Sunday Part 1


One last time for pre-show act The Antipoet, kicking us off with typical bombast, then, three tracks in, they announce a Serious Poem – It’s Not Guns That Kill People. They ask if they should try doing more serious stuff, and the crowd absolutely concur. The moody bass rumble and the backing track add to the atmosphere of the rant against the NRA their ilk. Next comes their tribute to their sadly departed mate Tony, who they met at Glastonbury (Martial Artist Physiotherapist). By the time that’s done, the swelling crowd lap it up, chuckling and cheering. While Ian has finally donned his spiky, patent high-heels boots and basque on in this tent, Paul strips off for They’ve Got To Learn, an enthusiastic defence of the power of profanity. The lads’ partners join them to help the audience out with a set of cue cards with the extraordinary words written on them. The audience manage very well to chime in at the right time. Then crowd favourite I Like Girls kicks off (and I’m invited to grant the audience a alternative (queer, non-binary) perspective, as has become traditional over the years). They finish with a round of thanks to everyone, the flourish of new album title track Punk Uncle, and a roar of glorious cheers.

Compere Rosy Carrick takes to the stage in dungarees and revelations about her morning ablutions. She then gives a rousing, touching introduction to… oh, wait, it’s me…

Blogger Fay Roberts takes to the stage. To say I’m nervous would be understating this tremendously… And then I do my usual opening piece, Blissful Chance, and it turns out I do know what I’m doing, and the smallness and passivity of the audience and the loud drag yoga on the Sensation Seekers stage doesn’t phase me (though that’s quite the leotard!), and I’m grateful, in retrospect that my first appearance on the stage was with The Antipoet, because it’s only another festival stage and I know how to do this, and the key thing is not to let people know you’re bricking it.

The beautiful soul that’s Dominic Berry took some lovely photos and videos, and here they are (well, one of them – we’re experiencing a small problem with videos… they’ll come later)

We have a surprise guest (for complicated reasons – I won’t bore you), Australian artist Omar Mousa. His bars glitters across the beat of the outside, tackling Australian culture and toxic masculinity. I am in an adrenalin come-down, and busy signing the one book I’ve sold, so I don’t take in much, but I am going to look him up later, not least for stepping in at the last minute for reasons that… well…

Shama Rahman takes to the stage amidst a tangle of technicians and wires and instruments and cases and musicians and busy-ness (an audience member tells us he’d “rather be warm than Wu-Tang” in response to Rosy’s request for expansion on why he didn’t like their “mostly karaoke” set last night. I was busy having a loneliness and exhaustion melt-down, but I heard their chants and oddly congruent backing tracks while trying to settle down). Rosy performs her Arnold Schwarzenegger poem from Friday, then, the musicians being unready, another one I’ve not heard before, about the awkwardness of holding hands (called, oddly enough, Holding Hands).

The band launch as swiftly as possible into their truncated set with Ships In The Night, which passes through at least three different musical genres that I can count in dizzying profusion. Shama tells us that all her songs start as poems, and the next one is another person’s poem, which translates as Matchstick – “It’s a revolution song… don’t underestimate the power of a single matchstick – it could burn your whole house down…” I assume it’s in an Indian dialect (I’ll check later). She then gives us the title track from her latest album: Truth Be Told, the one with the glorious dance (the one I had in my head as (I Sing To Myself) Song To The Sea, as that’s a repeated refrain). And the synaesthesia shivers kick off for me with the beautifully dissonant ripples of instrumentation, and her voice dances between ribbons of mystical shimmers with an almost forceful, rock-inflected delivery. (I find myself forgiving her for sitting on my beloved cajon, which I unwisely left on the stage after its brief appearance with The Antipoet). The final track (All In Your Mind?) is yet another genre, the sitar and bass snarling under her chanted, almost rapped lyrics. The sound technician outdoes himself, giving her almost more reverb than is decent (almost!), and the growl of poem-song draws more intrigued audience members. Let’s hope they stay through the inevitable disentangling (and me retrieving my drum) to watch the next act!

Murray Lachlan Young takes to the stage, introduced as “the suavest man in existence”, which he grins at (and somehow manages that with faded, black jeans, a nondescript top, and flip-flops – it’s probably partly the voice, and partly really suiting silvering hair), asking us to bring the energy up with applause for ancient nomadic structure, recently emptied compost toilets, the benevolent part of Universal Consciousness, then a series of things that no-one likes or wants to applause. Then bongos. “Tippy-tappy-tip-tap-tap” he demands from the audience, which they’re, well, a little too listless to engage with. It melds into a series of rhythmic portraits of festival clichés, followed by a query: should we have a national referendum about the thong (men, wearing thongs, specifically). Young men flee towards to the end, and he weaves that into his outro. According to his recent reading, the tipping point has come: Britain has more famous people than normal people. He gives us a poems mostly using the words known and unknown, which growls and keen through the full range of his amazing voice. Honestly, his voice has only got more theatrical and astonishing over the years since my brother and I first stared at him on late night 90s TV. He goes on to rhythmically pillory one of P Diddy’s more outrageous antics in something uncomfortably close to an impersonation of a stereotyped, young person of colour. Avoiding going to the loo has apparently reached new, dark levels (eating charcoal tablets to avoid defecation until the person takes a laxative). The toilet talk continues. Horrific mentions of despair and death concerning Glastonbury history… with regard to defecation. Again, I’m struck with the phenomenon of headliners talking more between pieces than doing pieces. The Voice of a Portaloo follows, almost inevitably.

