Despite the gloomy drizzle that cast a grey Sunday morning over the scene, a small but dedicated crowd braved the elements to catch Dead Label’s early set. Armed with warm breakfasts and raincoats, they stood shoulder-to-shoulder, transforming a patch of muddy ground into a makeshift mosh pit that pulsed with the band’s raw energy. Though the weather and early hour kept the numbers down, the hardy fans who turned out were treated to a raucous performance that defied the damp setting.
Dead Label, a rising rock band known for their gritty riffs and electrifying live shows, tore through their set with infectious enthusiasm. The rain may have dampened the ground, but it couldn’t dampen the band’s fire, or the spirit of the devoted fans who skied and moshed in the muddy pit, their cheers echoing through the air. The band’s music, a potent blend of punk-infused rock and roll, resonated with the crowd, creating a sense of shared defiance against the dreary weather. Even the rain-streaked faces couldn’t hide the grins of the fans as they thrashed along to Dead Label’s anthems, proving that sometimes, the most memorable gigs are the ones played in the most unlikely of conditions.
Uuhai
Amidst the drizzle that painted the festival a moody grey, Mongolian rock band UUHAI emerged as a fiery bolt of sunshine. They stormed the stage with their unique blend of traditional instruments and pulsating rock rhythms, setting the crowd ablaze with energy. Standing front and center, the band’s electrifying performance left us mesmerized. The deep throat-singing vocals, twanging morin khuur melodies, and pounding drums wove a spellbinding tapestry that resonated deep within. So spellbound, in fact, that I couldn’t resist snagging a UUHAI t-shirt, a souvenir to forever etch this electrifying afternoon into memory. Later, as the clouds finally parted, a serendipitous encounter allowed me to capture a treasured photo of Selina and the band themselves, forever documenting this highlight of the Serpents Layer experience.
Tribulation
Swedish metal outfit Tribulation took the stage under clear skies, their music electrifying the atmosphere. The band’s signature blend of dark riffs and heavy grooves resonated with the crowd, a stark contrast to the earlier threat of rain. This welcome break in the weather seemed to further amplify the band’s intensity, their set pulsating with raw energy.
Decapitated
After an exhilarating encounter with Mongolian rock band UUHAI in the Serpents Layer, the day continued with a return to the main stage for the final set of Polish death metal veterans Decapitated. While not my initial draw for the festival, their technical prowess and relentless energy earned them a “pretty good” rating in my mental festival scorecard. The band’s complex guitar work and punishing rhythms provided a fittingly intense finale to what had been a day saturated with diverse musical energy.
Ugly Kid Joe
Taking to the Ronnie James Dio Stage next were veteran rockers Ugly Kid Joe. The band, known for their blend of hard rock, funk, and pop metal, brought a lively energy to the festival. Their accessible and often humorous lyrics (“easily sing along” is an apt description) quickly engaged the crowd, prompting enthusiastic singalongs throughout the set. While not strictly in the realm of heavy metal, Ugly Kid Joe’s undeniable stage presence and catchy tunes earned them a well-deserved spot on the main stage. Their performance resonated with a cross-section of the festival’s audience, proving their enduring appeal and versatility.
Sepultura
Brazilian thrash metal titans Sepultura took the Ronnie James Dio Stage next, delivering a potent set laced with both sonic fury and environmental activism. Their signature blend of aggressive riffs and tribal rhythms resonated with the crowd, while frontman Derrick Green’s impassioned pleas for Amazonian preservation resonated on a deeper level. The urgency of their message hit home, echoing a vital global concern.
For some in the audience, like myself, the performance rekindled memories of Sepultura’s electrifying 1999 Milton Keynes Bowl gig. My vintage T-shirt from that show became a silent companion during their set, a tangible thread connecting present and past. Sepultura’s enduring power and relevance were on full display, proving that thrash metal can be both headbangingly exhilarating and thought-provokingly urgent.
KK’s Priest
Taking the Ronnie James Dio Stage by storm on Wednesday night were heavy metal legends KK’s Priest. Formed in 2015 by former Judas Priest co-founder and guitarist Ken “K.K.” Downing, the band delivers a potent blend of classic heavy metal anthems and fresh musical fury. Downing, joined by vocalist Tim “Ripper” Owens, bassist James Rivera, and drummer Sean Elg, brought decades of experience and electrifying stage presence to the festival.
KK’s Priest kicked off their set with a roar, launching into a searing rendition of “One Shot at Glory.” The band expertly navigated their arsenal of classics, from the thunderous “Living After Midnight” to the soaring power ballad “You’re All Welcome.” Owens’ powerful vocals and Downing’s iconic riffs ignited the crowd, creating a sea of headbangers and fist-pumpers throughout the Dio Stage.
But KK’s Priest isn’t content to simply rest on their laurels. Tracks from their latest album, “Sermons of the Sinner,” showcased the band’s continued creative fire. The driving rhythms of “Hellfire Warriors” and the anthemic chorus of “Sacrifice” proved that KK’s Priest still packs a punch in the studio and on stage. The band’s performance was a masterclass in heavy metal, a potent mix of nostalgia and fresh energy that left the crowd wanting more.
