Don’t Think is an attempt from Adam Smith to capture the unique collision of the audio and visual elements that combine to form a Chemical Brother’s Show.  It was filmed with over 20 cameras and is all done at one performance, the 2011 Fujirock festival in Japan. He mixes a documentary style, to capture the show and audience unawares, while also implementing a narrative element to give the film a dream like, or rather psychedelic, feel.  The film captures the ambiance and feel of the show offering a subjective look at it as seen from the eyes of the audience and as Smith says captures their “emotion”.

Adam Smith has been collaborating with the Chemical Brothers since their early days playing gigs in 1994.  Because of this the visuals have always been an extremely important if not inseparable part of their shows.  Indeed they work very much dependently.  Rather than the visuals merely aiding as an accompaniment to the music the two have a symbiotic relationship.  Many of the visuals standing alone are pieces of avant-garde art.  These include masks of light flying across the screens, scary profiles of clowns, people shaped cut outs dancing symmetrically and flashing sirens.  All these images build with the music rising to a crescendo on the drop that is met with the thousands of hands shown waving in unison completing the congruous triumvirate.

The shots of the crowd are as impressive as the screened visuals in many ways.  The many small cameras allow an intimate access to the audience.  The high definition and bright lighting allows a clear view of the audience’s reactions and we can follow their thoughts through a number of emotions ranging from joy to expectancy, fear, and through to complete ecstasy.

One of the crowd members that the film repeatedly cuts to serves a narrative role.  The camera follows her as she leaves the concert and roams the festival in a stumbled confusion of blurred backgrounds and flashing lights.  The visuals we have previously seen on screen jump off it and become part of her world.  The white cockroaches scuttle along the floor and the marching robot wanders in the outside world.  This is where the film goes beyond merely documenting the concert performance but attempts a psychological insight into the minds of those in attendance.

If surrealism is concerned with the logic of dreams then Don’t Think seems to offer up the logic of a psychedelic trip either by narcotic substances or perhaps the similar feeling that is created by the Chemical Brother’s intoxicating music accompanied with Adam Smith’s imagery.

What is so interesting about the reality that Smith and the Brothers have tried to create with this film is in the way that they have chosen to distribute it.  Considering the height of technology that the chemical brothers utilise in their production and shows and the futuristic visuals that Smith creates it is interesting that they have chosen to release it in such an old fashioned medium as the cinema.  Why not release it for internet stream or download via youtube or itunes or other such media outlets?  But this is why the film can be so effective.  Because it would surely be impossible to feel as if one were at a festival while enjoying the experience alone.  But in the confines of the cinema the experience is a group one, admittedly very different from the group interaction at a festival, but one is a part of a group none the less.  Furthermore, the film has been released “for one night only” to play at over 100 cinemas around the UK at 10pm on 3^rd February.  This not only increases the numbers that will be viewing the show simultaneously, bringing it up to a festival sized audience, but recreates the feeling of exclusivity experienced at a festival.  You were either there on the night or you were not.

It would be hard to argue that a festival can be recreated through sitting in the dark and watching a 2 dimensional screen.  However, Chemical Brothers fans can delight in the fact that the film is in fact the first to be made in 7.1 Dolby Surround Sound meaning that the quality should be as good as, if not better than, many live performances.  This means that you can experience their sound as loud and equalised as they were originally intended as opposed to quiet, distorted, and with too much treble, as many people now a days enjoy music from laptop speakers that play it off youtube.

Tonight, for one night only, don’t miss it.

Appearing for the eleventh time at KOKO, it seems that quirky British DJ Mr Scruff has taken up residency at the former Camden Palace Theatre. Initially, the high ceilings, red curtains and royal balconies seem at odds with the decks and projector screens stationed on stage. The modern meets the traditional, with Laurence Llewellyn Bowen left to cower in horror. Yet, somehow it all merges together beautifully.

The theatrical decadence of the main venue fades amidst the darkness with only vibrant red and blue lights directing attention towards the stage. Mr Scruff starts proceedings with a compelling mix of soul and jazz, easing the slowly filtering fans into a night destined for big beats, heavy drops and powerful bass. As the night continues, a captive audience are treated to a wide selection of drum and bass, Spanish folk and even some contemporary dubstep thrown in for good measure – all immeasurably enhanced by KOKO’s incredible sound system. On the dancefloor, the bass is inescapable with palpable vibrations in your ears and chest - impressive considering the size of the venue. Interspersed throughout his seamless, unfamiliar mixes are some recognisable favourites including ‘Buggin’ Out’ by A Tribe Called Quest and Too Short classic, ‘The Ghetto’.

Everyone is on their feet grooving the night away, even those tucked upstairs in the viewing gallery. A quick span of the brimming venue is all you need to witness just how universally loved Mr Scruff is, by such a diverse array of people. His deliberate focus on fun manages to draw in an audience that is impossible to pigeonhole, from city bankers to trance fanatics. Young and old come together and do all that is possible when faced with a Scruff set: dance, with genuine joy and no pretensions.

As captivating and varied as Mr Scruff’s set has been up until this point, it has to be said that there is a disappointing lack songs from his studio albums. Undeniably, Scruff puts on a breathtaking set, but for those seeing him live for the first time, you would forgive them the feeling of being slightly short-changed. Coming to see an artist with six albums, especially one who is known for playing marathon six-hour sets, you would no doubt expect that a generous percentage would be devoted to the songs that fans are clearly there to experience live.

Fortunately however, in the closing hour of the show, Scruff rewards those loyal fans who remain with a few choice selections from his catalogue of albums. These included ‘Vibrate’ (a bouncy, hiphop-fuelled track featuring Braintax), Scruff’s most recognisably wacky song ‘Fish’, and as a well-timed remedy for early morning fatigue, the fittingly titled ‘Get a Move On’. A late inclusion of a new track labelled only as “new scruff tune” on the screens met a riotous reception from the crowd with its chest-shaking bass. Due for release early next year, it’s an exciting insight into Scruff’s upcoming releases.

As you would expect from songs like ‘Ahoy There!’, Mr Scruff’s gigs are delightfully quirky. His set is accompanied by cutesy animated projections of chubby, animal-like creatures, all created by his own hand. Particular favourites are those dressed in chefs’ hats, banging away on biscuit tins and tea pots with a rolling pin as tunes begin to drop; familiar Scruff territory. As you’ll soon learn from attending a Mr Scruff show, he is a strong advocate of tea drinking – a somewhat unusual activity for a rave. Alongside CDs and shirts, the merch stall also offers a charming collection of mugs, flavoured tea bags and even hot tea for sale, all from Mr Scruff’s very own Make us a Brew tea company. Not quite your average round at the bar then.

With Mr Scruff’s refusal to play more than a handful of his own tracks, tonight didn’t really have the customary feel of a tour date. Instead, with refreshingly varied mixes and the high-energy atmosphere, it felt a little more like a clubnight hosted by a guest DJ. Fortunately though, the fascinating visuals and tea-induced hangovers ensured that the gig was inescapably Scruffy. An incredible venue hosts a multi-talented DJ to resounding success. In Scruff’s own words, “Amazing crowd energy and great sound made it a real pleasure to play all night.” And to listen, Scruff – and to listen.

To hear Mr Scruff’s Koko set in its entirety, check out soundcloud.com/mr-scruff/mr-scruff-koko-oct-2011, or catch him live in February 2012.

The release of Major/Minor marks Thrice’s eighth record since they were founded in 1998. Whilst many bands have that one album that is considered to be their best, Thrice continually dish out the goods with every record they put out – their latest being no exception.

Following from their previous album Beggars, Major/Minor is like its predecessor in that it was conceived from the band simply jamming together in a room, resulting in similarly barebones, honest-to-goodness rock tone. The title originally stemmed from the practice of playing a major chord rather than the expected minor counterpart in a song’s progression. Utilised by many grunge bands in the ’90s, this technique lends itself to the album’s earthy, aggressive sound. The births and deaths of several family members during the writing process meant that Major/Minor eventually took on a double-meaning, referencing both the good and bad in life in some very poignant moments on the album.

