her captivating voice and engaging performances, she was sure to leave me wanting more.
The Cambridge Folk Festival 2023 was a memorable event for many reasons, but one of the highlights was the performance of Lady Blackbird, the rising star of soul and jazz music. She sang fantastically, captivating the audience with her powerful voice and emotional delivery. Her backing group, composed of some of the best musicians in the scene, proved very rewarding, providing a solid and dynamic accompaniment to her vocals. Lady Blackbird performed songs from her debut album, Black Acid Soul, as well as some covers of classic tunes by Nina Simone, Billie Holiday, and Aretha Franklin. She received a standing ovation from the crowd, who cheered and clapped for more. A very good performance from her indeed.
Arrested Development brought their unique blend of hip-hop, soul, funk and Afrocentric vibes to the Cambridge Folk Festival, delighting the crowd with their energetic and uplifting performance. The band, formed in Atlanta in 1988, played a mix of their classic hits and new material, showcasing their political and socially conscious lyrics.
Arrested Development proved that they are still relevant and innovative, as they incorporated elements of jazz, blues, gospel and rock into their sound. They also interacted with the crowd, sharing stories and messages of positivity and empowerment. The band received a standing ovation from the fans, who appreciated their musical diversity and authenticity.
The Cambridge Folk Festival is supposed to be a celebration of folk and world music, but this year it made a huge mistake by inviting the Proclaimers to headline the main stage on Friday night. The Proclaimers are a Scottish duo who have been milking their one-hit wonder, I’m Gonna Be (500 Miles), for decades. The Proclaimers seemed to be playing every festival around this year, but they should have known better than to show up at Cambridge. Their performance was out of place.
Back at the Campsite
Back at the campsite Symbio were weaving their magic for the third time. A stayed and listened with a pint in my hand.
After a short break, it was back to festivals. I have three in a row. The first is a four-day event at Cambridge. The Cambridge Folk Festival has been held annually since 1965 with a small Covid break. It is held at Cherry Hinto Hall, with extra camping at Coldham Common. I was going on my own, Rosemary did not want to participate, and I was allowed to go on my own. I would meet up with some uni friends for one day on Saturday.
I arrived at Coldhams common at 1.30 and was placed in the main camper van section. Previously I had been positioned along the hedge.
Once set up and ready to go, I headed off to catch the bus to Cherry Hinton Hall. The free bus services (well paid for in the ticket price) is fast and often. I soon arrived on site, refreshed myself with some beer and went to search for some music. I have created a list of bands to see, and those to avoid at all costs. This was done through creating a music play list on YouTube music, and the fabulous crowd populated site called Clash Finder. This allows you to rate the bands, find the clashes, and finally take notes of what you saw. It runs excellently on full screen Web browsers, and as a webapp from a shortcut on your mobile phone.
In the heart of summer, as the sun-kissed fields of Cambridge resonated with the harmony of tradition and innovation, one band stood out among the myriad musical talents that graced the stages of the renowned Cambridge Folk Festival in 2023. Hailing from Scotland’s rich folk heritage, Gnoss delivered a captivating performance on Stage 2 that left audiences both entranced and invigorated.
Gnoss, a quartet comprised of Aidan Moodie (vocals, guitar), Graham Rorie (fiddle, mandolin), Connor Sinclair (flute, whistles), and Craig Baxter (bodhrán, percussion), embody a youthful spirit deeply rooted in the folk traditions of their homeland. The band’s name, derived from the Scottish word for “a fleeting glimpse or glance,” serves as an apt metaphor for their music—a fleeting glimpse into the past, intertwined with a contemporary flair.
As they stepped onto Stage 2 at the Cambridge Folk Festival, Gnoss immediately forged a connection with their audience. The intricate interplay between fiddle and flute, guitar and mandolin, created a musical tapestry that transcended time and space. The band effortlessly bridged the gap between ancient ballads and original compositions, evoking a sense of nostalgia while also breathing new life into traditional melodies.
Gnoss’ performance was a testament to their deep respect for folk traditions. Their renditions of traditional tunes were imbued with a level of authenticity that showcased their reverence for the musical ancestors who came before them. Yet, it was their original compositions that truly demonstrated their prowess as contemporary folk musicians. The melodies and lyrics of these original pieces wove stories of love, loss, and the human experience, resonating with listeners on a profound level.
