TNAM’S Ones to Watch at Deer Shed Festival 2024
Deer Shed 2024 Lineup ⊱ ☆ Partnership ☆ ⊰ TNAM’S Ones to Watch at Deer Shed Festival 2024 Words by Kyle Roczniak and Matilda Whitaker 22 July 2024 We’re well in the swing of festival season, and The New Age Magazine are taking you along for the ride. Next weekend sees North Yorkshire’s annual Deer Shed festival return to Baldersby Park, headlined by the likes of The Coral, Bombay Bicycle Club, and The New Age Magazine favourite CMAT. We’ll be dancing and singing our hearts out at Deer Shed from July 26th-29th, but for now, here’s a guide to the key artists you should be looking out for at this year’s festival. https://www.youtube.com/watch?v=KOmykcBX4IU Home Counties London-via-Buckinghamshire six-piece Home Counties are a relatively new act on the indie music scene, creating a buzz through their unmissable live shows, and their no-skip debut LP ‘Exactly As It Seems’. They cast a large net of influences ranging from LCD Soundsystem to Confidence Man, and their songs have a political underbelly – ‘You Break It, You Bought It’ – a fiery anthem about the housing crisis and sh*tty landlords. Their raucous live shows are not to be missed and to see them on the Sunday at Deer Shed in the height of Summer is a real no-brainer. Los Bitchos With an all-female lineup from all corners of the world, and a musical style that is folkloric and takes inspiration from the 1980s instrumental music of the Spanish-speaking territories, Los Bitchos are the perfect tequila-fuelled, guitar-wielding party band for those warm Summer days. Ahead of their upcoming album ‘Talkie Talkie’ (expected August 30th), the band are set to grace the Deer Shed Festival stage on Saturday 27th July. Picture Parlour Garnering attention from huge support slots with The Last Dinner Party over the past few months, Manchester-formed indie-glam-rock group Picture Parlour will bring their unique guitar music sound to the Deer Shed mainstage. Expect huge debut single ‘Norwegian Wood’, the beautifully angular ‘Judgement Day’, and deep cuts from their debut EP, ‘Face In the Picture’. July also saw the group play in London alongside other Deer Shed acts Bombay Bicycle Club, CMAT, and Liz Lawrence. Bess Atwell “The love of singing is something I think most people realise at a very young age,” says Bess Atwell, a Brighton-based singer-songwriter from London known for her raw and beautifully crafted folk-inspired sound. Her latest album ‘Light Sleeper’ is a poignant dose of escapism, one that encompasses the feeling of embracing life at its fullest with a real sense of honesty and openness. Atwell is set to bring her tenderly cinematic live show to Deer Shed’s main stage on Sunday 28th July. Liz Lawrence Also set to take the stage at this year’s Deer Shed Festival is Liz Lawrence, a Stratford-upon-Avon born indie pop singer-songwriter, multi-instrumentalist and producer considered a “starlet in the making” by Q Magazine, and a familiar face to any fan of Bombay Bicycle Club, having been a long time collaborator with the band. What defines Lawrence, though, is her industrious, affectionate but ever-evolving sound. 2012’s Bedroom Hero is a quirky, dreamy collection of indie folk bangers, reminiscent of the early work of Laura Marling, although Bedroom Hero seems cast a larger net when it comes to influences, with Lawrence herself having a background in punk and ska. She seems to be an artist who has continued to further find herself more and more after every project, and so there’s never been a better time to catch a Liz Lawrence set. Lawrence is set to play the Deer Shed Main Stage on Friday 26th July. Katie Gregson-Macleod Having sang solo first in public as an eight year old, Katie Gregson-MacLeod can only be described as the sort of talent that is not particularly easy to come around, and has come a long way as she prepares to perform at Deer Shed this year. Rising to fame after her song ‘complex’ made waves on TikTok in 2022, the Inverness-born artist has since released the ‘Big Red’ EP, utilising a larger soundscape than her previous songs written for piano and acting as a huge, exciting evolution of her sound. Still containing the unmistakable melancholia of her previous work, Gregson-MacLeod’s creativity is just being pushed further and further as time goes on, and her live performances are the best way to fully experience the delicate devastation of one of her tracks. Watch her open the Deer Shed main stage on Saturday 27th July. Frankie Archer Sparking some of the more exciting developments in modern folk music, Newcastle’s Frankie Archer perfectly blends traditional fiddle with complex synths, manipulated samples and potent lyrics examining timeless gender issues while bringing to the forefront the stories of those without a voice themselves. Unmissable track ‘Oxford City’ tells the tale of a woman’s drink being spiked out of jealousy, and while it features a traditional Northumbrian sound and voice, the track contains a “future