KK’s Priest’s return to the festival stage was a triumphant one, reminding everyone why they stand among the true giants of metal. Their unwavering commitment to classic sounds infused with modern edge resonated with fans across generations, ensuring their place as a vital force in the heavy metal landscape.
Megadeth
Prior to Megadeth’s highly anticipated set, the festival grounds offered a welcome respite with a diverse culinary selection. From smoky BBQ meats to delectable vegan options, there was something to tantalize every taste bud. Selina and I parted ways to explore the culinary offerings before reconvening for the thrash metal titans.
Unfortunately, Megadeth’s performance fell short of expectations. Navigating the crowded back section wasn’t the easiest feat, leaving us with a less-than-ideal vantage point. Further compounding the issue were the band’s characteristically long pauses between songs, testing the audience’s patience. To add to the confusion, the conclusion of the set wasn’t readily apparent, leaving some unsure if the final notes had truly rung out.
While undeniably skilled musicians, Megadeth’s on-stage energy on this evening didn’t quite match their usual intensity. The extended gaps between songs hampered the momentum, resulting in a disjointed feel to the set. This, coupled with the less-than-optimal viewing position, led to a somewhat underwhelming experience for some fans.
However, it’s worth noting that Megadeth’s dedicated following remained enthusiastic throughout, chanting along to familiar tracks and erupting in applause at the conclusion of each song. Ultimately, while the performance might not have soared to its full potential, it nonetheless served as a testament to the band’s enduring legacy and the unwavering devotion of their fans.
This revised version adopts a journalistic style while acknowledging both the logistical challenges and the mixed audience reception:
The End
The next day we packed away, managing to deconstruct the tent onto its ground sheet with out getting it all muddy.
The clouds may have lingered this morning, but spirits certainly soared as I embarked on a pilgrimage to the hallowed halls of the Rock and Metal Museum. Fueled by the decadent (and aptly named) “Tiramisu Pardus” for breakfast, I was primed for a journey into the heart of sonic rebellion.
The museum bustled with fellow devotees, drawn to the vibrant tapestry of rock history woven across its exhibits. Walls throbbed with iconic album art, some even whispering promises of ownership with tempting price tags. But my gaze was magnetically drawn to the unmistakable visions of Dan Seagrave. His brushstrokes, like conjured thunder, breathed life into countless metal masterpieces, and I reveled in their visceral power.
Bloodstock, that legendary festival of all things heavy, graced the museum with a unique tradition: a signed poster commemorating each year. Decades of metal anthems marched across the walls, each poster a vibrant snapshot of a bygone era. My eyes scanned the procession, yearning for 2021, for the scrawl of a band held close to my heart – Gloryhammer. And there it was, a glorious, messy echo of their signature exuberance etched into the frame.
Rock and Metal Museum, Gloryhammer from 2021
A personal connection deepened the thrill. Paul Templing, Gloryhammer’s guitarist, turns out to be a scion of my own family, a distant cousin through Rosemary’s lineage. The backstage pass I dream of holding someday suddenly felt just a touch closer, imbued with the magic of kinship and shared passion.
The day might have begun under a veil of grey, but as I left the museum, the sun had broken through, mirroring the warmth that filled my heart. Rock and roll wasn’t just music; it was a tapestry of shared stories, hidden connections, and enduring legacies. And within the walls of that museum, I had brushed fingers with the threads that bind us all, proving that even the heaviest of genres can weave tales of family, friendship, and the enduring power of a well-timed guitar riff.
So, raise a fist to the Rock and Metal Museum, to Dan Seagrave’s epic brushstrokes, and to the glorious scrawl of Gloryhammer – may their music (and my backstage pass dream) forever thunder onward!
Seething Akira
Kicking off proceedings on the Ronnie James Rio Stage were Portsmouth’s alt-metal outfit, Seething Akira. The six-piece delivered a fiery set, seamlessly weaving their pulsating soundscape with the electrifying visuals projected behind them. It was a potent concoction that had the crowd headbanging and fist-pumping from the outset. Seething Akira, known for their blend of nu-metal aggression and introspective lyricism, have been steadily building a buzz on the UK scene, and this electrifying performance proved their mettle yet again.
Urne
Amidst the swirling mosh pits and the roar of amplified guitars, a brief lull descended upon Bloodstock Open Air. Bands took their well-earned breaks, and festival-goers traded sweat-soaked camaraderie for frothy libations. It was at this crossroads that we witnessed a truly unique sight: a procession of burly figures, clad in leather and fur, emerging from the Serpents Lair and striding purposefully towards the arena. Their guttural chants and booming laughter hinted at their destination – the fight arena
Lured by the promise of carnage, we followed in their wake, only to arrive just as the final blow was dealt. The victor, bathed in the crimson glow of spotlights, raised his battleaxe to the cheers of the rabid throng. Disappointed, we steered our course towards a different battlefront – the Ronnie Woods stage, where a different kind of war was brewing.
There, under the LED lights, stood Urne – a rising force in the London metal scene. With a thunderous drumbeat and a guttural roar, they launched into their set, unleashing a sonic maelstrom that sent tremors through the earth. Sludge-laden riffs collided with soaring vocal lines, weaving a tapestry of despair and defiance. The crowd, a heady mix of leather-clad headbangers and curious onlookers, swayed to the rhythm, fists pumping in unison.
Urne’s music was a stark counterpoint to the Viking fight l we’d just missed – introspective and raw, it delved into the depths of human darkness, yet pulsed with an undeniable vitality. As the final notes echoed through the air, we emerged from the mosh pit, ears ringing and hearts pounding. Bloodstock, in all its glorious diversity, had once again delivered an unforgettable experience. The Norse warriors might have won their battle, but Urne had conquered our souls with their sonic tempest.
Royal Republic
Swedish rockers Royal Republic brought their playful energy to the stage, entertaining the crowd with an energetic set infused with their signature tongue-in-cheek lyrics and infectious melodies. The band, known for their cheeky stage presence and undeniable musical talent, delivered a crowd-pleasing performance that showcased their ability to connect with the audience.
A highlight of their set was a blistering rendition of Metallica’s “Zachary,” which Royal Republic infused with their own brand of rock ‘n’ roll swagger. The crowd roared their approval as the band tore through the classic metal anthem, adding their own unique twist to the familiar tune.
While Royal Republic may not take themselves too seriously, their talent and stage presence are undeniable. They delivered a fun and engaging set that left the audience wanting more. Overall, Royal Republic’s performance was a testament to their musical prowess and their ability to get a crowd moving.
Employed To Serve
A light drizzle cascaded over the mosh pit as Employed to Serve took the stage. The downpour mirrored a certain disconnect between the band’s heavy energy and the vibe of the crowd. While the Woking quintet unleashed their signature blend of groove and thrash, a sense of lukewarm indifference seemed to permeate the atmosphere.
For myself, the rain served as a fitting metaphor for my internal conflict. Had I truly been craving Employed to Serve’s brand of sonic brutality all week, only to have reality fall short? Perhaps the anticipation I’d built up, spurred by a curious listen or two, hadn’t translated into full-blown fandom. Or maybe, the band’s live show simply didn’t ignite the spark I’d hoped for.
Whatever the reason, that lingering question hung heavy in the air, even as the rain intensified. Why, indeed, had I added Employed to Serve to my “must-see” list? Was it a passing fancy, a fleeting intrigue that failed to blossom under the harsh glare of live performance? Or was there, somewhere within the band’s visceral assault, a hidden gem waiting to be unearthed?
One thing was certain: the drizzle wasn’t washing away the doubts. Perhaps, like a storm-choked sky, the answer lay concealed just beyond the horizon, waiting to be revealed at another time, another show. Until then, Employed to Serve remained a question mark, a band yet to fully convince a hesitant listener – me.
Casket Feeder
Guided by Selina’s colleague’s enthusiastic tip, we navigated the festival bustle towards the Sophie Lancaster stage, anticipation brewing for our encounter with Casket Feeder. The air vibrated with the guttural promise of heavy riffs and pummeling drums, drawing us closer to the epicenter of the sonic storm.
As we emerged into the throng, Casket Feeder’s aural assault already had the crowd pulsating in unison. Their music, a potent blend of Swedish death metal’s raw fury and British hardcore’s relentless groove, was an undeniable force, washing over us in waves of sonic brutality. It was clear why Selina’s colleague had deemed them unmissable.
Casket Feeder, a Milton Keynes-based trio boasting a discography marked by EPs like “Venomous Tongues” and “Scalps,” unleashed a relentless set, each track a potent cocktail of rage, power, and uncompromising heaviness. The band, a tight-knit unit honed by years of live fire, tore through their repertoire with ferocious intensity, their music resonating not just in the ears but in the very core of the mosh pit.
By the end of their set, we were left exhilarated, ears ringing but spirits soaring. Casket Feeder had served up a visceral, exhilarating experience, a potent reminder that the power of heavy music lies in its ability to both pummel and uplift in equal measure. They were a revelation, a band worth seeking out by anyone who craves sonic catharsis delivered with raw, uncompromising power.
Knocked Loose
Rain spattered down, then the sun blazed through, a microcosmic weather war raging as we stumbled upon Knocked Loose, a Kentucky hardcore band exploding with raw energy. They pummeled us with blistering riffs and gut-wrenching screams, a sonic whirlwind that left me grinning like a fool – even if my memory, apparently, took the day off.
No scribbled notes in my notebook can capture the primal intensity of these guys. Formed in 2013, Knocked Loose have made a name for themselves with their ferocious blend of mosh-inducing grooves and vocalist Bryan Garris’s trademark bloodcurdling roars. Their debut album, “Laugh Tracks,” sent shockwaves through the hardcore scene, and their 2019 follow-up, “A Different Shade of Blue,” proved they were here to stay.
So, while the specifics of their set at Bloodstock might be lost to the mosh pit haze, the sheer power of Knocked Loose’s performance wasn’t. Their music was a primal scream ripped from the Kentucky soil, a cathartic wave that washed over the rain-soaked crowd. If you missed them this time, seek them out on the next leg of their tour – they’ll leave you breathless, notes or no notes.
Abbath
Abbath Doom Occulta dominated the Ronnie James Dio main stage at Bloodstock Open Air 2023, cloaked in a haze of theatrical smoke that veiled both the blackened metal veterans and the amassed crowd. The Norwegian frontman, known for his corpse paint and Kiss-inspired stage persona, stalked the stage with characteristic ferocity, his raspy vocals tearing through a blistering setlist culled from Abbath’s solo career and his legendary tenure in Immortal.
