Glastonbury 2010 Round-Up
As 180,000 revellers embarked on their annual pilgrimage to the quiet, sleepy fields of Glastonbury in Somerset, little did they know that 2010 was to be an utterly unique year for the famous festival. Firstly, the sun shined brilliantly for the entirety of the five days, with sunscreen taking the place of wellies as the festival necessity du jour. Secondly, the festival’s 40th anniversary gave the week a sense of importance. Lastly, like it or not, the World Cup provided a carnival atmosphere as two decidedly English cultural traditions awkwardly came together.
This review of the festival is obviously based on the bands I saw. Such is the nature of Glastonbury’s size and sprawling line-up, it’s impossible to see everything and there will be a lot I’ve missed.
Friday 25 June
The sun is shining, a whole host of great bands are primed and ready to go, life couldn’t be better. I kick off at the John Peel Stage to check out the highly rated Detroit Social Club. God knows why, they are awful. The Oasis/Kasabian schtick feels incredibly tired and lead singer David Burn’s best Tom Meighan impression falls way short. The only way they could be any more of a lad-rock knock-off is if they have a song called ‘Kiss the Sun’ or something. Oh, they do. Gash. Canadian twins Tegan and Sara’s indie-pop is pleasant and well-constructed but fails to get the relaxed (and pretty middle-aged) crowd going. Over on the Other Stage, it appears that Glastonbury is the only place where the Magic Numbers are still remembered. It’s music that can only really work at festivals and for the most part it does. Their smiley, genial demeanour wins the fairly decent crowd over and the first-album hits provide the first sing-alongs of the festival. The Park Stage is one area of Glastonbury that distinguishes it from the umpteen other copy-cat festivals throughout the country. A peaceful, otherworldly part of the site, it’s a lovely place of respite from the hustle and bustle of the more central areas.
Steve Mason’s beautifully melodic trip-hop fits perfectly with the feel of the stage and although the audience is a tad sparse, the former Beta Band frontman appears to appreciate the effort made by those in attendance. Single All Come Down leaves me in a state of relaxed contentment as I move on to the hugely contrasting Dance Village. The tent is surprisingly packed out for electro-funk duo Chromeo, and they don’t disappoint. People are looking around disbelievingly. Is this a joke? Are they a novelty band? It doesn’t matter. The songs are good, the crowd love it and Chromeo receive arguably the best audience response of the weekend. Now, if it’s sing-alongs you’re after, then Vampire Weekend deliver in spades. Whether it’s the weather or the band’s ridiculously catchy pop, the crowd mimic every word and guitar riff to secure the group’s status as a supreme festival act.
As noted on this very site in recent months, Mystery Jets have grown into a well-oiled machine, armed with an arsenal of pop gems. Performing at the Queen’s Head bar, the band goes down a treat. The group appears overwhelmed by the audience response and the whole thing turns into a bit of heart-warming love-in. As always, rumours abound over the identity of the evening’s special guests. Luckily, I amble over to the Park and manage to catch the majority of an acoustic Radiohead set. As the sun sets behind the stage, Thom Yorke and Jonny Greenwood conduct a mass sing-along of Karma Police and I get the feeling I’ve just witnessed a proper Glasto ‘moment’ TM. Opting to give Gorillaz a miss for the guilty pleasure of Bootleg Beatles, I end Friday with the most famous tribute band in the world. It’s all great fun and Beatles fans, young and old, wander off into the night with a smile on their face. After a shaky start, Friday turns out to be a bit of a beezer.
Saturday 26 June
I’d like to say that I began my day with the John Peel Stage again to find some unknown gems, but in truth, it’s just about the only place you can find shade on the entire site. Sunburnt and suffering, I check out Sophie Hunger, a Swiss folk artist with an extremely distinctive voice. She leaves an understated mark before Cymbals Eat Guitars do a great impression of Pavement. Their sound leaves some of the audience scratching their heads but I enjoy it and find the band to be somewhat charming. Next up are the ridiculously underrated Field Music, bursting through a whistlestop tour of their albums, including material from the equally brilliant side projects the band have indulged in recently. Their inch-perfect pop appears to win over a large proportion of the ample crowd, despite a number of technical issues threatening to derail proceedings. Brothers Pete and David Brewis are clearly displeased with the sound techs but it’s testament to their performance that the crowd stick with them, even if the band do come across a bit precious.
Often compared to the similarly dark sounding Joy Division and Interpol, The National’s brooding indie appears at odds with the size of the Other Stage and the sunshine. Unfortunately, this suspicion proves correct as their intelligent melancholia drifts over the disinterested crowd. Another band you wouldn’t normally associate with big-stage festival performances are The Cribs, but their tuneful punk-pop sparkles and provokes an uncharacteristic (for Glastonbury) moshpit down at the front.
Back on the John Peel Stage, Wild Beasts‘ otherworldly sound generates a surprisingly raucous response, as the tent begins to fill up for the larger acts of the evening. Having headlined the Park Stage the evening before, it would be understandable if The XX went through the motions tonight in front of a sparse audience. However, the feeling of anticipation is palpable as the huge crowd spills out of the tent, and the band fail to disappoint. Moody and minimalist, the set is dripping with atmosphere and the appearance of Florence Welch brings the house down. Shame it’s her 60th ’surprise’ performance of the festival. In many ways her wailing histrionics are the absolute antithesis of what the XX represent. Ok, you’ve got a decent voice but there’s only so many times I can handle having You Got the Love shoved down my throat before I have a breakdown. Go away. Please.
So. Midlake. The hippy-friendly band playing a headline set on the hippy-friendly Park Stage at the most hippy-friendly festival in the world. The stars are out and the hippies are primed, everything is set for an iconic Glastonbury performance. So why is it so boring? The band plod through a mid-paced set which seems designed to alienate while the majority of the crowd stand around wishing they had gone to see the ever reliable Muse. Ach well, you can’t win ‘em all.
Sunday 27 June
Opening Sunday’s proceedings are The Joy Formidable on the Other Stage. It’s early and the crowd is in a particularly lazy mood as it becomes apparent that there will be no let up from the scorching weather. Still, their spunky power pop makes a decent impact. Next up, our very own Frightened Rabbit come across extremely well; their amiable banter and passionate, undeniably Scottish indie leaving a good impression. It’s all a bit too self conscious and earnest for me but they seem like a good, honest band.
I have a confession to make. Instead of watching the plethora of wonderful bands on show on Sunday afternoon, I opt to join tens of thousands of expectant England fans in a huge field, staring at a giant TV screen. England are thrashed by Germany and the crowd appears momentarily upset before renewing acquaintances with the temporary city of madness and mayhem down the hill.
Being the unashamed uber-fan that I am, I skip my way over to the Queen’s Head to see Field Music for the second time of the weekend. It’s a curious choice to have such a little-known band play twice at the festival and this is demonstrated by the absolutely shocking attendance. Having said that, the people there appear to be staunch fans of the band and Field Music definitely seem more at ease with the more intimate environs. Manchester’s I am Kloot have been doing the rounds now for a number of years and only now appear to be gaining the credit their workmanlike but thoroughly decent indie deserves, having received a Mercury Prize nod for fifth album Sky at Night. There is a triumphant feel to their set and judging by the audience response to old gems Twist and Morning Rain, I am Kloot are a bit of a sleeping giant and have the potential to do ‘an Elbow’.
It’s been a long time since The Strokes changed the face of music but going by the riotous reaction to Julian Casablancas‘ appearance on the John Peel Stage, there remains a loyal audience awaiting any new material. Albeit, Casablancas generously alternates between his solo material and that of his former band, but there can be no denying that the New Yorker is on good form and appears unusually chatty these days. 11th Dimension is great fun and Hard to Explain makes you question where the last 9 years have gone.
With the sun setting on another Glastonbury, it is left to Rodrigo y Gabrielas to softly bring proceedings to a close. Headlining the West Holts Stage, the Mexican acoustic duo wow with their virtuouso classical guitar playing.
So that’s it. A weird, wonderful weekend that was far more than just the music described here and no doubt a wildly different experience to that of everyone else present at Glastonbury 2010. This in itself defines the festival. Completely and utterly unique.
Great post.