facing sound” incomparable to any others in her genre. It’s guaranteeable that, should you find her on Saturday performing on the Lodge stage, Archer is sure to sound like nothing you’ve ever heard before. Fat Dog Being described as “the most exciting breakthrough band of the past few years”, Fat Dog carry a buzz around them like few other in – well – whatever genre you believe Fat Dog to occupy, with people’s interpretations ranging from dance, to punk, to klezmer, and according to Rolling Stone, ‘just about anything else’. What they are best known for, though, is their infectious, raucous and riotous live performances, becoming something of alternative music’s worst kept secret. It’s hard to imagine a world in which Fat Dog don’t boom in popularity, especially after the release of their upcoming album, WOOF, which is why it’s only correct to urge any Deer Shed-goer to buckle up for their boisterous set on the Sunday of this year’s much-anticipated festival. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
⊱ ☆ Glastonbury ☆ ⊰ Friday Round Up
Arolo Parks @ Glastonbury 2024 ⊱ ☆ Glastonbury ☆ ⊰ Friday Round Up Words by TNAM 8 July 2024 Flowerovlove Glastonbury kicked off with a bang with the viral star flowerovlove, who floating around the stage, looking positively angelic as their vocals soared up above the lonely hearts club at midday. Like the weather, their set list was light and windswept singing out their hit ‘Girl like me’ as well as newer songs like ‘Boys’ and even encouraging an audience karaoke version of Dancing Queen as the festival moved into full swing. The upbeat songs skimmed along the uneven path, drawing fans old and new with a cheerful band to back them. Bel Cobain Playing at the Glade, Bel brought the soul. Songs were performed such as ‘Unsafe house’ and a tribute from latest single ‘Comet’. Vocals as rich as ever, her slowed down cover of Bill Withers ‘Ain’t No Sunshine’ stretched and soared over the tent. Amplified by a six piece band, the interaction was fun and felt by everyone in the room, special shout out to the trumpeter who added playful melodic motifs that glistened above the ensemble throughout Bel’s set. Although there was a slight chill to the air, Bel Cobain’s blend of R&B runs and ballads brought sunshine to the chilly weather. Kenya Grace Woodsies was heaving for Kenya Grace, who played all of their hits, as the crowd leaned forward thirsty, Kenya seemed full of glee by the turnout, as the crowd sung their hearts out for tunes like her biggest hit ‘Strangers’ as well as an incredible remix of Britney Spears’ ‘Toxic’ with the green lasers to fit. Arlo Parks After a quick stretch and a bite, we headed back to Woodsies to witness the incredible Arlo Parks, who greeted their fans at the barrier and sang classic like Caroline with all the crowds swaying together, caught up in Arlo’s virtuoso. Sprints With a brief look in at Leftfield, we came across Sprints, the irish band that brought hard heavy base and a punk anger to our current political climate. Kate Nash Performing inside a circus tent on the Avalon Stage, Kate Nash brought out all kinds of camp and glitter, bejeweled from head to toe and starting off with a loud rendition of Foundations. With songs old and new, the crowd were mesmirised, as Nash jumped, crawled and kicked her way along each and every act of her incredible career. A prominent highlight of the night was when the crowd continued to repeat Nash’s lyric ‘Stop being a dickhead’ filled with delicious rage and catharsis. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
☆ ★ Glastonbury ★ ☆ Finding the Secret A-Lister Bar at Glastonbury
Nabihah Iqbal Plays The Greenpeace Stage ☆ ★ Glastonbury ★ ☆ Finding the Secret A-Lister Bar at Glastonbury As I sit in the press tent, wearing a silk skirt and t-shirt, accessorised with 26° sunburn and the memory of stacking it in front of a young family last night, I feel like an absolute winner. Words by Isla Mcrobbie 8 July 2024 https://www.youtube.com/watch?v=Dc7iD69e_yc That is because the table to my right is reserved for Sky News and in front of me is BBC. In other words, I got press access at Glastonbury Festival. Our designated area is a banquet of laptops and other unaffordable equipment I could probably sneak into my backpack while the general discussion is whether the best story across the 5-day forecast will be “what Glastonbury looks like at 6 am” or “will Shania Twain bring a horse on the Pyramid Stage?”. I feel intimidated, a journalism virgin surrounded by predators starving for a good story. I realise the usual music review won’t cut it — I need a lead to something special. The pilgrimage began on Wednesday. The horizon was filled with bell tents and festoon lights as far as the eye could see. I made my bed and soon met with an old friend over a £7 beer. We sat on a bench, ignorant of the unlittered grass, as he told me a secret: The bridge throughout it has this slight build up of guitar in the background preparing you for whats to come. The bridge explains the experience of sexuality perfectly with references to the different type of people you can fall for and the negatives that come. Then you are hit into this upbeat, fun chorus that really makes this song feel like a pop classics, with that same feeling you could get from listening to songs like ‘girls just want to have fun’ by Cyndi Lauper. “You know there’s this VIP venue at Glastonbury where, if you know the right person, you can get a lifetime card,” he said, taking a long toke from his cigarette. “It’s called [name retracted] bar. I heard last year Fatboy Slim and Fred Again played there.” No fucking way. That’s cool. I remained cautious. I had been let down too many times by whispers cloaked in falsehoods, stories unmasked to be exaggerated and based on brittle truths etched into someone’s imagination. But as I sit here in the press tent, I figure this could be it—my chance to find the most secret bar in Glastonbury. For the sake of anonymity and to avoid being banned from the festival forever, I will refer to this place as the [name redacted] bar. A quick Google search on Thursday led me to a chain on Reddit confirming its existence. After completing some initial research – I decided to meet the same friend stationed at The Common district to get more answers. On my way, a chorus of punk rock roots pierced the trees, sending birds flying to a roar of audience applause. At 3:00 pm on a sunny Thursday afternoon, Lambrini Girls came on the Greenpeace stage. Exiting at the path’s junction, I had to check what the fuss was about: “WAIT WAIT, MOVE THE BABY,” I heard Brighton’s Phoebe Lunny shout. She stood balanced on the stage barrier, held up by security and front row fans, planning to do her signature dive into the sea of hands. Lambrini Girls fuelled a gut-punch performance The dirt on the ground cracked and dust bulldozed with the same raging force as the stampede above. Lambrini Girls fuelled a gut-punch performance with defiant words against abuse and stats on domestic violence before shedding into their 2024 single “God’s Country.” Equipped with a photo pass, I charged on, looking confident as I made my way to the backstage of The Common. Only nodding at staff in acquaintance, I picked up the pace when security took a double take. Peeking behind a window, I spotted my friend coordinating the troops in the production office, signalling the march to the first day of music. Unlike me, he had a lot to do. He told me all he knew—that the venue had something to do with the downtown countercultural performance shopping district, Shangri-La. Bustling with student actors playing the parts of snub-nosed financial traders and housing agents trying to sell me a mattress on the floor that I could rent out for “more than I’ll ever need!” This year’s theme was ‘Everything (Still) Must Go’. I saw a man, similarly, aged to me, seemingly locked out of his station on the audience’s side of a pallet door painted to look like the entrance to a grocery store. He looked antsy, having clearly been shot by a pricing gun, covering him in reduction prices. Before he entered, I took my shot, startling him with my presence. “Hey, do you know anything about the [name redacted] bar?” His friend unlocked the door just in time to hear my words. She pointed me down a dusty road where the green leaves had been ashed in brown. “It’s somewhere back there, behind a fence,” she said. I ran with this new information, shouting my thanks behind me. Having solved the first clue, I was beaming, but my grin slowly faded as I walked down the path to nothing. Then, hearing more footfall on the opposite end, I began to think they were having me on. Standing by The Peace Stage at 4:15 pm, it was time for London’s female 10-piece brass ensemble, “She’s Got Brass,” to walk out to a 1000+ audience in a colosseum-like setup. The first of five performances across the weekend, they stepped out onto the stage as the air was touched with its first bit of breeze in what felt like eternity. The first note glittered, the brass reflected the sun, and jazz greeted dance. Textured covers from Eliza Rose’s “B.O.T.A” and Schoolboy Q’s “Bet I Got Some Weed” got the crowd dancing. Londons Assemble
⊱ ☆ Glastonbury ☆ ⊰ Sunday Round Up
Maya Lakhani – BBC Introducing ⊱ ☆ Glastonbury ☆ ⊰ Sunday Round Up Words by TNAM 8 July 2024 Girlband! – BBC Introducing This female trio absolutely rocked the stage first thing in the morning, with their hit 21st suffragette screamed back to them, as well as a new song tailored to a specific place from Nottingham. forecast will be “what Glastonbury looks like at 6 am” or “will Shania Twain bring a horse on the Pyramid Stage?”. I feel intimidated, a journalism virgin surrounded by predators starving for a good story. I realise the usual music review won’t cut it — I need a lead to something special. Newdad – Woodsies This band brought an incredible sound, ranging from psychedelic rock to punk-pop to a roaring crowd at Woodsies. Maya Lakhani – BBC Introducing The British-Indian rockstar Maya Lakhani, came out championing her culture in a glittering sari, as her band also dressed in matching black glitter. Each song tugged at the heart strings, with emotion at the forefront, whilst Maya sparkled through her vocals and exquisite guitar riffs. Paris Paloma – BBC Introducing Known mainly for her song ‘Labour’ Paris Paloma attracted quite the viral following for her lyrical skill and instrumentation that depicts feminist angst. For the final chorus, Paris encouraged the crowd to chant it back loudly, as they did. This was particularly powerful, as these particular lyrics voice the brutal expectations for women put upon them by society, and it has often been put forward as a symbol of gender inequity on social media platforms in the coming years. Paris’ performance created an ambiency of folk-surrealism, with her tender voice holding a poignant impact on those present. Problem Patterns – Bread & Roses The belfast-base punk band were incredible to watch and interact with, as they were particularly conversational with those that had gathered at the Bread & Roses. Their songs, that called out TERFs and challenged the conflicts faced with queerness vibrated against the floor in powerful rage that bellowed for all of Glastonbury to hear. In our current climate, the band could definitely be considered a rising star, with a place for them amongst the likes of Lambrini Girls and Dream Nails. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
⊱ ☆ Glastonbury ☆ ⊰ Saturday Round Up
Bar Italia @ Glastonbury ⊱ ☆ Glastonbury ☆ ⊰ Saturday Round Up Words by TNAM 8 July 2024 She’s Got Brass – Croissant Neuf With all the force of a full swing band from the roaring 20s, ‘She’s Got Brass’ the all-female London-based brass outfit, played classics like ‘Lady Marmalade’ that got everybody dancing. From the each beautiful riffing solo, to their booming ensemble sound, they hit every beat blissfully. Bar Italia – The Park Stage Bar Italia brought something entirely different, with an their alternative rock and bass blaring out across the hill at Glastonbury. The london-based band brought all sorts of styles, from noughties nostalgia, to shoegaze to britpop, each song sparked curiosity and excitement from their audience. Caity Baser – Lonely Hearts Club Caity Baser, known already for headlining Sound City earlier this year, seemed dreadfully shocked to find she had accumulated a following that had followed her to Glastonbury. Running onto stage, Caity immediately launched into her bubblegum-pop setlist, with classics like ‘Oh Well’ ‘Why Can’t I Have Two?’ and’ X&Y’ with a pantomime-like call and response between each song, if the call was Caity Baser jumping for pure joy to the roaring response that sang every single lyric back to her in sync. Truly, despite exclaiming that ‘she was just a girl from Southampton!’ Caity’s ecstasy became incredibly infectious as the crowd danced along in mutual euphoria. WANT A PROFILE? JOIN TNAM DEMO CLUB Sign Up You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
⊹⊱• Glastonbury Interview •⊰⊹ DJ Gracie T
Credit @djgraciet on Instagram ⊹⊱• Glastonbury Interview •⊰⊹ DJ Gracie T Set to play two sets at Glastonbury this week, DJ Gracie T has come a long way since they first dipped their toes into mixing in 2018. 26.06.24 Words by Alekia Gill From heavy dubstep to South Asian callbacks, Gracie T’s repertoire places them as a pioneer in the DJ scene today, cemented by their dedication to creating safe spaces for underrepresented artists. Here we explore these spaces further, figuring out what’s missing and how DJ Gracie T aims to fill those gaps. It’s clear that you’re carving out your own space in today’s music scene, but who inspires you? There have been so many artists who have shaped the artist I’m trying to become, a few stand out to me such as Anz, Sherelle, Jyoty, Manara & the Pxssy Palace crew. It’s always a joy to see these artists being authentically themselves on stage but I also respect the way they all stand up for themselves when they’re faced with the negativity that can often come with being marginalised in the music scene. You are part of the management team for The Beatriarchy, which provides a platform for underrepresented artists. What, to you, defines an inclusive community? What do you look for and aim to provide? I run The Beatriarchy alongside Kitsta, Shannon From Admin, Colecta, MYNA, & Beetroot and we have always tried to create a space for the people in the music scene who struggle to find a sense of belonging. An inclusive community means a space to be authentically yourself, share knowledge and support the successes of each other. While pursuing music, you’re also doing a lot for marginalised communities – is this ever draining? Championing marginalised communities is incredibly meaningful but it can be draining when it’s coming from a super personal place too. The racism, sexism, and homophobia I’ve experienced in