Whilst the guitars are undisputedly at the forefront of the songs, the other instruments complement each other so well that they are all equally important in driving the music, which is often loud, occasionally soft and always melodic. But a Thrice album wouldn’t be a Thrice album without Dustin Kensrue’s beautiful lyrics, and for Major/Minor he has penned possibly his best songs yet. His genuine and enrapturing vocal delivery leaves one with the impression that what the man has to say, he says from the heart.

Thrice’s organic sound is the result of a band that has only ever made music for music’s sake, and nothing else. They may have had a tough time of it while making of this record, but despite this (or perhaps because of it), Major/Minor is their best one to date.

The set is tight throughout. Even a slight technical hitch at the start doesn’t faze them; they carry on with a professionalism that ensures the problem goes unnoticed to the audience. The atmosphere builds fast. What an entrance.

Benji Compston has a voice which cuts through the heavy ambience, bringing it back down as the focus turns to the beautifully written ‘Sedative’. He sings with conviction and integrity, constantly with a brooding expression.

Both Johnny and Jonny on guitar and bass have a similarly serious stage presence. They’re completely consumed by the music. And then there’s the technically brilliant Ashley Cooper who, despite the occasional effort, cannot help the grin smothering his face every time he gets to thrash about and get heavy on drums. It’s endearing and contagious, and hilariously out of place.

The slow build of ‘Itchy Skin’ begins to show the range of what the band are capable of with Ashley teasing by hitting the rims before the much anticipated crescendo. Beautiful. The live show is effortless, the years spent touring are evident. The sound has an intrinsic maturity with songs like ‘Hatches’ showing craftsmanship in song writing and the gentle ‘Giving Up the Ghost’ revealing the breadth of material. ‘Air Bag’ simply left me mesmerised.

They round off with ‘Miss Frost’, their newly launched single, and the sold-out venue sings along. It doesn’t disappoint. They humbly thank everyone and leave the stage. The audience are left staring, unified by the realisation that The Wild Mercury Sound are going places.

 _______________

I caught up with the boys at Bloomsbury Bowling Lanes earlier on in the week to talk about their single and find out why the only people who should be trusted in the music industry are those with dogs or children.

The Wild Mercury Sound are a four-piece outfit from London. Their music is distinct; refreshingly it doesn’t fit into any modern passing fad or try to be anything that it’s not. Benji puts it well, “It’s got its grunge element, it’s got its rocky element, I guess it does inevitably have an indie element to it. We want it to be a big sound without being too theatrical and whacky.”

“Or dull.” Johnny adds.

With three of the band in full time education, two of them in London, I was curious to find out how they were managing to balance their degrees with rehearsals, tour dates and interviews with Steve Lamacq.  Through mouthfuls of a sizeable steak sandwich, bassist and first-year English student Jonny Allan squeezes out a couple of unrepeatable words about Freshers Week, before remarking that “There’s not been too much to balance yet.” A story does later emerge of a busy recording schedule and a near absence from a compulsory field trip. It seems that certain universities are more understanding than others of an extra-curricular interest that involves playing in Leeds on a Thursday night.

A few questions play on my mind ahead of the single launch. Namely, how do you go about choosing a debut single from a catalogue of your own hard work? What makes it? Benji explains the choice: “As a debut single it works quite well, because it shows our sound and our focus on song writing. Since recording that song we’ve written a lot more and developed as a band, so we thought it would be a good place to start as from there we can develop.” Johnny gives a concise elaboration: “It’s quite an instant sound”. I couldn’t agree more: ‘Miss Frost’ is an honest, but accessible showcase with all the makings of an infectious anthem.

B-side ‘Itchy Skin’ is strikingly clever, lyrics reflecting in composition and vice versa. “‘Itchy Skin’ was written in about 10 minutes, initially just on an acoustic one night. And then in a rehearsal I said, “oh, this is my new song,” and then we just played around with it and sort developed it together.” And there was me thinking that it was something that they’d meticulously poured over for weeks. Benji continues to explain: “It was all quite quick, but you can do that with songs like that because the lyrics and everything, the whole song, it was all already there and it had real feeling behind it.” Listening back to it now, the authenticity really makes it. It has a natural sense of genius. Recorded live, Johnny feels it has the added necessary elements of energy and scrappiness. The rest nod in agreement.