What set Gnoss apart was their ability to seamlessly blend tradition with innovation. The spirited rhythms of the bodhrán were juxtaposed against the intricate harmonies of the mandolin, creating a dynamic soundscape that defied categorization. The band’s vocals, delivered with an earnestness that reflected their connection to the lyrics, were punctuated by instrumental solos that showcased their technical prowess.
In an age where musical genres often become rigid boundaries, Gnoss stands as a shining example of the possibilities that arise when artists embrace both their cultural heritage and their creative instincts. Their performance at the Cambridge Folk Festival reminded us that music is a living, breathing entity that evolves with each new generation of musicians. It’s a reminder that the melodies of the past can find new homes in the hearts of those who carry them forward.
As the sun began to set and the stage lights bathed Gnoss in a warm glow, their final notes hung in the air, carrying with them a sense of camaraderie that united the performers and the audience. The applause that followed was not just a celebration of a remarkable performance, but a recognition of the power of music to transcend time and bring people together.
Gnoss left an indelible mark on the Cambridge Folk Festival in 2023, their melodies echoing long after the final chords had faded. Their performance was a testament to the enduring magic of folk music—a genre that has the unique ability to transport us to bygone eras while inspiring us to forge new paths. And in this delicate balance between tradition and innovation, Gnoss found their place, reminding us that in the world of music, the past and the present are harmoniously entwined.
In a harmonious convergence of melodies and folkloric fusion, the band Symbio took the stage by storm not once, but twice at the revered Cambridge Folk Festival in 2023. This Swedish duo, comprising Johannes Geworkian Hellman on the enchanting hurdy-gurdy and LarsEmil Öjeberget wielding both the spirited accordion and the rhythmic kickbox, captivated audiences with their unparalleled artistry.
On Stage 2, under the open sky of musical camaraderie, Symbio’s ethereal tunes resonated through the festival grounds, weaving a tapestry of sounds that transcended borders and genres. The haunting yet uplifting notes of the hurdy-gurdy, masterfully handled by Hellman, blended seamlessly with the evocative tones of Öjeberget’s accordion, creating an atmosphere that transported listeners to a realm of pure sonic enchantment.
It was a warm summer evening in Cambridge, and the crowd was buzzing with anticipation. They had come to see one of the most exciting bands on the folk scene, Ibibio Sound Machine, who blended African and electronic elements into a unique and infectious sound. The band had been formed in London by producers Max Grunhard, Leon Brichard, and Benji Bouton, who were inspired by the golden era of West African funk and disco, as well as modern post-punk and electro. They had recruited singer Eno Williams, whose mother was from the Ibibio people of Nigeria, and whose lyrics were based on folk stories and proverbs from her heritage. The band also featured guitarist Alfred Bannerman, percussionist Afla Sackey, drummer Joseph Amoako, bassist Philip PK Ambrose, trombonist Tony Hayden, trumpeter Scott Baylis, and saxophonist Max Grunhard.
The band took the stage with a burst of energy, and launched into their first song, “Let’s Dance”, which was also their debut single released in 2014 on Soundway Records. The song was a catchy invitation to join the party, with a driving beat, funky horns, and Eno’s soaring vocals. The crowd responded with enthusiasm, clapping and dancing along. The band followed with more songs from their self-titled first album, such as “The Talking Fish”, “The Tortoise”, and “Woman of Substance”, which showcased their diverse influences and styles. The band also played songs from their second album, Uyai, which was released in 2017 on Merge Records. Uyai means “beauty” in Ibibio, and the album explored themes of empowerment, liberation, and identity. Some of the highlights were “Give Me a Reason”, a protest song about the Chibok girls’ abduction in Nigeria; “The Pot is On Fire”, a celebration of life and music; and “One That Lights Up”, a tribute to Eno’s mother.
The band’s performance was electrifying, and they had the crowd in the palm of their hand. They mixed traditional instruments like the talking drum and the ekwe with synthesizers and drum machines, creating a sound that was both familiar and futuristic. They also interacted with the audience, telling stories behind their songs, cracking jokes, and teaching them some words in Ibibio. The crowd loved it, and sang along with Eno when she taught them the chorus of “I Need You to Be Sweet Like Sugar”, a sweet love song from their latest album Electricity, which was released in 2022 and produced by Hot Chip5. The album was praised by critics for its bright, buoyant, and innovative sound.