the music scene has been exhausting at times but it’s definitely made me more determined to create a safe space through open decks, workshops, events and my own sets.What’s your dream gig/venue?Glastonbury was definitely one of my dream gigs so it’s crazy to be going! Other than that I always try to seek out the hidden gems, the small DIY venues and the queer spaces in different cities – those are always my ideal venues to play! Credit @djgraciet on Instagram You have recently made the move from Sheffield to Manchester. Do you see a difference between the two music scenes and is there anything still lacking in either place? I was sad to leave Sheffield after being there for almost eight years but the Manchester scene has been super welcoming. I think the two cities are very similar, however Sheffield has definitely seen the disappearance of several important DIY spaces, which has created a hole in the community. Spaces like Gut Level in Sheffield are building this back up again and they deserve all the support people can give to making the scene more inclusive! I’m incredibly excited to be working with Dialled In to put on our first festival in Manchester on the 20th July. The lineup is filled with South Asian talent from the North, particularly platforming women & queer people who are often forgotten like the legendary DJ Radical Sista, House of Spice & many more. What can we expect from your Glastonbury set? I’ll be bringing a fusion of genres like usual to Glasto this year. In my set b2b with Shivum at Silver Hayes we’ll be bringing the Funky/Jersey Club/Garage vibes and expect loads of fun edits with a South Asian spin. At my set on the Arrivals stage I’ll be going a bit harder with lots of Bassline, Dubstep and Jungle – think silly & speedy! Could you describe your 2024 so far in one word, and give us another word to describe your hopes for the rest of the year? Whirlwind – I moved to a new city, started a new job & it’s been hectic! I’m hoping the rest of the year will be chilled – I’m trying to find a good work/life balance with teaching/djing/resting, so wish me luck! DJ Gracie T is playing The Lonely Hearts Club at Silverhayes, Glastonbury on Thursday from 11:45pm-1am, and Arrivals at Shangri-La, Glastonbury on Friday from 4am-5am. View this post on Instagram A post shared by Gracie T (@djgraciet) You Might Also Like
●・ Glastonbury Interview ○・D-LISH
●・ Glastonbury Interview ○・ D-LISH Straight up ass-shaking, cunty music!! 26.06.24 Words by Jessica Blissitt Superheroes are typically described as having an origin story, a set of events that lead to their success. In your own words, what is your origin story that has led you to Glastonbury? Great question! My origin story is completely encapsulated by community. Back in 2019, when I first started thinking about DJing, I felt a mix of nerves and excitement about this little passion I was pursuing. At that point, I had already started my own creative collective, OnBeat Leeds, for women and non-binary people of colour, so I was really comfortable operating and feeling free in that space. But the DJ world felt so different. I was worried about entering a scene where few people like me and wondering if I’d be respected by my peers. What would the beanie-wearing, drum-and-bass-rich kid think about my music choices? Would I be taken seriously? Then, almost as if my prayers were answered, DAYTIMERS came into my life—a group of South Asian creatives who supported each other’s work. It was like the arrival of my guardian angel. My first gig with DAYTIMERS was at Fabric, which is just wild to think about. They trusted me enough to put me up on a huge stage so early in my journey. I was quaking in my boots! But it made me realise I could really do this. From there, we grew together, learned from each other, and supported one another. DJing became more than just playing tunes at club nights; it became a chance to regularly see my DAYTIMERS family, share hugs, meals, and giggle. This experience means the world to me, and I am so grateful for the amazing people I now have the privilege of now calling my friends. And with the gift of foresight, what would be your advice to those DJs, particularly female DJs who are in the minority, who are trying to get to where you are? I would say the most important thing is to stay true to your own style and creative choices. Those are the things that make you unique! Never change your vibe, dress a certain way, or compromise your identity for the sake of others. This will help you find *your* people and the crowd you’ll play for. If you try to squeeze yourself into a different identity, you’ll end up with an audience that doesn’t understand you or what you’re about. But it really shouldn’t be like that. Music is all about finding joy, expressing yourself, and creating community. Also, be kind to people and let them know if you enjoy their work. The creative scene can be so competitive and tough at times, so if you like something someone has done, tell