Emerging from the swirling fog, Abbath’s face, a canvas of stark white and obsidian black, seemed to leer defiance at the sea of leather and denim before him. The band, a tight-knit unit of seasoned black metalers, churned out a relentless sonic assault, weaving intricate guitar riffs and pummeling drums around Abbath’s venomous pronouncements. Tracks like “Olav the Grim” and “Winterbane” drew roars of approval from the bloodthirsty hordes, while newer cuts like “Dread Reaper” showcased the band’s continued creative fire.
Abbath’s Bloodstock performance was a potent reminder of the band’s enduring legacy. Having carved their name into the annals of black metal with genre-defining albums like “Pure Holocaust” and “Diabolical Fullmoon Mysticism,” Abbath’s solo venture has seen him refine his brand of blackened thrash into a potent live weapon.
Lewis Floyd Henry
After the electrifying performance by Abbath on the Ronnie James stage, we slowly meandered back toward the Serpents Lair. The cooling evening air, thick with anticipation, accented by the clinking of glasses filling with beer and cider. It is here that the dulcet tones of Lewis Floyd Henry, a one-man band from the coastal town of Hastings, filled our senses.
A brief aside on Lewis Floyd Henry: He’s earned himself quite the reputation as a burgeoning one-man force in the music scene. The Hastings-born musician inherited his name from his grandfather, reminiscent of the delta blues artists. He readily fuses genres from Hendrix styled rock and roll to grungy deep blues, his street musician charisma adding a freshness rarely encountered.
His unique way of making music involves the simultaneous use of a double-headed guitar, drums, and cymbals, a musical juggling act he makes seem effortless. Lewis Floyd Henry’s deep knowledge and mastery over the sampling technique for rhythm creation takes this a step further, transforming the usual resonance to a mesmerising symphony.
The performance itself was indeed a splendid example of Lewis Floyd Henry’s multi-faceted talent. As the night grew darker, his set continued to provide a rich layered score, perfectly furnished for those winding down with a beer in hand, and looking forward to the upcoming performance by Triptykon.
Triptykon – Tom Gabriel Warrior
Following a blistering solo set from Lewis Floyd Henry, the Bloodstock main stage beckoned with a different kind of sonic force: Triptykon’s homage to the legendary Celtic Frost. Led by the ever-enigmatic Tom Gabriel Warrior, the Swiss industrial metal supergroup delved deep into the Frost’s back catalogue, conjuring the raw spirit of their early black and death metal days.
Triptykon, for the uninitiated, is more than just Warrior’s latest musical venture. It’s a carefully curated sonic assault, weaving elements of doom, gothic metal, and even avant-garde soundscapes into the dark fabric of Celtic Frost’s legacy. Tonight, however, the focus was firmly on the band’s primal roots, with Triptykon conjuring the haunting melodies and blast-beat fury of tracks like “Circle of the Tyrants” and “Suicidal Winds.”
It was a powerful performance, a potent reminder of Celtic Frost’s undeniable influence on the metal landscape. Warrior, a towering figure bathed in blood-red stage lights, commanded the stage with his signature rasping vocals and an undeniable intensity that seemed to defy his years. The rest of the Triptykon trio – bassist Vanja Slajh, drummer Norman Longhart, and keyboardist Lisa M – provided an unwavering foundation of sonic muscle, their interplay both precise and devastating.
While Triptykon’s own brand of dark majesty resonates strongly, there was a palpable sense of reverence for Celtic Frost’s legacy in the air tonight. It was a celebration of music that pushed boundaries, defied convention, and carved its own path in the annals of extreme metal. And in Triptykon’s capable hands, those dark anthems burned brighter than ever.
Trollfest
After the sonic heaviness of Triptykon, the Sophie Lancaster stage offered a welcome palate cleanser in the form of Norwegian folk metal oddballs Trollfest. A departure from the grim and gritty, Trollfest promised a healthy dose of quirky fun to warm up the crowd for the upcoming headliners.
As the first chords of their trademark polka-infused metal rang out, a collective shrug seemed to ripple through the audience – confusion quickly giving way to raucous laughter and foot-stomping as Trollfest’s infectious energy took hold. Dressed in their outlandish troll costumes, complete with prosthetic noses and war paint, the band threw themselves into their performance with unbridled enthusiasm. Accordions blared, cowbells clanged, and lead vocalist M. Spud spouted his gibberish lyrics with gusto, occasionally pausing to unleash a guttural death metal growl that wouldn’t sound out of place on the main stage.
Trollfest’s music is a heady concoction of genres, seamlessly blending traditional folk melodies with blast beats, polka rhythms, and even the occasional operatic flourish. Songs like “Drekka Fest” and “Kaptein Kaizers Død” had the crowd bouncing and singing along, their initial bemusement replaced by pure, unadulterated merriment.
Meshuggah
Leaving the gleeful chaos of Trollfest behind, we ventured back to the main stage, drawn by the siren song of heavier sounds. The crowd was thick, a wall of bodies surging and swaying under the stage lights. Camping chairs, outlawed for the evening, lurked like hidden reefs in the sea of heads, making navigation a game of footwork and muttered apologies. Finally, after some tactical weaving, we secured a spot with a decent view.