The band ended their set with a bang, playing their hit song “Electricity”, which was also the title track of their new album. The song was a blast of pure joy, with a catchy hook, a groovy bass line, and a horn section that sounded like a brass band. The crowd went wild, jumping up and down, waving their hands in the air, and singing along with Eno. The band thanked the crowd for their support and left the stage to thunderous applause. They delivered an unforgettable show that left everyone feeling energized and happy. They had proven once again why they were one of the best bands on the folk scene today.
This was my 13th Glastonbury Festival. I first started going to Glastonbury in 1998, and then 1999. I still have the T-shirts which I wore to Glastonbury. A few suitable comments were made by other festival goers. I took a break for a few years and started attending again. I’ve been to every Glastonbury held since 2009. The Glastonbury Festivals I have been to are 1998, 1999, 2009, 2010, 2011, 2013, 2014 ,2015, 2016, 2017, 2019, 2022, 2023.
This year was another dry Glastonbury. A week or so before Glastonbury, showers were expected during the show. As the date neared, the rain disappeared from the forecasts. Those who arrived on Tuesday were rained upon. I arrived on Wednesday, and it was dry and hot throughout the whole festival, with only one exception of a very small shower early on Monday morning.
I drove to Glastonbury in my EV on Wednesday, arriving in the early afternoon. Stopped for a coffee and a quick charge on route. The Blue route, taken by campervans, was empty with no delays. I arrived at Love Fields and was soon installed in my yurt. Love Fields has installed a large building, called The Barn, replacing the Teepee for breakfasts and meals. Breakfasts served downstairs, and cocktails upstairs. The bar and stage area lower down the fields were still in place.
Met up with Ed, Mary, her brother, and Jon while they were still on shift at the Silver Hayes area. Afterwards we had a few drinks, and then watched the opening fireworks. This evening we wandered around spending time in the Green Fields. I was back in Love Fields at 4am.
Thursday
Some bands were playing today in the small venues. I started off at the Rabbit Hole, watching Prima Queen, and then spent most of my time at the Bread and Roses, listening to small bands, such as Duo, The Love Buzz, Frankie Morrow, N’Famady Kouyate. I rushed over to the Southwest corner to see some metal, but the place was so packed I gave up and returned to the principal areas. It’s a shame I somehow missed the Vlure playing at Bread and Roses. Not to worry, the Glasgow band was playing again on another day.
Friday
The main days of the festival open. I started off with an exercise class run by Joe Wicks. Twenty-five minutes, plus a warmup session beforehand. I met up with Ed and Mary, it was their day off. After a while I went my own way and headed to West Holts stage. It is my favourite area, good cider, decent food and good music. I watched Louis Cole, Young Fathers and the headline act Kelis.
Saturday
The first band of the day was The Last Dinner Party at Woodsies (the new name for the John Peel Stage). Here I met Mark and his daughter. They were standing two rows in front of me. After this show I rushed back to the Greenpeace Stage to watch N’Famady Kouyate., again. He was playing five shows during Glastonbury and had won the emerging talent show at the Pilton Working Mens Club. Then it was Sudan Archives before rushing over to see Vlure at BBC Introducing. At the Other Stage, I watched the Manic Street Preachers, Plenty of room. Next for me was Guns and Roses on the Pyramid stage. I was disheartened because the area looked full for Lizzo. But after Lizzo finished, space opened up and I was able to find room in front of the barrier. Despite the reviews, the show was enjoyable, the crowd were ecstatic. Rumours circulated that Paul McCartney may come on to sing Live and Let Die. This did not happen. Shame it would have been a nice touch. After the headline act, I went on over to The Glade to watch the The Steve Hillage Band.
Sunday
Already I was nearing the end of the festival. First off was a hike up to the Crow’s Nest to see Professor Alice Robers with Rebecca Wragg Sykes talk about early humans and archaeology. Now back to normal, The Chicks at the Pyramid Stage, Bird on the Wire: The Songs of Leonard Cohen at the Acoustic Stage, followed by a fabulous show by Toyah Willcox and Robert Fripp. I wasn’t going to miss the Mongolian Metal band, The Hu, at the West Holts. Saw them at Download. I then watched Barrington Levy at West Holts and headed over to the Other Stage to see the end of The War On Drugs and finally Queens of the Stone Age. It was a shame for the The War On Drugs, when so many people left to get to the Pyramid Stage to watch Elton John. Queens of the Stone Age were excellent.