Conversation whittles on with facts-that-you-never-knew-about-the-Isle-of-Wight and talk of the ideal future. I ask who’d they have to produce the album and they reel off names like Brian Eno, James Ford and Ethan Jones. The essentials are pinpointed in what makes a good working relationship: trust is a big issue. “I think it would be quite scary handing everything over to a producer. It would be like marrying someone for a month when you don’t really know it’s going to work; you can’t be sure,” admits Johnny.

Patience is a virtue which Benji looks for. “Working with anyone in a studio, even us four, by four days in you want to kill each other – we want to kill each other. And the producer wants to kill us.”

Ashley’s theory of producers is much more concise: “We like producers with dogs. If they can look after a dog then they can look after us.”

Benji agrees. “You can always trust someone with dogs and children. Not cats though.”

The single ‘Miss Frost’ is available now on iTunes, Amazon, Spotify and 7digital.

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The two, who together formed the group Carte Blanche, were celebrating Riton’s birthday with friends at Mehdi’s apartment in the 20th arrondissement of Paris, when the Plexiglas roof on which they were stood collapsed. The man born Mehdi Favéris-Essadi was the only one to not get back up.

Whether it be his insouciant jiving onstage, his customary address to all that he met “t’es beau” (you’re beautiful), or the titling of his album Lucky Boy (2006), Mehdi always arranged a sense of deep appreciation in the furniture of his mind. An elfin figure, who was universally adored, wore nothing but smiles. Close friend and fellow musician, A-Trak remarked “He’s the only DJ who could stand on a table and not look self-indulgent. It wasn’t look at me; it was share this with me.”

Mehdi was born in Gennevilliers, a North-Western suburb of Paris, to a Tunisian mother and French father. A testing upbringing (acknowledged in his video for ‘Signatune’), not only forged his earnest and amiable persona, but a desire to clasp any opportunity. This led to precocious initiative; he had already begun his career at the age of 15, joining a French rap trio named Idéal J. Focused and gifted, he was soon prominent within the Parisian scene and went on to work with MC Solaar, Rocé, Mafia K’1 Fry, and the hip-hop leanings of 113. It was with Idéal J that Mehdi released ‘Hardcore,’ the track banned from French radio and television in 1998 for its inflammatory politics. He actively kept his beliefs with the pride-infused name Black Billionaires (2010) and dedicated a DJ mix to the recent uprising in Tunisia.

During the ascendance of Parisian electronic music in the 1990s, Mehdi worked with Cassius and Etienne de Crécy. His growing stature and technical prowess embedded him within the scene as he joined the influential collective Club 75 alongside Cassius, Pedro Winter (aka Busy P) and Justice. The foundations for Ed Banger Records were laid and Busy P immediately formed a sincere bond, describing Mehdi as “a thousand times more cultivated than us others”. The pair soon began to curate successful nights at Le Pulp in Paris together.

Mehdi launched his solo work with The Story of Espion (2002) and as Ed Banger’s “French touch” was taking shape, his sets evolved towards house and techno. He accredited “Timbaland and other labels from the US” who helped to bridge the gap and constantly reminded how Dr Dre is one of Daft Punk’s teachers. His latest project Carte Blanche were a homage to Chicago house. Mehdi further collaborated with New Young Pony Club, Asian Dub Foundation, Erol Alkan & Boys Noize, produced a Ryuichi Sakamoto soundtrack and wrote the score for Romain Gavras’ Megalopolis. His celebrated video for ‘I Am Somebody’ revealed a wit, eloquence and understanding confirmed by his posts for Cool Cats blog.

Paris Social Club closed its doors on the day in respect. Even the French Minister of Culture and Communication, Fréderic Mitterand, paid his tributes, saying Mehdi was “a magician of the turntables, an audacious producer and a virtuoso of blending musical genres”. On 17th September, he was buried in Père Lachaise cemetery, in the company of Chopin, Proust and Jim Morrison.

Mehdi Favéris-Essadi, DJ and music producer, born 20th January 1977; died 13th September 2011, aged 34.

Dizzee is undoubtedly considered one of the greatest rappers in the world, and his music, unique performance style and energy have electrified millions of young audiences across the globe. He has collaborated with some of the biggest names out there, including Fatboy Slim and Arctic Monkeys, and blazed a trail around the world, scooping an impressive array of awards and performing in the biggest venues and at all the major festivals.    

The Brixton Academy opened its doors to London’s music lovers in the 80s and remains one of the UK’s leading music venues. With a capacity of nearly 5,000 and a vibe like none other, a night at the Brixton Academy really is something special.      

As one of the UK’s leading club brands, UNION is a name to watch out for; they run their own club nights in every major nightlife hotspot in the country and organise thousands of outstanding events for students. Its legendary events at Fabric are famous throughout the world. But Union have outdone even themselves this year…

“This is going to be an incredible moment for us, we’ve been lucky enough to play the main stage at Brixton Academy four times but doing our own UNION show there with our absolute hero will be beyond belief!”
- UNION

The venue chosen by the young orchestra was not only stunningly beautiful, but also perfect for the repertoire chosen.  Boasting a warm but intimate acoustic, St Margaret’s Church in Blackheath brought the music to life without allowing any details to be lost.

Opening the concert was Mozart’s timeless ‘Clarinet Concerto’, which got off to a slightly uncertain start. With noticeable intonation issues in the strings, it was touch-and-go whether the orchestra was all that the programme notes made it out to be, but soon the irrefutable skill of soloist Jonathan Guy shone through and it was clear that the evening’s proceedings were going to be of considerable calibre.

Despite the over-ambitious tempo of the final movement, both soloist and orchestra showed great skill and stamina in maintaining the speed without falling over themselves in the faster passages. The speed added an energy that is so often lacking the characteristically jovial rondo movement.

With delightful ease, elegance and a graceful intelligence, Leo is a remarkable conductor for his age; he leads his orchestra with a metric precision that is second to none, interjecting his insightful artistic ideas whilst allowing space for the talented players to play and the music to breathe. His breadth of performance experience and raw talent are both very evident, not only in his exceptional conducting, but also in his ability to kick-start and organise such an undertaking. His is a career to watch with interest.

The ‘Ravel’ was undoubtedly the highlight. After two thirds of a string-dominated concert, the opening bars (where the woodwind took centre stage) were a breath of fresh air. The rapid movement of the interweaving parts was thrilling and amply demonstrated the dexterity of the newly introduced wind section. The rest of this remarkable piece, ‘Le Tombeau Du Couperin’, followed in similar suit, ending the evening with the triumphant chords of the joyous ‘Rigaudon’, accompanied by well-earned shouts of “bravo!” and “encore!”

In a recent interview Leo told London Student that his “chamber orchestra offers instrumentalists an intense performance experience that they’re unlikely to find in a larger university or national youth symphony orchestra. If just one player decides not to pull their weight, it really shows. This way Constella really begins to offer students a transition from the world of institutionalised study into the intensity of professional music making.”

I asked Leo and Henry if it was hard organising so many people.  “Everyone is just so keen! None of the players are paid and we’re totally unfunded. It shows that money isn’t needed for us to make music. In a time when government cuts are hitting art budgets hard, it stands as testimony to the dedication of today’s young musicians and to the timeless joy of making music. It’s just amazing we’ve managed to get all these players together and we’re so grateful! People are very committed.”

When asked about the orchestra’s aspirations for the future, Henry Clay, Orchestral Manager, said that the future of the Constella Orchestra was an exciting one, with the planning for many ideas and events already well underway.  Of particular note is the orchestra’s emphasis on student performance and composition; next year the orchestra hope to run annual concerto and composition competitions to offer music students a platform on which to have their own orchestral compositions performed or to play with the orchestra as a soloist. This is a new and exciting opportunity for music students around the country, especially those based in London, because there are very few orchestras offering students the chance to submit their own work for performance or to perform as a soloist alongside a semi-professional orchestra.

Constella is an original, exciting and inspiring student venture.

Amanda Fucking Palmer, former frontwoman of The Dresden Dolls, has long been hailed the Queen of Punk Cabaret. Her songs strike a chord with the wallowing teenager in us all, harnessing the angst of punk rock within a bold and often theatrical framework.

Recently though, it struck me that perhaps the “Punk” in Amanda’s title had gradually been effaced. She announced a string of “rock shows”, but I wasn’t convinced that the dates would fit such a description. Her last two solo releases comprised mostly stripped-down covers and sensitive ditties, while her most recent London gigs had seen her perform with just keys and the humble ukulele. Although raw and emotionally charged, these renditions could never recreate the richness of her epic debut, Who Killed Amanda Palmer. Moreover, hits from The Dresden Dolls’ back-catalogue were always missing the rolling drums and crashing cymbals that gave them their brash intensity.

Shortly, I discovered that Amanda was touring with a backing band known as The Grand Theft Orchestra. This line-up finally offered the potential for well-loved numbers to be fully realised, but the possessive fangirl in me was apprehensive about the change. As the set was laid out, with the keyboard to one side rather than centre-stage, it was instantly clear that this would not be “The Amanda Show” we were all accustomed to. But from the opening, slammed staccato chords of ‘Astronaut’, bolstered by electric guitar, violin and drums, it was unequivocally confirmed: change is good.

To the screaming crowd’s delight, the band drops sharply into ‘Girl Anachronism’ – a frenzied favourite from The Dresden Dolls’ eponymous debut. As on the album, this leads seamlessly into ‘Missed Me’ – a deliciously twisted tale that subverts the power relations between a vulnerable girl and her perverse suitor. The band comically exaggerates the lumbering melody. They toy with its tempo, setting traps with pregnant pauses that trick the audience into singing along too soon. Amanda wildly alternates between a vicious growl and a tender coo: “Hope you’re happy in the county penitentiary. It serves you right for kissing little girls – but I’ll visit, if you miss me!” Una Palliser embellishes the tune with a fiery violin solo, almost calling to mind ‘El Tango de Roxanne’ from Moulin Rouge.

Later in the set, Amanda breaks into ‘Oasis’ – a catchy yet controversial pop number which interrogates our attitudes towards date rape and abortion. As the crowd dance and chirp along, knowing every vulgar word off by heart, it becomes quite clear that this venue is the closest any of us will get to Heaven… Halfway through, the song unexpectedly morphs into ‘Twist and Shout’ – a phenomenal mash-up lapped up by giddy, shape-throwing fans.

In a ‘game of extreme musical chairs’, Amanda Palmer welcomes Bitter Ruin to the stage – an unsigned, Brighton-based duo who floored the audience with their supporting set earlier in the evening. Ben Richards takes Amanda’s place at the keyboard, while Georgia Train joins her centre-stage for a superbly credible and poignant rendition of ‘Delilah’. Wild-eyed, Amanda clutches Georgia by the hair as she belts her cautionary words at close-range: “If you take him back, you get what you deserve.” In delicate soprano tones that counter her husky vocals, Georgia echoes the looping refrain like a soft yodel.

This is the first of a whole box full of tricks up Amanda’s sleeve. The Jane Austen Argument are next in a long line of special guests, clutching pink roses as they perform an exquisite cover of Regina Spektor’s ‘The Flowers’. Unquestionably though, the biggest surprise of the evening comes in the shape of Aussie jester Tim Minchin, who bewitches the swaying crowd with his unorthodox love ballad, ‘You Grew On Me (Like a Tumour)’.

Complete with a brass section perched in the balconies, the anthemic ‘Leeds United’ brings the evening to its explosive finale. Fans chatter excitedly as they filter out of the sweltering venue, and the verdict is unanimous: “This is the best we’ve seen Amanda in years.” It isn’t that she necessarily needed the frills of tonight’s show: a bellydancer, a band and a truckload of celebrity pals. There’s a good reason that the same faces have reappeared at her more modest shows over the years. The difference is that tonight, Amanda switched gears and hosted a party rather than a gig. Dancing through the enamoured crowd to the synth-heavy beats of her latest material, she prised the life out of fans who may have taken themselves too seriously in the past. Inhibitions fell to the wayside, and in the true spirit of Punk Cabaret, the rock show ensued – long live the Queen!

Aside from being able to see and hear some phenomenal music, a big drive to cough up the money for a ticket is allowing yourself three days of being immersed in the festival community – a welcome break from the monotonous structure of the day-to-day. In much the same way as a psychiatrist’s couch, festivals offer the cathartic release we all need in order to remain level.

Camaraderie is perhaps the defining quality of a good festival. Usually, the level is determined by the driving force behind the event, and whether the organisers prioritise people or profit. We have a variety of huge, commercial festivals on offer in the UK, such as Glastonbury, Reading and Leeds, organised by festival tycoon Mean Fiddler, and Richard Branson’s V (Virgin-branded) festivals in Chelmsford and Staffordshire. But if you’d rather step away from overtly commercial affairs and get back to the original festival experience, a good place to start looking is the Association of Independent Festivals (A.I.F.) At these creative, independently run events, the focus is still on audience participation and enjoyment rather than the amount of cash that can be squeezed from purse strings.

This year I experienced the best of both worlds, with Glastonbury, Secret Garden Party and WOMAD on my festival schedule.

Glastonbury always provides because of the sheer size, visual extravaganza and spectacular number of artists and activities on offer. For me, The Chemical Brothers delivered the most mesmerising  performance in this year’s line-up, with body-absorbing bass and a light show that would blind any small child. Moreover, Shangri La and Arcadia’s wacky fire and bass-laden environments are always an end of night favourite. This year, security cracked down on crowd control so you didn’t find yourself suffocating en route- always a nice thing. On the last morning, as the sun rose and we trailed back from the stone circle to our little bell tent at the top of the hill, my Glasto novice friend turned to me with a tranquilised, mournful yet sated look, stating stoically: “It feels like something big has just happened”.

Secret Garden Party isn’t so much about music as it is art, randomness and general knees-up. Festival organisers provide over £50,000 worth of Art Grants to both grass roots and established artists. The lake and soft rolling hills give the enchanted affair an intimate and almost wizardly dimension. Although I suspect the endearing conviviality may have had a lot to do with the degree of crowd intoxication. The Secret Garden Party is all round a very seductive encounter, with a touch of exclusivity. However, it seems the secret is out – those who didn’t manage to get a ticket before they sold out settled for foot-ups over the fence and wristbands were being shared around like a good bottle of Bordeaux.

C.W.Stoneking fitted in with the off the wall atmosphere, looking like he’d just stepped off another planet with a banjo in hand, playing what he calls “jungle music”: a mixture of jazz, blues and calypso. Softened by a horn section, his voice sounds like that of a man smoking a twenty pack a day since he was twelve. His life is embedded in his music and he has many captivating stories to tell.

Another corker was Beans on Toast – a singer/storyteller from Essex who  provided the audience with light-hearted advice on personal hygiene, festival sex, drugs and falling in love, embedded in catchy tunes.

WOMAD (World Of Music And Dance) was hands-down my favourite pick of the summer. Set in the beautiful Charlton Park in Wiltshire, this non-corporate, stress-free event provided a cultured, family-friendly atmosphere with the highest quality of music from every nook and cranny around the globe.

Hailing from the Congo, Gasandji (translating as “the one who unveils the conscience”) laid her soul bare and transported the crowd into the hardship of Africa, while delivering messages of peace and unity. Another female power house was Susheela Raman, who with the presence of a prophet, bewitched the BBC3 stage with songs derived from her Tamil heritage.

I personally fell in love with a French beauty from Metz-Chapelier, Fou Moniker (Mad Hatter) who provided us with a miraculously quirky, classical meets electro set.

When deciding on your festival choice for next year, make sure you have a good browse around. There is a fitting choice for every taste and budget on the UK menu. The variety is endless and new festivals continually crop up in empty fields all over the country.