Now, I’ll freely admit – Meshuggah aren’t exactly my go-to groove. Their complex, djent-infused brand of extreme metal is, for me, an acquired taste, one I haven’t yet fully acquired. That said, there’s no denying their power. As the opening salvo of guitars ripped through the air, and drummer Tomas Haake unleashed his polyrhythmic fury, even my non-believer brain cells twitched with a grudging respect.
Meshuggah are masters of sonic dissonance, weaving intricate time signatures and dissonant harmonies into a heady brew of controlled chaos. Jens Kidman’s guttural vocals were mere threads of rage woven into the sonic tapestry, punctuating the instrumental maelstrom with primal urgency. It wasn’t pretty, not in the traditional sense,
Friday was an important day at Bloodstock Festival. People dressed in pink to remember Sophie Lancaster, a woman who was tragically killed because of how she looked. Bloodstock honors her memory by wearing pink on this day.
During the festival, there was a special area called the Serpent’s Lair. One of its attractions was the bar, usually bustling with activity. There, I stumbled upon a fantastic stout called Tiramisu Pardus by Thornbridge Brewery. Although I couldn’t try all the beers available, I focused on stouts. Once I tasted Tiramisu Pardus, I was captivated. This delightful stout had rich flavors of coffee and cocoa and packed quite a punch at eight percent alcohol. Enjoying it for breakfast gave me a great start to the day.
As the day progressed, the Serpent’s Lair became livelier. People gathered to watch interviews with celebrities and enjoy performances by smaller bands. It was a vibrant place, buzzing with energy in the afternoon and evenings.
Witchsorrow
The opening act on the Ronnie Wood stage at Bloodstock was Witchsorrow, a band consisting of three members. Personally, I found their performance to be quite impressive, marking them as “not half bad.”
Witchsorrow is known for their doom metal sound, characterized by heavy, slow rhythms and dark, atmospheric melodies. Their music often explores themes of darkness, occultism, and despair. They’ve gained a following for their intense and captivating live performances, drawing in audiences with their powerful stage presence and evocative music.
At Bloodstock, Witchsorrow’s performance likely contributed to setting an intense and atmospheric tone for the festival, capturing the attention of attendees with their distinctive brand of metal music.
Wytch Hazel
The band Wytch Hazel is a heavy metal group from England that started in 2011. They performed on the Ronnie Woods stage. Instead of wearing typical black clothing associated with metal bands, they chose to dress in white. Their music focuses on religious themes and combines them with catchy rhythms that make people want to dance. Selina, myself, and the pink TV all agreed that they put on a great show and gave them a positive vote.
Hate
We remained at the venue to catch the performance of Hate, a renowned Polish death metal band with a rich history. Originating in 1990, the band has undergone numerous lineup changes over the years, contributing to their evolution. Their journey spans twelve full-length studio albums, culminating in their latest release, “Rugia,” in 2021.
Despite their significant contributions to the metal scene, their style didn’t entirely resonate with my personal taste. Consequently, I didn’t feel compelled to take notes or delve deeper into their performance. Nevertheless, Hate’s extensive legacy and enduring presence within the genre remain an influential aspect of the metal music landscape.
Gatecreeper
Due to a rescheduling, there was a change in the lineup, resulting in Gatecreeper taking the stage instead of Sacred Reich. Regrettably, I missed a significant portion of their performance due to a brief nap and a necessary restroom break—I blame the potent effects of the Tiramisu Pardris.
Gatecreeper, originating from Phoenix, is a prominent American death metal band known for their formidable sound and commanding stage presence. Though my experience was truncated, Gatecreeper’s reputation precedes them as a force in the metal scene, delivering intense and visceral performances that captivate audiences with their raw energy and uncompromising music.
Sacred Reich
The amps cranked up a notch as Sacred Reich took the stage after Gatecreeper’s bone-crushing performance. Phoenix erupted in a maelstrom of fists and mosh pits as the Arizona thrash veterans unleashed a blistering set of classic cuts. It was a potent reminder of Sacred Reich’s influence on the scene: their lightning-fast riffs, Phil Rind’s raspy vocals, and socially conscious lyrics that tackled everything from war and inequality to environmental destruction, still packed a punch after decades. The air crackled with nostalgia, but there was also excitement buzzing through the crowd. In 2019, after a 23-year hiatus, Sacred Reich released their triumphant comeback album, “Awakening,” proving that their fire still burned bright. This wasn’t just a trip down memory lane; it was a testament to the enduring power of their music and its ability to ignite a mosh pit and a message in equal measure. So, when Phil Rind belted out the final lines of “Ignorance,” it wasn’t just the end of a killer set, it was a reaffirmation of Sacred Reich’s place as true thrash metal titans, still relevant and roaring.
Square Wild
Eschewing the familiar crunch of Fit for an Autopsy on the main stage, we gravitated towards the pulse-pounding anticipation of the New Blood Stage. As its name implies, this haven pulsated with the raw energy of rising metal acts, each eager to shred and snarl their way into the hearts of seasoned headbangers and curious moshers alike.
It was here that we encountered Square Wild, a band crackling with the infectious enthusiasm of youth. Fronted by a powerhouse vocalist whose blonde mane whipped like a metal flag in the stage lights, they unleashed a sonic maelstrom of energetic rock music. Their sound was a potent cocktail, infusing bluesy swagger, funky grooves, and face-melting metal riffs into a sound that was unmistakably their own.