them! A little acknowledgment goes a long way. You could really make someone’s day. It’s important to give people credit when they’ve done something amazing! This is your first ever Glastonbury, and many people say it can be particularly overwhelming. So, what is something you are absolutely looking forward to (artists, venues, events) and perhaps something that you’re less looking forward to the Glastonbury experience? I’m definitely looking forward to discovering new artists. The coolest thing about Glastonbury is its sheer scale. It’s huge, which means you can run around, stumble across artists you’ve never heard before, and find amazing new people doing their thing. You just know the talent is going to be off the charts. But it’s a two-sided coin. The scale of the festival means there are already so many clashes. There are so many artists I’m dying to see, and I know it’s unrealistic to keep running from one side of the festival to the other. It’s like trying to pick your favourite child! Impossible! With your sets at Glastonbury this year, what are you currently hoping to create for them, in terms of ambience, sampling, genre, etc. Straight up ass-shaking, cunty music!! I know Queer House Party are going to tear it up just before me so I need to meet them there with some crazy selections to get the girls going. We’re talking jersey club, crunchy baile funk, and breaksy bits. It’s going to be full of nostalgia. Most importantly, I need to get people dancing. So I’ll be doing whatever I can to get everyone throwing it back! You currently host a show on Reprezent Radio. From having a bit of a look at the lineup for Glastonbury, who are you hoping to see Backstage that you might be able to have on the show? Or perhaps who could do a good Takeover slot? Ahhhh, we have to talk about Arrivals, right?! The first-ever space at Glastonbury dedicated to South Asian artists is unbelievable. The lineup is packed with my faves, including yourboykiran, Nabihah Iqbal, Provhat, and my idol, Manara. But the one that really stands out to me has to be Vedic Roots Soundsystem. I’ve been in love with sound system culture ever since I heard about it through the Red Bull Culture Clash in 2014. It’s how parties should be done. That discovery led me down a rabbit hole on YouTube, watching early clips from Jamaica in the ’70s. Then, when I got to Leeds, I was enamoured with my favourite club night of all time, Subdub, at the West Indian Centre. There really is nothing else like Subdub. The security are all so kind and looking to make you laugh as you wait in the queue. The staff inside handover a pair of earplugs and tell you to take care of yourself with a kind smile. And then a wave of soundsystem goodness just hits you – kind of like that moment when you step off an aeroplane on holiday. It’s just everything I’ve ever wanted. So, I’d love to hear Vedic Roots’ perspective on the culture today, what brought them into that space, and where they see the future of sound
✦ ✧ ∗ Glastonbury Interview ❥ Violeta Vicci
Violetta Vicci by Venetia Jollands ✦ ✧ ∗ Glastonbury Interview ❥ Violeta Vicci “I love the enthusiasm of British crowds, and the ability they’ve got to stay really silent when captivated.” 26.06.24 Words by Jessica Blissitt What has your journey been like on the road to Glastonbury? How does it feel to be performing at one of the most infamous festivals of all time? My journey has been a fun one, full of exciting performances, collaborations and lots of trial and error along the way. I started playing the violin when I was four years old, born and raised between Barcelona and Switzerland by bilingual parents; At 18 I moved to London to train as a classical violinist at the Royal Academy of Music. The first time I played Glastonbury, I was still a student and a member of a klezmer, d&b band and we played an afternoon slot at The Green Fields. I don’t think I really understood the magnitude of this festival back then! A few years later I played The Park Stage with elbow, as one of their touring violinists. Two years ago I played The Other Stage with Fontaines DC, after arranging three of their songs for string quartet! I thought that was the highlight of my Glasto journey – until finally, this year, I get to perform under my own name and bring my fully immersive audio visual show to the Tree stage. It’s a totally different experience, and it feels pretty amazing to be honest. Your third and most recent album ‘Cavaglia’ is described as reflecting the ‘pristine Swiss valley’ on your website. Do you perhaps have a song in mind that could describe the chaotic landscape of Glastonbury? Haha, possibly the song Diavolezza could relate to the Glasto chaos – however, I think my album Cavaglia, which is seeped in alpine field recordings will work perfectly in harmony with the Woodsies Area, bringing this mountain landscape to the gorgeous old British Oak and Beech Forests of Somerset. In your mix from Classical to Electronica, what can we expect to see