Someone tried to crash out in his tent, which is near the naked male sauna, where he did a naked gig, including the next piece: Tae A Scrotum (yes, in the style – and accent – of Rabbie Burn). I snigger helplessly. I won’t lie. We finish with the “erotic folk song poem” Dogging – what folk songs aren’t singing about, apparently, but should. “You’ll be pleased to know there’s a singalong chorus: And a-dogging I will go/ Oh, a-dogging I will go”). It’s a tour of the UK as seen through the medium of carparks.

(Yes, I got a selfie. What?!)

Courtney Conrad takes to the stage in a floaty, open black dress combo with big, pale flowers interweaving on it (yes, I’m still noticing clothes – don’t @ me, as they say). Her delivery is even stronger than her first performance on Friday. It’s a very similar set to that one, but with some I didn’t hear last time, and the usual enjoyment of summoning up other moments I’d not captured then. Maybe I’m in a different place myself today, but I hear more strongly the intensity of both her love and despair for her family and cultures, the difficulties of language and translation of Otherness within Otherness. It’s brave and quiet and a gritted teeth sharing of brutal, beautiful truths.

(I missed taking a photo of her. Sorry!)

Jonny Fluffypunk is greeted with an “Edinburgh Fringe size of audience” so, to the sound technician’s mild disquiet, he drags the mic and stand into the auditorium, but luckily he knows what he’s doing when it comes to sound equipment and feedback, so no horrific feedback ensues. “If you were here yesterday, you’ll learn a valuable lesson about the craft of seemingly spontaneous banter.” And then goes on to start with a very similar rant, minus the rock ’n’ roll bit, then a different kick-off poem – his ode to coffee, which breaks the fourth wall at nearly every other line, asking for audience participation to better complete the fourth line in the spelling section gifted to him by Oxford: “F – Fuck Tea!” (we end up with “Filtered, frothy, fumigates my brain…”). It’s reached that point of the festival where nearly everyone references the toilets… To be fair, they get emptied halfway through JFP’s set, adding a distinctive fragrance to proceedings. And, like the drifting whiff of human marsh gas, I wander out of the tent to make myself a sandwich. I’m sure the set ended well, though.

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Introducing: Shama Rahman

Shama Rhaman
Performing for the first time with us is Shama Rahman, 12:35-13:05 Sunday. If she’s new to you/ you’d like a reminder, read on:

In her own words:

“British-Bangladeshi, UAE-born, Londoner and multi-instrumentalist Shama performs her album, ‘Truth BeTold’. The live album showcases Shama’s unique approach to sitar performance and composition, with electro-acoustic tracks seamlessly crossing genres including jazz, beat poetry, live electronica, psychedaelia, pop, hiphop, afro latin worldbeats, and Indian/Western melodies.

“Truth BeTold Official Music Video: https://youtu.be/hNSqymlXtQQ

“As the first artist-in-residence with the the groundbreaking mi.mu gloves, the album features it throughout; cutting-edge, wearable tech that allows the Shama’s movement to trigger sounds and effects as part of the live recording and performance, underlining her status as a ‘futuristic storyteller’. Her stunning immersive performance of the album at London’s Southbank with interactive visuals and dancers was a breath-taking avant-garde show, featured nationally on Channel 4.

“She is the first Sitarist to perform in Antarctica as part of the first Antarctic Biennale, featured in The Times and Radio 4’s Front Row She has performed internationally in Korea, Hungary, Croatia, Germany, Canada and the US, and nationally at Glastonbury, Bestival, BoomTown, Secret Garden Party, Green Man, and the Manchester and London Jazz Festivals.

“In my Line of Sight Official art/music video: https://youtu.be/HUMgBoe1rQo

Reviews:

Her music has been championed by Songlines (4* Review: ‘The triumphant expression of a unique vision and inimitable sound’), Gilles Peterson (“Its Great. ‘In my Line of Sight’ is my fave”), the BBC, Wonderland (“You’re about to get goosebumps…With stunning melodies and a dream-like vibe, Shama switches between English and French vocals throughout the track to always keep us on our toes… absolutely gorgeous, prepare to have it stuck with you long after you’ve finished listening”, Songwriting Mag (‘Imagine DeadCan Dance and Björk getting together in a folk club, to make jazzy trip-hop records…with sitars.’), and Louder (‘An album by a singer-sitarist who’s also a scientist, neuro philosopher and actor, and dons wearable Mi.Mu gloves to trigger sounds by movement, is likely to be acutely cutting-edge. The sonic panorama stretches as far as the listener’s imagination, and then some.’)

Fay’s words:

Considering that one of my real joys in life is discovering new artists, this whole journey of blogging mostly artists who are new to me has been an immense treat. Shama Rahman is a musician whose says that her work starts as poetry and evolves into music, and it really shows. She sings in several languages, intent on exploring and extending her own bilingualism, and that treading of boundaries seems to be the key to her style. Her voice, not to get too hyperbolic, frankly reminds me of something like liquid light – high, preternaturally clear, with the kind of effortless-sounding flexibility that comes from countless hours of practice and training. It is a perfect complement to her sitar playing and – again, not to go overboard – I’ve never heard sitar-playing quite like it. Her music sounds absolutely like a blend of the best of Indian traditional, jazz, funk, latin, and folk music of various nations. It would fit as well in an old-fashioned French cafë as a world music convention as a film score as a modern nightclub. And for a synaesthete like me, it becomes an extra challenge to try to describe the sheer ribbons of colour flying off this music, as well as the incredible textures it draws over my palms and forearms. In other words, her performance is going to be perfect for an Glastonbury-early Sunday experience. And I haven’t even delved into the richness of the lyrics, painting their own pictures, telling stories that weave in and out of the music (or vice versa). She’s frankly a superstar in the making – catch her with us before she’s on much bigger stages in future festivals… It’s going to be glorious!

Sneak preview: