Carling Weekend: Reading Festival - Richfield Avenue, Reading - 23-25/8/01
1/5
By: Toby L
Location: Richfield Avenue, Reading.
Date: Friday 23rd-25th August 2001.
Time: Music from 11:00am-11:30pm.
Bands: 130 + Live Acts - 15 + DJs - 25 + Cabaret Acts.
Stages: Six - Main Stage, Radio One Evening Session Stage, Dance/Concrete Stage, The Carling Stage, The Comedy Tent.
Prices: £90 for 3-day weekend pass with camping and car park access or £39 for limited availability day tickets (excluding camping and car park access)
Capacity: 50,000 people - SOLD OUT.
The Festival
The Reading Festival site is remarkably different to that of Glastonbury's. Well, in the sense that it's much smaller anyway. Just to give those of you that haven't attended this legendary festival a perspective of how large the main arena is, think the shape and size of the Glasto Pyramid Stage field and you're about right. And that's for all of the food and market stalls, every stage, plus the entire audience. However, when you're there, walking from stage to stage (or, most likely, bar, to stage, to bar, to stage, to toilet), it really does take it out of you. Before you know it, you're either watching hippies in tents use the largest bongs imaginable or getting shacked up with a mysterious, Swedish partner in your tent because you're just too knackered to continue walking around the main arena and surrounding campsite fields.
The Reading Festival, or now, the Reading/Leeds festival has, in recent years began shaking up its line up. Traditionally known as a rock festival since the Mean Fiddler took it over in the late eighties, 1998 saw the (hopefully) temporary demise of the Mean Fiddler's other festival, the Phoenix, based in Stratford Upon Avon (yeah, near Shakespeare's gaff). Despite boasting a line-up to feature exclusive performances from Ocean Colour Scene and the Prodigy, not to mention New Order's return to the live arena after too long away, tickets failed to sell. This led to organiser Vince Power cancelling the festival, which was famous for being the UK's only 4-day camping music outing. However, rather than letting those few thousand that had purchased tickets down who wanted to see their headliners, Power moved a couple of the main ones over to Reading in August, which had already promised headline appearances from Page and Plant, Beastie Boys and Garbage. This resulted in the 1998 Reading Festival being one of its most successful yet due to the exclusive booking procedure where bands playing the festival promised to avoid playing other English outdoor events during the summer. Keeping the formula for the following year, Blur, Chemical Brothers, Charlatans and Red Hot Chili Peppers were all reserved for special headline slots and the event was a roaring success, the line-up arguably eclipsing any of the other UK's summer events.
With 2000, however, things stepped up even more. The headliners included artists that just weren't booked for any other UK shows in the whole year, such as Pulp and Stereophonics, plus an appearance from Oasis, a band that vowed they 'need two million reasons' for why they should play a festival at this stage in their career. In addition to that, shows from Rage Against The Machine, Limp Bizkit, Foo Fighters, Blink 182, Slipknot, Placebo and The Deftones would ensure that Reading's rock roots would remain firmly in place. 2000's event sold out in record time with the press reckoning that its line-up was the strongest in festival history - and rockfeedback agreed.
Last year saw a repeat in the formula adopted by the festival in the last couple of years. Once again, the headliners booked for Reading/Leeds 2001 wouldn't be seen anywhere else that summer - and sets promised from Travis, Eminem, Green Day, Marilyn Manson and Manic Street Preachers meant that the Carling Weekend had once again hit another line-up extravaganza. Plus, appearances from The Strokes, Ash, Fun Lovin' Criminals, Mercury Rev, Frank Black, Supergrass, Feeder, PJ Harvey, Oxide & Neutrino, D12, Eels, Run DMC and dozens more ensured the show to be the most powerful and diverse to that point.
... Well, indeed,
Really, it seems that the Reading/Leeds festivals have now gained a status so huge that Glastonbury's days may be numbered as the supreme UK festival experience...
Day One - Reviews
Oasis, Primal Scream, Pulp, Beck, Stereophonics; these were 2000's headliners for the Carling Weekend. Travis, Green Day, Manic Street Preachers, Marilyn Manson, Eminem; these were 2001's headliners for the Carling Weekend.
Clearly - from looking at the range and popularity of the artists set to play - any reservations that this year's event could never live up to last year's triumphant performances seemed nonsensical. In fact, the only thing that could be better compared to 2000, would be the weather. And it was.
Well, the weather was kind of better - if you prefer heatwaves to a typical temperate climate anyway. So, yes, with the first two days of this year's Reading Festival proving to be over 30o C, a challenge was looming over any writers hoping to cover as many bands as possible for their chosen publications. But, despite sweaty foreheads and sunburnt necks, we're pleased to bring you rockfeedback's quintessential Reading review from beginning to end...
... Which means that The Donnas have to get another look-in, who are once again the first band on the Main Stage - mirroring their appearance on the bill two years ago. Introduced by compere Steve Lamacq as a group that have just turned 21, this is something that's clearly apparent in their sound: a trashy, loose affair, bearing US slapper-lyrics and an overridden selection of trashy hooks. Things don't tip in their favour as lead-Donna bellows patronisingly, 'You guys have been great!' A filled tent across the site, however, sees the oddly-dressed Easyworld easing politely through a perky set of student-friendly indie-anthems, interesting the masses with their first limited edition single-release, 'Hundredweight'. Definitely still bearing the potential they hinted at initially just a few months ago. The Buckingham three-piece Crackout are on next, though, and the crowd are clearly far more up for this rowdy, loud lot whose raucous numbers - such as 'Last In Line' and 'Dumbf**k' - may not sound dissimilar when played alongside each other, but sure hits the spot in the right live surroundings.
The ever-eccentric Moldy Peaches thrive on the chance to perform in front of such a large audience, suitably bringing over with them - from Stateside - a full, backing band. The order of the day for hairstyles in the group may be set to wacky, but the bigger arrangements sound stunning live - far superior to the modest recorded versions. In fact, renditions of 'D 2 Boyfriend' and 'NYC's Like A Graveyard' - whose guitar is so distorted, the main riff is drowned out - sound as relevant as any other 'rock 'n' roll classics'. Sure, the Peaches still make us chuckle with the lyrical references to sodamising jelly products and downloading Internet porn, but as time wares on, watch this group gain more importance and influence on future artists. Maybe the same could be said for Aussie guitar-thrashers The Living End, who definitely set a trend, if only for the usage of double bass in effectively a conventional musical style. Well, if you deem a ska-cum-prog-rock sound to be 'conventional'. An amusing part of their set is cast upon when asking if we are 'Pissed yet'; taken aback by our response to indicate a yes, they raise eyebrows and exclaim, 'That's the English!'
Little Hell - over on the Carling Stage - generate a mini energy-fuelled zeitgeist, but you can't help feeling that by lending their track 'Warmer Than Fire' to Ash to perform, they let go of their most precious gem. Lo-Fidelity Allstars prove they can cut it on the Main Stage, what with such an unusual placement for a heavy-handed dance act early on in the schedule, but it's the following rap-veterans Run DMC who really confirm that they've still got it like no one in the last twenty years has had it. Seriously, the sound of 'It's Tricky' alongside an Aerosmith-altered 'Walk This Way' is something that would be tough to top all weekend - but imagine the excitement when you realise that they also performed 'Its Like That', complete in two parts: the original version, fused into the funked-up Jason Nevins remix. They may not look quite as threatening as they once did, but the DMC certainly have hit a personal high in the performing ranks.
South on the Radio One Evening Session Stage show that they've come on a long way since their 2000 All Tomorrow's Parties showcase set, though the tendency to disappear into inaccessible muso-hooks is almost off-putting. But, until you've heard such tracks as 'Paint The Silence' in a live arena, you haven't really reserved full, justifiable judgement. Scottish duo - plus drummer - Mull Historical Society enjoy a challenge. First they were confronted with the taxing effort of opening for The Strokes' debut UK tour, and now it's their duty to satisfy thousands of spectators in the big, blue tent. They succeed. A guest appearance from Nick Valensi of the pre-mentioned NYC ensemble attracts numerous comments, but - aside from that - it's all Mull's show, especially when feisty versions of 'Animal Cannabus' and 'I Tried' echo from the speakers. Order your copy of their debut LP, 'Loss' now, because otherwise you'll be the one losing out.
The Eels are weird today. Despite what should be an urge to play the hits - due to a Main Stage appearance - what we get instead are grisly and murky synth-heavy versions of singles 'I Like Birds' and 'Mr. E's Beautiful Blues', as well as a bizarre cover of 'Get Ur Freak On'. It's strangely brilliant. And frontman E's beard is life-affirmingly awesome. The French Tahiti 80 may sound wonderful on record - but in real life? Well, actually, it's even sweeter, although it's best to stick with it. They may create the perfect summer soundtrack with their brand of soothing melodic pop, but the sweltering heat and hardly lively stage-animation allows distractions to those not familiar with their material; maybe wearing costumes onstage is an option...? No, thought not.
Upgraded from the modest second stage to the enormous Main Stage, The Strokes gather the largest crowd so far today, which is how it should be. Despite frontman Julian's lack of words after songs, this is stone cold evidence that the music is all that needs to speak at a time of reckoning like this. It opens with lead-track of their original three-track demo-release - 'The Modern Age' - and follows in a more or less whip-through the debut album. The crowd seems suitably impressed, Casablancas and co. having loosened up in time for set-closer 'Take It Or Leave It' ensuring a more spirited performance and a dramatic ending to a quality festival appearance. Cosmic Rough Riders gain their largest audience response during a play of the top-40 hit 'Revolution (In The Summertime) - but - by on large - being placed to play at the same time as The Strokes inevitably ends up in a skinny attendance. Unlike King Adora's set - a band who manage to open almost at the exact point when the US rockers finish, catching the returning audience. Today, they are honestly brilliant - ask anyone that actually saw them and they'd all say the same thing; from the early minutes of blasting through biggest hit 'Bionic', through to the pogo mosh-up, 'Big Isn't Beautiful', down to the techno intro for 'Smoulder' and re-worked 'Suffocate'. It ends on a perfect high - early b-side 'Scream & Shout', whose impact induces a true festival singalong and smashed instruments. They've obviously still got a long way to go, but this was proof they've still got it.
If you visited the Carling Stage throughout this, you'd have tried to pile into the fairly packed arena that awaited American Hi-Fi's arrival, a group that manage to stir reasonable excitement during surefire cult hit 'Flavor Of The Weak', but still need to obtain material that's as pulse-racing. The soon-advancing Richard Hawley is somewhat more of a welcome break to the rest of festival proceedings, his sumptuous melodies and songs - along with drab Sheffield banter - is a truly soothing, alternative experience. Proud Mary - next up - may be doomed. With releases too low key to reach the mainstream and a critical backlash obtained on the eve of their debut album - not to mention Noel Gallagher as a producer, who can be used as a general scapegoat for his lesser successful musical offerings - their career has been dangerous in the last few months. However, don't let this distract you from their country-rock endeavours, which often reach a good standard and a live performance that ain't too bad: don't let your mind be made up for you on this group by outside parties.
A rather stunning appearance by Amen in the Evening Session tent prompts high expectations for Beastie Boy Ad-Rock's spin-off, BS2000, who generally pull it off. They dabble in messy kiddy-pop, in the forms of hip-hop and all things going, with the obvious choice for best track being 'The Scrappie' from their second LP, 'Simply Mortified'. Obviously, they're eclipsed by the larger group which helped spawned them, but BS2000 make an often exciting conundrum - especially for a mere side-project. The riotously awesome live act of Mo Solid Gold is seen by a large crowd today, with lead-singer K and his jumps proving ever-frightening. Now that the album 'Brand New Testament' has been released, those that came over especially for them are able to know most of the tunes, and it's in such renditions of 'Solid Gold' and 'Prince of the New Wave' (i.e. the rock 'n' roll aspect of their repertoire) that they sound most fresh. The UK may not want to understand them, but, lord, let their presence be amplified to the rest of the world who shall surely appreciate them.
Oh my God, it's that time again; the creature that parades UK festivals from year to year, alternating which event it shall play, has this time around chosen Reading/Leeds. Yup - Iggy Pop is here, in all of his topless glory. And, of course, it's a great performance, with a fair alternation between classic oldies and good enough new stuff. However, it'll always be the versions of 'I Wanna Be Your Dog' or the fantastic climax of 'The Passenger' which prompt the biggest response, apart from when a kid jumps onstage and moons all 50,000 of us. He even jumps in the crowd as per usual. Blinding. So, it's just business as usual for the nutcase rocker, I guess. See ya next year probably somewhere else (Glastonbury is our bet). 
The following set by PJ Harvey is bloody marvellous as well, Polly looking more gorgeous than ever in a lacy bra-top and tight trousers. Mmm. Plus, the music's pretty good too - in fact, it's great. The more than competent backing band help to work such modern day releases as 'Good Fortune' and past fortunes as 'Down By The Water' into epic and - for the latter - eerie masterpieces, whilst avoiding the pseudo-intellectualism which makes some dynamic alt-acts difficult to genuinely enjoy. Today's show was a confident display that she's still at the height of her craft... Like ex-Lemonheads leader, Evan Dando. There's a charm there that he possesses which you can't avoid - even if you wanted to. His crisp and warm voice, not to mention back catalogue of indie classics makes this sixty minute show - much like his Fleadh set earlier this year in Finsbury Park - a very special affair.
Someone sighted many-a-time enjoying the festival fayre on offer this weekend was Gary Numan, a fair indication being that his set couldn't have been that bad if he was able to leisure away a few days without being pelted at by several disappointed fans for a crap set. The reason this is the case is because he shone all the stardust that he did in the early-80s and, although the newer bits 'n' bobs may raise a few question-marks, the renditions of 'Are Friends Electric' and 'Cars' remind us what was so special about this electronic talent. Then a special DJ set from Richie Hawton - complete with trademark techno-disco meanderings - makes you perplexed as to how come there are so few here to witness it. Still, a closure of the first day in the Dance Tent sees the seldom-performing Green Velvet play a show that merited the large anticipation. Green Velvet - AKA Curtis Jones - may cause confusion and upset to sensitive minds when uttering aloud, 'My life is strange,' but - to produce such intriguingly wonderful sounds, it'd have to be that way.
A headline slot for Arab Strap in the Carling tent sees Aidan Moffat (who's lost a load of weight) and co. ramble through such depressing faves as 'Love Detective', 'Piglet' and 'Packs of Three' in a seventy-minute show which features all the usual Strapisms that you'll either fall in love with, or want to blast away with a bazooka. It may be downbeat and distressing, but it's no less impressing. Ash get the accolade of closing a stunning bill of acts that feature on the Radio One Evening Session Stage and the opening of 'Burn Baby Burn' treats the set like a kind of countdown through the Irish band's history. Ecstatic responses are gained for recent singles 'Shining Light' and 'Sometimes', but a sejour through material such as 'Oh Yeah' and 'Girls From Mars', as well as 'Kung Fu' and set-closing 'Jack Names The Planet'. Such is Ash's appeal that the people spill out of the tent trying to get a glimpse of their heroes and - the truth be told - they're too big for this sort of environment and they know it. Given even more time, though and the same shall be said for any stage they're set to perform on.
However - over in big boy territory - Green Day get on with it and are actually damn fine this evening. Sure, a decade in the biz helps; their strength tonight is that they've got such a vast selection of hits in their set-list that they just can't fail. Thus, we're treated to 'Minority', 'Basket case', 'When I Come Around', the wicked 'Longview' and that new single of theirs which rips off 'Downtown' by Petula Clark. The audience sing along to every note, a polite mosh occurs and people are invited on to the stage to play with the group. Cool!
But the day belongs to main crowd-puller, Travis. Fran - complete with dyed Mohawk - and his barmy army open with the crowd-pleaser - and biggest hit to date - the banjo-fiddling, 'Sing' and waste no time in storming straight into golden oldie, 'U16 Girls', whose chorus (although Oasis-inspired) sounds huge when pogoed along to. Before anyone's had a chance to full show praise for what they've just heard, a sublime 'Writing To Reach You' is exerted. Openings for sets just don't get better (or, at least that's what you think at first - wait for the other bands that play this year).
Perhaps some of the success in this show was - aside from Healy's rock-star foul-mouth ('I keep swearing!') - the tendency to pluck the finer parts of the new album, 'The Invisible Band' and not ram it down those people's throats who have yet to purchase a copy. Thus, what is aired from the release is fondly appreciated, some seeming as popular as older material, with the reaction of 'Flowers In The Window' and 'The Humpty Dumpty Love Song' proving as strong as the ones received for plays of 'As You Are' and 'Slide Show'. But, still, nothing can better the hysteria created for the anthems: 'Driftwood' merrily precedes the stadium rock of 'Turn', which are both competent pre-cursors for the song which doesn't cause a curse tonight by making the heavens open, 'Why Does It Always Rain On Me?' It's reassuring to see that some things never change too - with the manic 'Blue Flashing Light' closing the first set.
Encoring with a massive 'All I Want To Do Is Rock', Fran explains prior, 'This is one of the first songs we wrote,' after thanking a side-of-stage spectating Noel Gallagher for his band's influence on the group. Rather than a cover of Britney's 'Baby One More Time', instead bassist Dougie Payne tackles the arms-aloft Bowie anthem, 'All The Young Dudes' and it's a thrilling moment. But we can't stay here all night and so it ends on 'Happy', ending a show that will no doubt live on in people's memories at least until Travis produce yet another top-rank festival appearance. Which will probably occur in just a year's time - so, see you down the front again then, right?
Photo-Credit: Virtual Festivals
Day Two - Reviews
Arguably, the best day of the Carling Weekend is the second, Saturday. Last year, festival-goers were treated to the double-assault of Beck and Pulp as headliners, with a supporting bill that featured the likes of Gomez, Super Furry Animals, Deftones, Idlewild, Elastica, Gorky's Zygotic Mynci - and that was merely the list of acts on the Main Stage.
This year is similarly exemplary. The opening act, Terris, start things off as they mean to go on, with the ever-husky growl of frontman Gavin's voice sounding intriguingly ideal for such an early part of the day, the wonderful 'Fabricated Lunacy' making you wonder why their initial burst of hype failed to fully manifest. The next 'group', though - Public Domain - are bleeding insane! The idea that a town such as Reading in the very tame county of Berkshire could successfully make the transition from what it is (a rather normal and ordinary large village) into an Ibiza-esque rave sounds preposterous. But - luckily, preposterous is just what festivals are these days and so the sight of hundreds of people bouncing on the spot and subscribing to the clichι moves of clubland is pretty understandable. Tragically. It doesn't improve momentarily, with OPM - solely famous in the UK thus far for their top-five hit, 'Heaven Is A Halfpipe' - taunting the masses with their brand of distinctly lazy US rock-rap fusion to the extent where they get smacked by tirades of bottles. Ouch.
Thirteen: 13 - over on the Carling Premier Stage - sound ever-fresh, with their buoyant repertoire of inexcusably catchy indie-rock posing yet even more appeals for music-lovers to get with the program and class themselves as a fan. The appreciative crowd didn't seem too reserved at the time for such an occurrence to become realised. The Soft Parade in the second largest arena show evidence that they're improving more and more as time wares on, though it's still second single 'Empty At The End' which foams the mouths of punters at the front and you can see why. It must be that floaty keyboard-synth hook, straightforward riff and defined drumming. Sure, it may sound drastically simple, but if the end result they were trying to achieve was a slick and rewarding catchy effort, then at least they can know they were successful in their endeavours - let's hope the future singles pose as much potential to greatness.
...And You Will Know Us By The Trail Of Dead are present once again this year - and they sound as violently brutal and honest in their music as they did last year when they originally graced the Evening Session Stage. This time upgraded to the main arena, they seize their opportunity to entertain more people and include more aggression and snarling angst than ever seen before at a festival appearance in the early afternoon. 'Mistakes & Regrets' - the first proper song they rattle through today - is still their finest yet, but having produced such a monstrously stunning composition, the upcoming third album should not disappoint...
The following Frank Black & The Catholics set - Frank of course being the ex main bod of the quintessential US art-rockers, Pixies - is a subtle rollercoaster of quality. Despite his more interesting than classic current work - the minimalist recordings on 'Dog In The Sand' - it's only when the band strides through such cult faves as 'Monkey Gone To Heaven' that it all really comes alive, though nothing beats this moment in the other forty minutes. You could say that his best moments are gone now, but today's performance did hint at the former magic that Mr. Black once possessed. Hell Is For Heroes, on the other hand, have yet to reach a sign of celebrity which will ensure them a classic status, but they're not doing too badly so far. Frontman Justin may sound like his voicebox is about to explode any second throughout thanks to his overtly manic vocal, but tracks such as 'Cut Down' stand up against anything currently making waves on either side of the Atlantic.
Gorky's Zygotic Mynci return for a second year in a row - and goodness knows how many that makes in total since they first started almost a decade ago - but this year's set must undoubtedly be their most eclectic and diverse yet. It begins with new material - bad move it may seem, but when you're producing material such as that located on the soon-to-be-released 'How I Long To Feel That Summer (In My Heart)', then you're allowed to get away with it. The tone is bleak yet beautiful, but the mid-set turn-around to perform old singles such as 'Poodle Rockin', 'Sweet Johnny' and 'Spanish Dance Troupe' sees a satisfied crowd happily sending off their most preferable of Welsh eccentrics.
But, how this compares to the next act - Elbow - is gravely different, for, today, Elbow are absolutely magic. Possibly proving to be one of the greatest unknown festival triumphs of all time, Guy Garvey and co. get it right and open with the eerie and atmospheric thump of 'Any Day Now', easing through a set which showcases the key moments from their debut LP, this year's truly awesome 'Asleep In The Back', yet they choose not to play their only top-40 single, 'Red'. However, all is made up for in rabid renditions of next single 'Newborn' and set-closer 'Scattered Blacks & Whites', which sees Garvey uncontrollably fighting back a hugely touched grin. The atmosphere in the tent was electric, their performance spot on in every way - moving, rocking, ambitious, warming... The idea that Elbow aren't destined to become one of the most highly regarded acts of our generation is utterly unfathomable - they're destined to enthrall time and time again.
Over on the main stage, Rancid pump out all they've got in the form of their popular and vicious punk-rock and - if you're a fan, today's set is monumental: despite just releasing three albums, each specially chosen track today is treated with their highly distinctive and range of roaring guitars and frantic vox and drums, with the intent to thrill well and truly obtained. However - if you're not a fan - then they were just OK (both of these views obtained from a range of surrounding onlookers at the time, Factual Ed). Meanwhile, taking on a similar vein in the heavy-stakes today is the Dance Stage - which has been taken over and hijacked into the new form of the Concrete Jungle Stage. Key acts featured today in the aforementioned tent, which is pitched next to a giant skate-ramp, included the three highlights of the day - Snuff, Reel Big Fish, and Rocket From The Crypt. The issue with bands like these is that - even if you don't enjoy the music that's aired - you can at least enjoy how it's done. Snuff, for example, aren't one of the best bands for their set - nope, instead, it's because people in the audience get the impression that they came onstage completely blootered off their faces. Whereas, with the other remainding two, Reel Big Fish - who have managed to sell over a million records worldwide, would you believe - just simply blew away spectators with a show that depicted an energy yet easiness which didn't deter sheer enjoyment (shown by the number of blasted crowd-surfers). However, the headliners - what with crossover hit, 'On A Rope' - always guarantee an entertaining evening and this was no exception. From the very outset, the tent was packed to the rafters with a mixed up crowd of young skaters, Goths and basically wannabe's and it was when said hit single was played that their chances came to blow away everyone to some sense of oblivion. Which was rather splendid.
The Carling Stage mirrored some kind of rock element too, though the choice on offer was vaster in comparison. For instance, there was the Cooper Temple Clause, who provide memorable moments in stunners such as 'Let's Kill Music' and 'Panzer Attack', by their ferocious and cataclysmic range of head-swirling beats and simple, punchy guitar riffage. Following which, the likes of Taylor from the Foo Fighters' experimental and weird side-project, Anyone, and the deeply stoner, psychedelic rock-blues of Nebula means that the word 'eclectic' is out of the question. However, if we're to talk once again about the best of the best in the sets that are played today, then let's at least take a glance at an act such as the Welsh punks, Lost Prophets. Thanks to a top management company and a spiffing label-deal, this group really is justified in such a confident set as this evening's. The Carling Stage's marquee may have been ready to burst at any moment due to their popularity as a crowd-puller, but this is just a small sign of things to come, because when you notch up the unfailing combination of good tunes, with good looks and a sturdy live presence, then you're bordering on a volcanic eruption of money, countless fans and plenty of exploitable vices (not necessarily in that order). The Swedish headliners, Backyard Babies, closed today's events with a rowdy fifty-minute set, which went down as a visual note that blonde people with guitars can work. Cool!
For the Evening Session Stage, however, things are taking on an alternative and weird trip. It begins with the ever-temperamental Lou Barlow and his Folk Implosion, whose finest moment in single 'Natural One' was cast iron proof that lo-fi can be catchy and sound commercial* (*even if its performance in the charts is anything but commercial). In live performance, though, it's quite an endearing, tight sound, but going beyond that would be too celebratory - for instance, it would be a lie to say they caused a riot, but they do prescribe one form of resting rock which soothes rather than angers body and mind. Although what My Vitriol have tried to do in the past with their live shows has been unclear, with what should have been stunning sets instead transcending into self-indulgent and pretentious efforts, today it all seems right. The crowd are on their side throughout and hits such as 'Always (Your Way)' and 'Grounded' sound suitably prominent and large, emphasising the group's betterment of their craft over the last six months. In fact, it even made you believe that they're not far off getting to a stage where they'll be up there with the big boys - and you can tell that's where they want to be when you see such passion-fuelled performances as these.
Teenage Fanclub may not be quite so raucous, but they are what you want them to be: sweet, soft and subtle. Thus, the switch between oldies and music from last release, 'Howdy', may not be hugely evident to those not in the know of their sound, but given a blast of 'Sparky's Dream' any day, even the most muddled of minds would discover some solace in their perfectly woven sound. However, the complexities are want we want in order to endure ninety minutes of full-on Mogwai - sheesh, you might as well order a pair of ear plugs while you're at it, because they often get pretty loud. In a set which focuses mainly on their stunning 'Rock Action' release, you can't help yearning for a guest appearance from SFA's Gruff-Rhys on 'Dial: Revenge', but - as it happens - they are arched-up high and epic tonight, with the tent well and truly often feeling as though it had taken off at points. This results in one question that you can't help asking yourself: 'Why aren't more bands like this?' Then, you hear more of them playing, and you realise the answer - it's because most just aren't talented or original enough to recreate such a mighty orchestral humming of perfection, utilising effects such as feedback and layers of sound in ways thus far unfounded. It's honestly enticing.
Feeder play a very well performed set today on the Main Stage. In fact, such is the confidence of the group - whose 2001 has been their most successful year as a band unit yet - that their command to get thousands singing old single 'High' (only moderately known by the masses) is pretty successful. The rest of their show is quite stunning, though. Tracks such as 'Turn', 'Seven Days In The Sun' and 'We Can't Rewind' from current LP, 'Echo Park' definitely sticking out, but it'll always be tunes such as the top-5 hit 'Buck Rogers' that people will treasure most from this very festival-friendly performance. Frontman Grant's several minutes at the end parading around the stage - complete with guitar still swinging from waist - just to take it all in, is quite a moving moment too. 
To go on after this would usually be a daunting feat for any other band, but when you're backed with the might of six years' worth of hit singles, Supergrass' challenge is pretty minimal. They start - Gaz Coombes sporting shorter crop haircut - promisingly, opting for the 'greatest hits set' appearance package, so we're treated to 'Mary', 'Pumping On Your Stereo', 'Caught By The Fuzz', 'Moving' and 'Late In The Day' in considerably fast succession. Like their support slot for Radiohead at Oxford's South Park a couple of months back, little new material is aired, but what is played hints to typically exciting rock-pop from the UK trio. But, it's hard to remember the full nature of these newies, because - before long - the hits pump back at you: 'Going Out', 'Lenny', 'Sun Hits The Sky', 'Richard III'... You think they could go on all night, but it ends short, sharply, and sleekly, perfectly setting the scene for the following NY, NY act...
Yup - Fun Lovin Criminals are back again this year and little has changed since they played two years ago, apart from the fact that they've moved up one place on the Main Stage billing and have had a couple more hits. Mind you, such is the similarity of this show and the one that they originally did last time, that they still close on 'Big Night Out', lead-singer Huey's croons of 'I got a supermodel on my D' whipping people into a peculiarly feisty, horny frenzy. However, you can't fault them aside from this - '10th Street', 'Loco', 'Fun Lovin' Criminal' are prime specimens of fantabulous, lounge-smooth, guitar-pop... And - yes - 'Scooby Snacks' is one of the best live songs ever - don't knock this lot.
Once again, though, it's main event time - and, today, the Manic Street Preachers are set to impress. The stage-set looks promising: an explosion of video screens and projected images, as well as manic lighting - but what about the actually songs? Well, the set-list is probably their best yet. Kicking off with the classic 'You Love Us' and frantically spewing into 'You Stole The Sun From My Heart', the pace of tonight's show is genuinely rushed and riotously loud - though tamely rehearsed. Also, they take the opportunity to plunge into a beastly array of oldies - including such rarely played wonders as 'Archives Of Pain' - with the 'longest recorded solo we've done,' according to frontman, James Dead Bradfield - 'Little Baby Nothing', as well as regular set-inclusions, such as 'La Tristesse Durera', 'Motorcycle Emptiness' and 'Motown Junk' - complete with bizarre Van Halen/'Jump' intro.
Thus - what with such a selection of old ones being chosen - current album 'Know Your Enemy' only donates a few tracks to the set-list, but the ones played are expectedly wonderful. The singles 'Found That Soul' and 'Ocean Spray' especially create an impact, but 'Royal Correspondent' and 'Miss Europa Disco Dancer' - of course, bearing a cheesy 70's light-show - merit notable praise for simply being awesome. Also awesome is the conclusion of the set - 'If You Tolerate This...' an ever moving 'A Design For Life' and frustrated 'Masses Against The Classes', altogether proving to be the best climax to a concert all weekend. True to their reputation at summer events like these, they've triumphed again.
People often have too much to say on the Manics and whether they're still relevant. Well, there's no better way to find out than at a place like this, where it was clear for 50,000 people that MSP are still one of the most important UK bands of our time. Just you join in singing their timeless anthems and you'll see the truth...
Photo-Credit: Virtual Festivals
Day Three - Reviews
Following two days of reasonably pleasant music, today was here to change all that - oh yes, the traditional 'rock day' upon which Reading originally built its reputation has arrived. Suitably, the clouds hovering above from all around are bleak, grey and murky. The atmosphere from early on is that of an unexpected anticipation.
Kicking off proceedings are Mower, or - better still - Mat Mower, due to that fact that the band's other two members had left in the last week. This enabled lead-singer Mat to perform material solo acoustically - complete with special guests, including Blur's Graham Coxon, his label boss and producer. The twenty five minute performance opens with the undeniably awesome 'Na', complete with Coxon on backing vocals and percussion. This was just beyond low-key for the star-guitarist. However, the tunes were of reasonably interesting merit and Mat's uncompromising shouty vocals, geeky between-song banter and final comments ('This is my last song... Oh no, it isn't - that just was! I'm off, bye!') certainly warm you to the newly-created solo artist. A somewhat stark contrast was following Main Stage act, the huge-in-America Staind, who gather a mighty audience, presumably all keen to try and discover what the fuss is about surrounding their fast-swelling appeal around the globe. The strange difference, however, between Staind and most up and coming US rock bands - such as Spinehshank, American Hi-Fi or Sum 41 for instance - is that this group merge the chilled-out acoustic songwriting style of Everlast with the anarchic high-energy metal of Raging Speedhorn or Slipknot. Thus, the potential audience for this group is double compared to the average heavy guitar-yielders; what with such a rich set of songs and strong live presence, Staind's impact in the UK will be as considerable as it has been in other foreign territories. Whether you want it to be or not.
Seafood really are a strange act to pinpoint; as you witness them playing the Evening Session Stage in an early afternoon slot, it seems that any preconceptions you've made of the group are about to shatter in front of your very eyes. If you're familiar with the immediacy and punchy set-opener, the rambunctiously rocking 'Cloaking', then you'll expect it to be plain sailing the whole way through their set - yet this is not so. Proving to have more up their sleeves than once considered, they take their forty five minute set and successfully justify their claim to being one of the most important UK rock bands of now - no really, examine for yourself... The following Grand Theft Audio seem ever so slightly tame in comparison as a consequence, though, with their frenzied fusion of dance and rock seeming forced rather than something which naturally flows, perfectly shown in the catchy enough 'We Luv U'. But it's the next band, Alien Ant Farm - yes, proving that the Americans really have taken over Reading for this final day of the festival - who seem to have garnered all the audience. In fact, it may as well have been all the audience; for many, the largely inaccessible, pained aggression of System of a Down on the Main Stage is enough to deter a large gathering into the 8,000-capacity tent, with many spilling out into the surrounding area, all trying to get a view of this act. Why, you may ask? Well, aside from ultra slick and well performed teenage pop-grunge anthems, they pack a meaty live set, concluding in their cover of Michael Jackson's 'Smooth Criminal', which they seem to have made their own. Look beyond this, though and you'll see the fairness of their own stuff, namely the prior single, 'Movies', which definitely merits a re-release in a couple of months for the UK so it gets the attention it lost first time round.
Kosheen - preceded by the rapturously received Delinquent Habits, whose set transcends beyond the salsa-beats influenced mass it's depicted as, into a highly energetic and riveting performance - see key vocalist singing the track which goes top ten today ('Hide U') and it's no surprise the success is in place. For starters, they'll take a great hook and, rather than use it moderately and replace it mid-way with a less memorable one like most dance acts, use it over and over, pounding it in your skull into you can no longer resist to let loose and purchase it. It's like musical hypnotherapy. Maybe. The shock assault of Saaaarf London load, So Solid Crew and the inter-related Oxide & Neutrino sees a massiiiiiiive crowd forming within and outside the Dance Tent. However - due to the rock commodities of the performing artists today - little material is known, save for hit singles, such as '21 Seconds' and 'Bound For Da Reload', both executed with the bravado and panache to get you out raving again like it's 1988. Even the rest of the material hits the spot, proving that a word such as 'substandard' doesn't exist within these groups.
Over in Main Stage territory, (Hed) PE prove that a satisfactory blend between hip-hop, heavy rock and professionalism can exist in a live setting. The frequent vocal spurts of fury yet consistent melody reveals a band that won't take long to reach the heights of their contemporaries, who they give shout-outs to like most bands on the bill today (annoying is not even close). Fear Factory are back - goodness gracious, don't even bother to lock up your daughters. However, keep your ears open, because when their original comeback single from earlier this year - 'Linchpin' - is played, you realise that their newer material particularly overshadows the rest of their output: a genuinely rare occurrence. And - did someone mention the word comeback? Sounds like it, and it's relevant to next band, the vivacious and blindingly well-groomed The Cult, whose old stuff is referred back to virtually in full, with renditions creating the kiddies to go berserk, the occasional original fan of the band choosing to mosh and getting horrendously hurt in the process. But it still rules, and that it does much, oh yes. Thank goodness they're representing this country's perspective on what rock is too, because - believe you me - the lack of worldwide bands is shocking on this line-up today, especially for a festival staged on out-of-American soil (hey, we're not dissing the US - far from it, we're just stating facts).
The moment Haven begin their set on the Carling Premier Stage is the moment that no other band this weekend are in mind. Gary Briggs, lead-vocalist, pens songs to lose yourself to, which is what the fair few among us do, waving hands, gently singing along - and then you remember they've only come up with two releases so far! This year may be the slow build-up pathway for them, but it won't take long until fate dishes out opportunities for stardom that the band won't be able to avoid taking up. The next time this stage witnesses such a powerful performance some may say is when the continually knocked-about Gay Dad step up for their turn to dish it out to the crowd - and it's bloody marvellous! You simply can't fault some of the new stuff - 'Transmission' and 'Now Always & Forever' are just as good as the top ten debut of 'To Earth With Love' and the frankly splendid 'Joy'. Maybe the best way to treat them is with as open a mind as your eyes are when you see them - then you'll be able to enjoy something very entertaining. And the latter description is something strived for by top UK garage producer/performer/DJ Wookie and following headliner Roots Manuva, over on the Dance Stage. The former produces a more toned and warm garage sound, whilst the latter opts for jagged edged hip-hop, with a luscious leaning towards the weird noises of electronica and the rhythms of dance anthems. It's only an out-of-place effort for final DJ, Grooverider that sees hundreds of watching drunkards achieve some kind of personal euphoria in the bold, bassy sound, as they wobble on the spot in a fit of movement that they would call dancing. So a stunning line-up for the Dance tent this year then, I guess?
Mark B & Blade serve up their sleekly styled Brit-hop and, boy, the MC-ing hits the spot time and time again, with points added in their favour for the lack of gratuity in alternative culture rhymes. Perhaps it's too much of a stubborn contrast to the next-on Lowgold, whose solely downbeat, warming material fails to spark as much energy as the predecessors, though hearing Darren Ford sing his heart out on 'Beauty Dies Young' and 'Mercury' is still a special sight. But if we're talking about people that sing for Britain, then it would be fair to count Martin Rossiter of Gene as a man than tries his best time and time again, every song in and out. Though it may get a bit Morrissey at times, why bother avoiding it, because it helps to make this greatest hits set tinged with a brilliance which proves their cult status. 'We Could Be Kings' and 'Fighting Fit' will stand the test of time as great pop songs that the mainstream never fully embraced - and that only works out to their advantage. It's all this emotive sincerity which makes the downtrodden and lo-fi ramblings of former-Pavement star, Stephen Malkmus, deeply unsatisfying in parts, yet extremely interesting in tracks such as the more upbeat 'Discretion Grove'. Still, it's pretty respectable, but there's so much to live up to when you glance at the beauty of his former band's 'Major Leagues', or the rowdiness of 'Stereo'. But it's still good to have him with us, because his solo status isn't half as bad as some have it.
This then leaves this evening's final band, Canada's Mercury Rev - and they're stunningly beautiful, with their new album, 'All Is Dream', providing many of the highlights, from its great, grand posture of good songwriting to seering and soaring, fragile vocals. But it's clear that 'Goddess On A Hiway' is the track that will elect the mighty crowd roars to make this live on for as long as people can remember genius music. Supremely awesome.
Bollocks, it's Queens Of The Stone Age. No, really, there are a pair of exposed bollocks onstage and it's down to the ever upfront - in more ways than one, someone may wish to observe - exposed bassist, Josh Homme. His shapely beard may seem bedraggled, but doesn't bear relevance to the band's performance, which is full of enough rasping rock 'n' roll cliches, venomous hooks and anthems such as 'Feel Good Hit Of The Summer' to prevent them from sounding too alike to their record-shop tag of 'Stoner Rock'. Really, maybe it should be re-titled to 'Real Rock'. Papa Roach try and lay claim to the same genre it seems, with frontman Coby Dick's constant attention-seeking screams and whines - not to mention appeals to the crowd to get stuff thrown at him - seeming to be the most irritating work of the beast ever. But, still, there's no denying the catchiness of the Maiden-stolen 'Last Resort' or that other top-20 single they did, and their live effort certainly makes the grade on what is an enthralling show.
Though how can it live up to the self-proclaimed God of F**k, old Mazzer Manson himself? He starts as he finishes - brilliantly, with the band's cladding of shock-wear and skintight precision playing ensuring that they're in control at all times, despite the so-called alternative behaviour Marilyn's supposed to create by stunning us all evening. For instance, swiftly following 'Disposable Teens' arrives a cheer-along 'Fight Song', a spooky 'The Nobodies' and then his very brilliant Eurythmics cover of 'Sweet Dreams', all whilst he clogs around the stage on huge stilts, or rises dozens of feet into the air via a bizarre stage-mechanism. It only tops itself after wicked renditions of 'The Dope Show' and 'Rock Is Dead' once a cross in the shape of two conjoined revolvers drops from the top of the stage and stops above Manson's head. The object goes on to explode fireworks out of each of its barrels and - before long - the finale of 'Beautiful People' sends us all off wanting to suck blood out of people's necks. Our advice when watching such an artist play: don't pretend that you don't enjoy it.
Finally, though, megastar of the weekend - Eminem - is next. Oh, wait a sec - he isn't at least for the first half hour, because during this time, D12 (which he is a member of), go through the majority of the material from their inaugural 'Devil's Night' LP. It's mildly entertaining, but only top-ten single 'Shit On You' is reasonably recognised by the masses not at the front, causing the opposite of an open-armed response. What follows is a ten-minute intermission, in the form of a cartoon, seeing Eminem and co. as characters reminiscent to the 'Brady Bunch', except acting as a family that openly condone the usage of drugs. In fact, it gets worse when Em and another allegedly pop pills onstage and his actions seem far too desperate to cause controversy, and upstage the rest of what is supposed to be a powerful musical performance.
The worse thing is when you realise the solo material he chooses to play; he ignores his original top-three debut smash hit, 'My Name Is', glides past the thought of running through 'Guilty Conscience' and merely skips what could have been the song of the festival - 'The Real Slim Shady'. His rendition of 'Stan' was even disappointing, with a fifth of the song literally cut off dead and things only heat up when Marilyn Manson returns to the stage to collaborate on a truly great 'The Way I Am'. However, before long, it ends on a return from D12 so they can stomp through 'Purple Pills', though even this misses the mark since this - the original version - received zilch airplay, meaning that the crowd are far more familiar with the censored edit, preventing the chance of a singalong. And, thus, it ends. It's pretty good as it goes, but for a performer that is currently the Western World's most famous figure, this is quite a travesty. However, the majority of the audience gets what they want from seeing him - which is basically just the chance of saying that they've seen him - so he gets away with it without question.
Which closes the festival for this year. Once again, the bill has been - by on large - very fine throughout and the prospects of returning to Richfield Avenue next year seem too good to miss.
Photo-Credit: Virtual Festivals
Scrapbook
THE PEOPLE'S VERDICT
(based on 75 opinions)
Best Band Of The Weekend?
1. Travis
2. Manic Street Preachers
3. Eminem
= Marilyn Manson
5. Green Day
6. Papa Roach
7. Ash
8. Mercury Rev
= Strokes
10. Mogwai
Photo-Credit: Virtual Festivals
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