from your set at Glastonbury? Will it be a carefully curated list, or can we expect a few pieces of improvisation? Both actually: It will be a carefully curated list from my album Cavaglia, with two fully improvised sections and links in between the written music. I really like taking the listeners on a journey with a laid out path, including surprises and new additions along the way. I love the fact that a live performance is different every time. Through your musical career, you have performed in many amazing places, and I’m sure that every audience is incredibly unique. So, in your opinion, what is one thing you like about British crowds at festivals, and what is something we could learn from our European counterparts? Yes, you are right, I have performed extensively in Europe, US and around the world in countries like Chile, Mexico, South Africa and Australia. Different countries certainly have different type of audiences! As a solo artist I’ve mainly performed in the UK – I love the enthusiasm of British crowds, and the ability they’ve got to stay really silent when captivated. It’s a lovely, very welcoming mix of people, who aren’t afraid of letting go and having a great time! View this post on Instagram A post shared by VIOLETA VICCI (@violetavicci) With so many incredible gifts as an instrumentalist, which instruments will you be bringing with you to Glastonbury? I usually tour with my violin, which I use together with my fx pedal board, midi pedal and my voice. I do love to perform the Octave Viola live, because it has a gorgeous deep sound and I used it quite extensively last year, when I was performing with Bat For Lashes. The only downside of festivals is that there is usually barely time for sound check and limited set up time, so simplicity is key! Many argue festivals are a great place to experiment with new music. If you were intending to move in a different direction with your music, what is a genre, idea, or thread that you might like to follow with your music? I’m writing my next album at the moment, and I think I’ll possibly explore the more electronic side going forward, as well as start experimenting with writing lyrics. This is a big step for me..and in a way it is a totally new idea to my fully instrumental/choral music so far. Aside from my solo project, I have already written a few pop songs with my psychedelic indie rock band, TTRRUUCES and would like to do more of that too. I also love writing and arranging string parts, which I’ve done for Fontaines DC, Grian Chatten’s last album, as well as the upcoming Sorry album. That type of work really inspires me and opens my eyes to different influences. Who knows what the future will bring! As a violinist, you may be aware that there has been a recent fascination in bringing classical composers into modern rave remixes on social media. If you have or haven’t come across them, what are your thoughts on the idea? And do you think it would be interesting to see a whole stage of Glastonbury dedicated to classical-rave in the future? I’ve not actually come across them on social media, but I think contemporary festivals are programming classical acts more and more, and there seems to be a shift where the ‘contemporary classica/cinemaitc/ ambient’ genre acts as a bridge between more traditional classical music and contemporary music. Hell yes, I’d love to see Glastonbury dedicate a whole stage to classical raving in the future 🙂 You Might Also Like
*✦⋆ GLASTONBURY 2024 ⋆✦⋆ Interview with Elles Bailey
*✦⋆ GLASTONBURY 2024 ⋆✦⋆ Interview with Elles Bailey “It’s going to be mega and I can’t wait!!! It’s my first Glastonbury EVER so I’m getting buckled up and I’m ready to enjoy the ride ! “ 20.06.24 Words by Genevieve Pughe https://www.youtube.com/watch?v=0IjYbju9MQ0 Recently you have been releasing some beautiful singles ahead of your next album. Would you be willing to tell us more about the overall inspiration/ story of the album? This album has big beautiful uplifting Melodies coupled with lyrics that are brutally honest and vulnerable . There is strong theme of love that threads between the songs and I have captured all the shades of love that have shaped my life, From the fleeting moments to the love that stands the test of time, and from the deepest despair of heartbreak to learning how to love yourself. And As always I take my listeners on the journey with me and share my stories openly. When it comes to the writing process, what do you find makes for the most effective lyrics?And do you have a lyric that you have written recently that you are particularly proud of? I find writing lyrics the hardest part of writing and I think the for me key is rewriting, going over and over making sure that I’m saying what I want to say. I re wrote the lyrics to Truth Ain’t Gonna Save Us for months and months. I find lyrics haunt me until I get them right. I’m really proud of the lyrics on this new record and there are quite a few that stand out to me but I must admit the opening