Monday
Pack up and leave. Join the queue on Pylle Road. This can be slow as the mobile homes are allowed out onto the road from the same exit. It took me an hour to go the few miles. Once I was on the A37, there was no problem. I did hear that some people leaving the festival from the main car parks were held up for 7 hours. I count myself lucky. What I don’t understand is that despite all the walking, I seemed to put on a kilo.
The Download Festival time had arrived, Selina and I were spending the weekend there. I have been to Download several times now, always buying the RIP camping tickets, these allow me to take the campervan, and give you access to the Guest area. This year I left it too late to purchase those tickets. They sell out very quickly. Instead, I bought some Rock Retreat tickets. This was offsite camping a couple of miles away at Melbourne House. The campsite was nice, toilets and showers on site. The people there were friendly, and it was peaceful. The downside is you need to take a bus in and out. They ran regularly, so not too much of an issue. There was a long walk from the bus station to the arena, and a long-crowded walk back at the end of the evening. That walk was not so nice.
This year was the 20th anniversary of Download, so it was a four-day event. This caused chaos on the roads, and the future of Download has been put into doubt. It is rumouredthat 200 passengers using East Midlands airport missed their flights because of delays. On the Thursday we were held up in traffic for more than an hour, wish we had gone to Melbourne house across country from the West,
Metallica were the star of the show, playing two sets, one on Thursday and one on Saturday. The lighting and additional screens made it a spectacular show to watch. Even when you were near the back these additional screens on towers brought you into the show. Looking at other Metallica shows this year, it seems these towers, and twin shows were a Metallica hallmark. Other bands were allowed to use the towers. I would love to see them at future Download festivals and other open-air venues. They made such a huge difference.
The weather was hot and dry. In fact, too hot, Steve was reduced to drinking water on one day. The bars could do with some updating. The big bars serve one cider and one lager. There was the taphouse bar that sold a few American IPAs brewed in this country by Carlsberg. They were better, but the queues were horrendous. Download, please widen the range of beers in all the bars. The food was generally fine, so long as you steered away from the burgers, well actually most things that contained meat.
The final day, Sunday, we spent quite a lot of time trying to meet up with Selina’s cat’s Twitter friend. This twitter account is operated by Slipknot’s sound engineer. Alas this did not happen in the end, scheduling issues. The Slipknot show was going to happen during a thunderstorm. Thankfully, the storm happened all around us, and not over us. So, we were dry, and the ground did not turn to mud.
The YouTube below contains sessions from most of the bands we saw. The sound on my new Pixel 7 is very much better than my previous phone, so long as I remember not to put my finger over the microphone. I kept doing this. Now I know, I have become very careful. The microphone is just where you want to hold the camera in landscape mode. The image stabilization is very good, and the optical zoom helps get in close.
A year ago, I had booked VIP Serpents Lair tickets for Bloodstock. The tickets were for me and Ravi. Tickets included a pre-erected tent with beds, and of course showers. Ravi had to bail out because of work. So, I invited Selina as a replacement. We arrived on Thursday, taking an unexpected route to the site and saw no traffic at all. Parked, checked in and then searched for our accommodation. We first searched through ‘Patch of Ground’ VIP camping area, and eventually asked a steward who pointed us in the right direction. Our Luxury Belle Pads were in a wooded and shady area. The tent had two beds, two mattresses, sheets, pillows, and duvets. There were also tables, chairs, and electricity.
Our tentThe VIP Patch of Grass
Stuff dumped in the tent, we headed to the stages. This was a short walk, which took you through the VIP Serpents Lair Bar. This bar is a draft beer drinkers haven. There were eighty beers and ciders on sale. Don’t go there looking for a cold beer, these were all casks sitting there in the 30s. The beers were from the Midlands and North. Well, it would be rude to pass through without sampling a beer and we needed to be well hydrated, because the weather was very warm.
The bar also had bands and TV playing, and food stalls in the area. We did spend quite a fair proportion of our time visiting the area, especially as I was trying to drink my way through the beers. Where are my tasting notes?
Serpent’s Lair BarSerpent’s Lair BarThe Serpents Lair Bar
We got to know our neighbours at the campsite, they had been coming to Bloodstock for many years. They were saying how friendly the festival was, this was a refrain echoed throughout the festival. They also advised us how to get tickets for next year, which unfortunately I did not heed, and all the VIP tickets are sold out for 2023 within a day.
The festival was hot this year, the ground was parched dry. Thankfully, our tented area was in the shade and was cool. You can see how people were looking for shade this year, with the setting of the sun making the temperature bearable. Hey who am I kidding, I love the sun, and remembered to plaster myself with suncream, and to remain hydrated. The queues for water were long, so it was beer for me.
Shade pleaseLooking for shade
Bloodstock has five stages. The main stage is called the Ronnie James Dio Stage. Undercover is the Sophie Lancaster Stage and the New Blood Stage. There is also a stage at the VIP area, and a small Jägermeister stage. The Ronnie Woods stage ends quite early in the evening, before 11, in all probability, the early close was to keep the neighbouring village happy. The Sophie Lancaster stage gets packed after the main stage ends and continues until 3am with DJ sets.
There are of course the rides, shops, bars, food stores, Old Sarum Tattoo and the weird costumes to entertain you in the evening.
RidesBlessed sunsetReflectionsDo you remember the teenage mutant ninja turtles. They were here.Shops at Night
Of course, we were here to see and hear the bands, you can see short clips of the Metal bands we saw in the YouTube video below. Here though are pictures images of the stages.
Main stageMain stageMain stage
On Sunday, many festival attendees dressed in pink or with pink additions, this was to raise awareness of the Sophie Lancaster Foundation. Sophie Lancaster was a young woman who was murdered for being different. She and her boyfriend were creative, artistic people who dressed in their own unique way. They were attacked by a gang of five boys in a park in Bacup, Lancashire on 11 August 2007. The gang attacked Sophie’s boyfriend first and then turned on her, conducting a brutal and sustained attack. Sophie remained in hospital for 13 days, before following medical advice, the family agreed to life support being switched off. Sophie died on 24 August 2007; she was just 20 years old.
Her mother Sylvia died this year, and she had requested that everyone attending should wear something pink at the festival.
Sunday, Sophie Lancaster, wear pink
The festival also has an art gallery featuring much of the past festival advertising artwork, and the album artwork for some of the headline bands playing. There was also a heavy metal chair which Selina and I both posed in.
StephenSelina
The following bands are featured in this video.
Dark Tranquility
Red Method
Heart of a Coward
Thrown into Exile
Machine Fucking Dead
Exodus
Behemoth
Spirit World
Lorna Shore
Mercyful Fate
Malevolence
Venom Inc.
Killing Joke
Lamb of God
You have been waiting for it, now view and listen to the bands Selina and I enjoyed at Bloodstock. Please don’t forget to Like and Subscribe.
We have been visiting Glastonbury Abbey Extravaganza for several years, missing the COVID years when music festivals were forbidden. R enjoys it, camping for two nights, and a half day of music is enough for her. The campsite is getting busier, the early arriving vans were packed tight to ensure there was enough room for all the booked vans. Those arriving later had more than enough room and were spaced further apart. Tents are now in a different field, and cars parked in yet another area.
It is a basic site, there are the Glastonbury Festival long drops, a breakfast van, and water points and a hand basin. So, Friday was the drive to Glastonbury, parking and (much against my better judgement) decorating the van. I walked up the Tor for a pleasant view of Hinkley Point nuclear power stations and the world’s largest crane called “Big Karl”. This year I also managed to see the Pyramid Stage. On previous occasions I had not looked in the correct direction.
Saturday, the day of the Extravaganza, we walked into Glastonbury along the main road, and then up Wells Road to the East of the Abbey grounds. Along Abbey Road there are quite a few stone plaques describing the history of strategic locations. We walked along the High Street visiting some of the shops, having a coffee and ordering an Italian picnic box for supper. We made our traditional visit to the “The Who’d A Thought It” pub for lunch. There is a lovely mural painted on the wall of the house opposite. So much detail goes into the picture. You also have the odd procession walking down the street to complete the Glastonbury scene.
We queued early for entrance to the Extravaganza, so we could get a reasonable position, once our place had been located in the queue, I went back to the Italian Deli and picked up our supper box.
Once inside we seated ourselves a little distance back from the stage, located along the path which goes from one side to the other. Spectators around us were setting up huge meals and breaking open the bubbly. We consumed a few pints of beer and Pims from the bar.