Square Wild’s music pulsed with a fierce defiance, each note a testament to the creative fire burning bright within them. It was a visceral experience, leaving the crowd exhilarated and hungry for more. With their electrifying performance on the New Blood Stage, Square Wild proved that they were a force to be reckoned with, poised to leave their mark on the metal landscape for years to come.
Heaven Shall Burn
As the sun basked the main stage, the crowd surged towards a sonic inferno brewing: German extreme metallers Heaven Shall Burn. Known for their blistering riffs, thunderous drums, and Marcus Bischoff’s potent growls, Heaven Shall Burn unleashed a set that scorched the earth beneath the mosh pit.
Circles of energy erupted spontaneously, a testament to the band’s electrifying performance. Amidst the flailing limbs and headbanging silhouettes, a curious detail stood out: a splash of pink among the sea of black leather and band tees. Sophie Lancaster’s spirit, in her signature color, pulsed through the crowd, proving that even amidst the mosh, her legacy of fighting for acceptance resonated powerfully.
Heaven Shall Burn, veterans of the scene since 1995, proved their dominance once again. With each searing guitar solo and bone-rattling breakdown, they wove a tapestry of social commentary and raw emotion. As the final notes faded and the dust settled, the feeling was undeniable: this was an afternoon drenched in both sun and the searing heat of heavy metal. It was a testament to the enduring power of music to bring us together, even in the most intense and cathartic of ways.
This revised text injects journalistic elements like band history, crowd details, and deeper meaning behind the pink attire, transforming it from a personal observation into a more engaging and informative account.
In Flames
Swedish metal giants ‘In Flames’ ignited the stage with an electrifying performance, showcasing their signature blend of melodic death metal to an ecstatic audience. Renowned for their innovative sound and impactful presence, the band took center stage at Bloodstock on [Friday evening, delivering an unforgettable experience for fans.
Formed in Gothenburg in 1990, ‘In Flames’ has carved a prominent niche in the metal scene, pioneering a style that merges melodic elements with intense, hard-hitting riffs. With a discography spanning multiple critically acclaimed albums like “The Jester Race” and “Clayman,” the band has consistently pushed boundaries, influencing countless musicians and earning a dedicated global following.
Amidst the fiery performance, a spontaneous and astonishing incident unfolded as an enthusiastic fan breached security and stormed onto the stage. The uninvited guest, described as a fervent admirer, boldly joined ‘In Flames’ in a remarkable stage invasion, surprising both the band and the crowd. For several adrenaline-charged minutes, this passionate individual danced alongside the band members, creating an impromptu yet enthralling moment of connection between artist and audience.
Despite the unexpected interruption, ‘In Flames’ seamlessly incorporated the impulsive energy, amplifying the concert’s intensity and demonstrating their ability to adapt to unforeseen circumstances while maintaining the show’s vigor. The incident not only showcased the band’s professionalism but also underscored the fervor and dedication of their fanbase.
As the night continued, ‘In Flames’ continued to captivate the audience, delivering a powerful performance that resonated long after the final chord echoed through the venue. Their ability to merge aggression with melody and their unwavering stage presence solidified their status as trailblazers in the metal genre, leaving fans eagerly anticipating their next explosive show.
Killswitch Engage
Selina and I eagerly anticipated the performance of the renowned band Killswitch Engage, a name that had come highly recommended by her circle of friends and colleagues. My intrigue for the band grew over the past few days as I immersed myself in their music, discovering them through a curated playlist on a YouTube music community dedicated to Bloodstock.
Killswitch Engage, a Massachusetts-based metalcore band formed in the late ’90s, has established itself as a powerhouse in the heavy metal scene. Known for their electrifying live performances and distinctive fusion of melody and aggression, the band has garnered a dedicated fanbase worldwide. With a discography that showcases their evolution and mastery of the genre, their music resonates deeply with enthusiasts of metal and hardcore alike.
As anticipation mounted for their live performance, Selina and I found ourselves immersed not only in the band’s music but also in the fervor of those who had experienced their live shows before. The prospect of witnessing Killswitch Engage live was a thrilling culmination of recommendation, exploration, and shared excitement.
The Bloodstock Open Air festival, situated at Catton Hall in Derbyshire, has established itself as a pivotal event in the music calendar. Originating in 2005, this festival has steadily grown in reputation and attendance, drawing in metal enthusiasts from various corners of the globe. Known for its diverse lineup and electrifying performances, Bloodstock has become a staple in the metal community.
Among the array of bands that graced the festival stages, King 810, hailing from Michigan, brought their distinctive nu-metal sound to captivate audiences. Known for their intense and sometimes controversial performances, their set at Bloodstock left an indelible mark on those in attendance. Despite the adult-oriented nature of their set, their musical prowess was undeniable.
Following suit was Visions of Atlantis, a band deeply rooted in themes of Nordic culture and seafaring tales, a recurring motif within certain metal genres. Their performance resonated with the crowd, as evidenced by the enduring impression left on concert-goers, some even capturing the spectacle through extended video recordings.
Skynd rounded off the evening, adding their unique style to the festival’s eclectic lineup. Their presence further enriched the diverse musical offerings, providing attendees with a multifaceted experience.