lyrics to the album feel quite iconic “I’m pretty sure there’s not a pot of gold where the colours end, but I’ll blend up all the pigments and paint a picture …. “ That kinda sums how I view life really and is a great way to start an album! How would you describe the experience of making your album to tape? So this is the third time I’ve worked in this way so I’m pretty well versed at recording to tape now – and my band are incredible so it makes this process way easier when you have such talent in the room. When we recorded the Shining In The Half Light DLX tracks we didn’t even have a computer, it was all analogue…. Beneath the Neon Glow was a hybrid set up, recording to tape but then bouncing that to the computer so you have a little more control!! I hope you are looking forward to your upcoming Glastonbury set! What should people expect from your performance? Some brand new, never been heard music as well as a few old favourite tunes. It’s going to be an upbeat and jumping festival set and there will be lots and lots of sparkles on the stage too! What would be 3 essential items you couldn’t survive a festival weekend without? There’s so much I can’t live without and I am not good at parking light so narrowing down to 3 is almost impossible however not very excitingly …. My lip balm, my wet wipes and my toothbrushing kit!! Finally, If you were to pick a starter, main and dessert out of the acts you are excited to see play this year, what would it be? What this is So so so hard …. And there are some epic clashes …. However Last Dinner Party (apt for the task at hand) Nothing but Thieves Black Pumas View this post on Instagram A post shared by Elles Bailey (@ellesbailey) You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
*✦⋆ GLASTONBURY 2024 ⋆✦⋆ Interview with Oppidan
Image Credit Instagram: @djoppidan *✦⋆ GLASTONBURY 2024 ⋆✦⋆ Interview with Oppidan We caught up with rising name in the UK Garage scene Oppidan on her upcoming set at Glastonbury Festival 2024. 18.06.24 Words by Jasmine Siefert https://www.youtube.com/watch?v=ujrDVB2nNQo You have already played at Glastonbury once before in 2023, and your set looked amazing! How has your experience last year shaped how you are feeling about playing the festival this year in 2024? Glastonbury as a festival is such an amazing experience. It was my first time going there as a punter as-well so I really enjoyed it, and also my first b2b with Champion. He was one of my favourite bassline/funky artists growing up so was a massive milestone for me! The stage I’m playing on this year was where I saw my favourite people last year so I’m very gassed. This summer is tipped off to be one of the wettest the UK has seen in a while – have you got a special pair of Glastonbury wellies at the ready, just in case? I’ve got a pair of boots at the ready. Practicality is key for glasto! You have played many festivals over the years all over the world – how does playing at Glastonbury compare to the likes of Project6, Parklife, and Boomtown? Boomtown is always an absolute blast, likewise with project 6 and parklike. Glasto has got more variety as a festival which is great as a punter. Your Glastonbury set comes right in the middle of your summer tour, which has a mix of both festival sets and your own shows – do you prefer playing one over the other, and if so, why? I think festivals are harder when you’re touring, so many factors can come into play. You’ve got the opportunity to clash with other artists, it takes longer to get into, the weather can play up, and you’re pretty much working around the clock instead of just normal club hours. The payoff is so good though, if you get the perfect festival set it can be some of the best moments ever. I love club season too though, something about being in a small dark room immerses the crowd differently! Are there any Glastonbury sets that you have watched in the past that have stuck with you or inspired you in any way? I saw Ivy Lab at nowhere in shangri-la last year and it was one of the best sets I’ve ever seen. Their productions are so so good and so interesting. They tick all the boxes for me. I took my dad to see Flowdan aswell last year and he loved it, that was a great moment. As a gay woman within an extremely hetero-male-dominated industry, what does playing a DJ set at Glastonbury, the biggest festival in the UK, mean to you? It means a lot for anyone. It’s an absolute honour to play Glastonbury and I’m extremely lucky to be doing it two years in a row. I think that within this industry, the music should be what matters, not what you look like, where you come from, what your sexual orirtentaion is. The lack of female/minority representation in the past makes it harder for people to come through, because without seeing someone like yourself up there, it’s hard to believe that that could be you. Hopefully my presence gives the next generation of artists, from all walks of life, some confidence that it’s possible for anyone. You Might Also Like