The music started with the Black Dyke Band, followed by Seasick Steve and then Paloma Faith. She did turn up to sing this year. Paloma had been booked to play in 2018. She had turned up but did not perform because of laryngitis when Michael Eavis flew in Tom Odell. an excellent replacement. He had been called up during a family BBQ supper and flown by helicopter to Glastonbury. R not keen on Ms Faith, preferring Tom Odell & Rodney Branigan.
The usual firework display finished the evening’s entertainment, and then we were whisked off by coach back to to the campsite.
Next day, I was up at 4am to walk up Glastonbury Tor to catch the sunrise and hopefully to meet Michelle Cowbourne a photographer, who walks up there most days to photograph the sunrise. I did not find her, she had been there, but from lower down the Tor. There were many people there waiting for sunrise. It was a lovely morning, mist in the fields with the golden orb of the sun shining.
I departed and made my way back down for breakfast.
We packed up quickly and headed over to see Sue and Ken for lunch. Being a tad early we made a short visit to a National Trust house called Lytes Cary Manor. It is a house you can hire as a holiday let but it does allow visitors around the gardens and chapel. It was a short visit, so we were soon on our way for lunch at the Old Inn.
The tolilets and showers were holding up at the campsite. The new generator, and waste water pumps were working well. Today we headed in early because R wanted to do a craft course and weave some willow into a shape. When she arrived she was disappointed in that most of the work had been done already. There did not seem to be much opportunity to tailor the course to your own needs. We moved on to the arena, stopping by the wild flower gardens.
Sunday Performances
We sat again in a similar place to before, but a little further back. There appeared to be rules depending on where you were located. In the tent/marquee area you could only stand or sit on the ground. Outside the tent you could or were expected to sit on chairs. These had be aligned in rows. If you created a round circle group, you were reprimanded and had to align your chairs in a row. Further back, behind a line, you could group your chairs in circles. There was one such group near us. We heard about the rules only when this group was told to line up their chairs. They refused and reminded the usher that they were behind said line at which she apologised and moved on.
I am not sure if this group actually saw or heard music, they spent their time chatting and drinking.
Programme
We watched and listened to all the bands on this stage. Enjoyed listening to Billy Bragg and N’famady Kouyaté. The Gypsy Kings were definitely very popular. I did not make any attempt to get near the front. They performed a good rendition of the Leaonard Cohen classic of Hallelujah. After they left, the crowds significantly thinned for the finale of St. Paul and the Broken Bones. I managed to get to front of the stage to watch them.
Main Stage 1
St. Paul and the Broken Bones – Gipsy Kings featuring Nicolas Reyes – Billy Bragg – Legend Slot: Clannad – N’famady Kouyaté – The Spooky Men’s Chorale – Billie Marten Katherine Priddy
Main Stage 2
Orchestra Baobab – Christone ‘Kingfish’ Ingram – Sam Lee – O’Hooley And Tidow -Lilith Ai – The Mary Wallopers – The Honest Poet – Mishra – Kids Show: Jason Maverick
The Club Tent
The Mary Wallopers – Trials Of Cato – Nick Hart – Flo Perlin
The Den
Fuzzy Lights – The Drystones – The Ocelots – Siv Jakobsen – Angeline Morrison – Judy Blank – Tape Runs Out – Daisy Chute – June Road
Another fine day for the festival. Today we were meeting up with Andrea and Richard again, but this time at the festival. So, we plonked ourselves outside the arena where we could place our chairs and listen to the bands in peace. Drinking, eating and several jugs of Pimms.
Saturday Performances
You can see a number of bands from the previous day performing on various stages tonight. We spent the day on the main stage, making excursions to the food stalls, the bar and the loos.
Programme
Main Stage 1
Chico Trujillo – Passenger – Afro Celt Sound System – Spell Songs – This Is The Kit – The Young’uns – VRï – The Magpie Arc
Main Stage 2
Dustbowl Revival – Elephant Sessions – Flook – Admiral Fallow – Elles Bailey – The Spooky Men’s Chorale – Julie Fowlis – Festival Session with Brian McNeill – Urban Folk Theory’s Silent Live Ceilidh Band
The Club Tent
Gasper Nali – Lady Nade – Maddie Morris – Feis Rois – Gwenifer Raymond – Eve Goodman
The Den
Bandits On The Run – Becoming Branches – Limerance – Katie Spencer – Memorial – Moore & Moss – Burd Ellen – Jodie Nicholson – The People Versus – Zoe Bestel