While the festival’s first day typically witnesses a slower pace, characterized by the gradual opening of the arena and smaller stage performances, it sets the tone for the ensuing days filled with music, camaraderie, and unforgettable moments. As the Thursday curtain draws to a close, the promise of more thrilling performances and communal revelry looms large, defining the essence of the Bloodstock Open Air festival.
The allure of the Serpents Lair tickets at Bloodstock is not merely for securing entry but for the exclusive amenities it offers. The Serpents Lair boasts an impressive selection of over eighty beers and several ciders, meticulously documented in a booklet. This unique feature, coupled with reasonable prices, makes it a sought-after haven for festival-goers seeking a respite from the pulsating energy of the stages. Additionally, the after-hours entertainment and welcoming ambiance make it an enticing space to unwind between performances. Tickets for the Serpents Lair are as hard to purchase as Glastonbury tickets.
Rosemary and I embarked on our annual pilgrimage to the Glastonbury Abbey Extravaganza, this time with a twist—a pre-concert camping adventure near the charming village of Priddy. Nestled in the Cheddar Gorge, the Cheddar Camping and Caravanning offered was complete with freshly baked pastries available each morning. Priddy itself beckoned with its quaint pub and hidden charm, while a longer-than-planned afternoon hike (much to Rosemary’s initial chagrin) led me to the mouth of a mysterious cave system – a tantalizing glimpse into the subterranean world below.
Friday saw us driving through the dramatic Cheddar Gorge, past Deerleap Viewpoint with its stunning vista of Glastonbury Tor, before stocking up at Waitrose in Wells and settling into our temporary Glastonbury Abbey Extravaganza campsite beneath the imposing Tor. The heavens unleashed their fury, sending some neighbours packing, but we weathered the storm, comforted by Google’s promise of sunshine for the concert.
Saturday in Glastonbury was a treasure trove of second-hand finds and antiquarian gems. We secured a pre-packed picnic supper for the evening at a local bakery. Decided we wouldn’t do so again. After a good lunch at The George and Pilgrims, we joined the throngs entering the Abbey grounds, securing a prime spot near a crowd-cutting footpath. As the clouds parted, the setting sun painted the sky in fiery hues. The Wells City Band entertained us first with their brassy brilliance, followed by the upbeat rhythm of Lightning Seeds and their anthem, Three Lions. Finally, the Scottish powerhouse Texas. Shame on me for not knowing their roots ran north of the border! The fireworks erupted in a finale of dazzling colour, and we cheered along with the ecstatic crowd before catching the coach back to camp.
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The Lightening Seeds, Texas and the firework display.
Oi Va Voi, the London-based band that blends klezmer, dance, indie rock and alt-folk, delivered a stunning performance at the Cambridge Folk Festival 2023. The band, which has been active since 2000, showcased their musical versatility and wanderlust. The audience was captivated by the band’s energy and charisma, as well as the virtuosity of their musicians, especially violinist Anna Phoebe. The band received a standing ovation at the end of their set, and left the crowd wanting more. Oi Va Voi proved once again why they are one of the most innovative and exciting bands in the world music scene.
Jenny Colquitt is a rising star in the Americana scene, with a strong and expressive voice, impactful lyrics and winning melodies1. She was named as one of RnR Magazine’s ‘Ones to Watch’ in 2022 and won the FATEA ‘Female Artist of the Year’ award in 2021/20223. She performed on the Den stage at the Cambridge Folk Festival 2023, showcasing her talent and charm to a captivated audience.
One of the highlights of her set was the song Little Blue Boy, a lullaby-inspired tune that tells the story of a boy who falls asleep under a haystack while his animals wander off. The song has a gentle and soothing melody, with acoustic guitar and harmonica accompaniment. Colquitt’s vocals are sweet and tender, conveying the affection and concern for the sleeping boy. The song also has a touch of humour, as the animals try to wake him up but fail. The song is based on the traditional nursery rhyme Little Boy Blue, but Colquitt adds her own twist and flair to it.
Little Blue Boy is a song that showcases Colquitt’s ability to craft engaging and memorable songs, with a blend of folk, pop and Americana influences. It is a song that appeals to both children and adults, as it evokes nostalgia, innocence and warmth. Colquitt’s performance of Little Blue Boy on the Den stage was a delight to watch and listen to, and it left the audience wanting more.
f you are looking for a band that can make you dance, laugh and sing along, then you should not have missed The Chair at the Cambridge Folk Festival 2023. The Chair is an eight-piece band from Orkney that plays a fusion of folk, blues, rock, dub and klezmer music with a lot of energy and humour. They have been described as a “must-see festival band” and a “rampant ruckus of fiddles, banjos, accordions and drums”. Their latest album, Orkney Monster, is a tribute to the mythical beast that is said to lurk in the waters around their home island. The album features catchy tunes, witty lyrics. The Chair will played on stage 2 on Sunday at 4:30 pm. I did not regret seeing them, as The Chair delivered a show that left me breathless and exhilarated. The Chair is one of the highlights of the Cambridge Folk Festival 2023, and I am gladd I did not miss them!
I had the pleasure of attending the Cambridge Folk Festival on Sunday, July 30th, 2023, and one of the highlights of the day was the performance of Akram Abdulfattah, a young Palestinian-American violinist who mesmerized the audience with his unique and innovative music style. He played with his quartet “Awan”, which means “time” in Arabic, and they blended jazz with middle eastern and Indian influences, creating a rich and diverse musical experience. Akram Abdulfattah is a virtuoso on the violin, and he showcased his skills and versatility in every song. He also introduced each piece with a brief explanation of its origin and inspiration, giving us a glimpse into his culture and vision. He received national and international recognition for his talent and creativity, winning several prestigious awards. He also expressed his desire to use instrumental music as a tool to introduce the world to the Palestinian rich culture, legacy, and folklore. His performance was captivating, inspiring, and uplifting, and I highly recommend anyone who loves music to check him out. He is a rising star in the folk scene, and I look forward to hearing more from him in the future.
Hollie Cook is a singer and keyboardist who blends reggae, pop, and soul with a tropical flair. She has been making waves in the music scene since her debut album in 2011, and has collaborated with artists like Prince Fatty, Ian Brown, and Jamie T. She is also the daughter of Sex Pistols drummer Paul Cook, and the goddaughter of Boy George.
On Saturday, July 29, 2023, she graced the Stage 2 of the Cambridge Folk Festival, one of the longest running and most famous folk festivals in the world. The festival, which takes place in the grounds of Cherry Hinton Hall, offers a diverse and eclectic line-up of folk and roots music from across the globe.
Hollie Cook delivered a captivating performance that showcased her unique style and voice. She sang songs from her latest album, Happy Hour, which was released in 2022 and features a mix of upbeat and mellow tracks. She also performed some of her older hits, such as “Body Beat”, “That Very Night”, and “Tiger Balm”.
The audience was enchanted by her charisma and energy, and sang along to her catchy choruses. She interacted with the crowd, telling stories and jokes between songs. She also expressed her gratitude for being part of the festival, and praised the other artists who were playing on the same stage.
Hollie Cook proved that she is a versatile and talented artist who can blend different genres and influences into her own distinctive sound. She brought a tropical breeze to the Cambridge Folk Festival, and left the audience wanting more. She is definitely one to watch in the reggae scene, and beyond.
The Elephant Sessions are a Scottish indie-folk band that have won several awards for their energetic and innovative music. They blend traditional instruments like fiddle, mandolin and guitar with drums, bass and synths to create a sound that is both fresh and rooted in their heritage. They played on stage 1 of the Cambridge Folk Festival on Sunday, July 30, 2023, and delivered a stunning performance that had the crowd dancing and cheering. Their set included songs from their latest album, What Makes You, as well as some older favourites like Wet Field Day and Lament for Lost Dignity. They also surprised the audience with a cover of The Proclaimers’ I’m On My Way, which they dedicated to their fellow Scots who were headlining the festival. The Elephant Sessions proved that they are one of the most exciting and original bands on the folk scene today, and left the fans wanting more.
Angélique Kidjo is one of the greatest artists in international music today, a creative force with thirteen albums to her name. She performed at the Cambridge Folk Festival 2023 on Sunday, July 30, at the Cherry Hinton Hall2. Here is a short review of her show:
Angélique Kidjo dazzled the audience with her vibrant and eclectic mix of musical influences, from West African traditions to American R&B, funk and jazz. She sang in multiple languages, including her native Fon, Yoruba and French, as well as English and Spanish. She also paid tribute to some of her musical heroes, such as Miriam Makeba, Celia Cruz and Nina Simone. She invited the crowd to join her in singing and dancing, creating a joyful and energetic atmosphere. She also shared stories of her life and activism, expressing her passion for women’s rights, education and environmental issues. She ended her show with a stunning rendition of her hit song “Agolo”, which earned her a standing ovation from the festival-goers. Angélique Kidjo proved once again why she is called “Africa’s premier diva” by Time Magazine.
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.
A group of us visited Addingrove Farm to see their new robotic milking parlour. We arrived at Chilton and were taken down to the farm on the back of a couple of tractors and trailers. On route we drove through a “closed” road, where Thames Water was endeavouring to fix a leak. At the farm, we were divided into two groups to look at the milking parlour.
The barn has room for 200 cows, plus a few more dry ones. Normally they are able to go in and out of the barn and graze the fields, as they wish We were told that many of the cows preferred to stay inside, and when it rained there was a stampede for cover. The barn had feed on both sides. In the centre were the cows water beds where they could lie in comfort. The cows were on slats which robots patrolled, scraping the excrement through the slats into a special processing system down underneath.
There were four milking cubicles, and the cows would enter these of their own accord and be automatically milked. They could be milked up to four times a day. If they entered the milking parlour again, they were not fed, and were ejected. Those cows who chose not to be miked in 24 hours could be identified on the computer screen and action taken to persuade them to be milked.
In the evening, the lights are dimmed to a red glow.
It all seemed to work smoothly, we saw cows entering and being milked, and others, who were trying it on, being ejected.
After the visit we were transported back to Chilton, where we bought beers from the Chiltern Brewery and BBQed burgers from the local butcher. They were excellent burgers, and I did go in for a second round. The money raised went to the church
Following the burgers, we finished the evening at George’s drinking Scotch. As we left at 10.10 I spotted a bright moving light in the sky. I later checked. It was the International Space Station.
