V2002 - Hylands Park, Chelmsford - 17-18/8/02
1/5
By: Toby L
Location: Hylands Park, Chelmsford, Essex.
Date: Saturday17th August - Sunday 18th August 2002.
Time: Music from 12:00pm-11:00pm.
Bands: 54 Live Acts - 10 DJ Sets.
Stages: Five.
Prices: £80 per person (weekend ticket, including camping).
Capacity: 75,000 People - SOLD OUT.
The Festival
The V Festivals have been in existence within the UK since 1996, when the inaugural V96 event took place. However, this was clearly a festival with a difference. Rather than merely taking place on just one site in the country, V96 occurred on two - with one located in both the north and south of England, the line-up swapping venues across the weekend. This gave festival-goers a chance to see their fave artists parading around gigantic stages without having to travel so far to witness it occurring.
The first year boasted a stellar line-up as well; Pulp - fresh from wowing the previous year's Glastonbury Festival audience - performed a dazzling set of classics that many deemed to be their finest show up to the time. In addition, a rich variety of artists such as Elastica, Gary Numan, Paul Weller and Supergrass made a showing, providing a suitable pre-cursor to the superior V97, whose headline slots of Blur, The Prodigy, Beck, Foo Fighters and Ash sparked even more of a reaction, the event going on to sell out faster than the prior year.
Since then, V has been getting bigger and better; two performances from James Brown in two consecutive years cemented its reputation as a festival that could attract the most exclusive of performers, and 2001's bill was no exception to V's constant strive for diversity and quality throughout. The sure-fire highlights? Clearly, a headline appearance on the second stage from the vastly-talented Muse, as well as a one-off performance from Red Hot Chili Peppers, not to mention festie-friendly sets from Coldplay, Starsailor, Ed Harcourt, JJ72, Idlewild, Divine Comedy, Avalanches and countless others, ensured that no one could leave V2001 with a single disappointment, music-wise.
And, with V2002, the event has entered into yet another new league. Even when headliners Travis pulled out at the eleventh hour, organisers quickly found an equally-valid replacement - the Manic Street Preachers, who were a part of the festival's most eclectic bill to date, parading on stages alongside the likes of Stereophonics, Doves, Idlewild, Alanis Morissette, Primal Scream, Basement Jaxx, The Chemical Brothers and legions more.
Day One - Reviews
Following last year's rain-soaked V Saturday at Chelmsford, sunshine and blue skies are again the order of the day at the beautiful Hylands Park. Whilst tomorrow showcases a host of contemporary buzz bands (The Coral, Doves, Idlewild), today, it's largely the turn of seasoned festival favourites to prove their enduring worth...
... Well, with exception to the certain few present this weekend that are still on their way up. And, inclusive within such a category is Ed Harcourt, a man who opens the festivities on the V Stage, bringing with him a thunderous version of prior single 'She Fell Into My Arms', and a scintillating outing for stunning new material such as 'Jetsetter'. Yet, it's with a closure on 'Shanghai' that things take a true turn for the unexpected; following a particularly venomous assault of said tune, Harcourt finds a tin of lighter-fuel which he proceeds to drip all over his piano. He soon sets the instrument on fire, grins, prompting a cheer from the crowd. Ed then moves to the back of the stage. And picks up an axe. Before pummelling his burning object into smithereens with the chopping-device (see photo for rare, long-distance crowd-sighting of the event)... Expectedly, it's brilliant; rarely has showmanship collided together with sincere, passionate talent and energy in quite the same way.
The scene almost makes the early-competition seem futile in comparison, but, certainly, various indie-risers make for captivating company - such as Leaves, who sound completely huge within the likes of 'Alone In The Sun' during their appearance on the 'NME' Stage, or Scotland's Mull Historical Society, who entertain the main-arena attendees via the expunging of a trio of singles in one go ('I Tried', 'Watching Xanadu', 'Barcode Bypass'). Only a typically sparky and effervescent set from Kid Galahad in the enclosed JJB Arena makes for similarly engaging viewing, their student-indie crowd-fave 'Pack It In' triumphantly burning out the set.
Unfortunately, however, not everything is as it deserves to be. The legendary Bluetones are worthy of a much higher slot on the bill than the early afternoon place they are provided with, frontman Mark Morriss duly noting, 'I'm not used to singing before 'Countdown' has finished.' Throughout, the 'Tones seem desperate to lose their 'Britpop survivors' tag - there's no crowd-pleasing 'Slight Return' or 'If...' - and are aiming to be remembered for their merits as a 21st century band. As a result, today's set draws heavily on the new tracks from this year's singles compilation ('After Hours', 'Freeze-Dried Pop' and 'Persuasion' all given feisty renditions) and as-yet unreleased material, 'Liquid Lips' and the trashy guitar-fuelled 'You're No Fun Anymore'... Sure, they may be forever associated with 1996, but this most charming of bands is certainly to be congratulated on their forward-seeking approach.
The mammoth beer-queue prevents rockfeedback from seeing too much of Elvis Costello, save for a couple of bars of 'Oliver's Army' being belted out, but we're right down the front for Supergrass: quite possibly the perfect festival band; if you don't know by now, beer + sunshine + V regulars, The 'Grass = good, good times... Opening with 'Pumping On Your Stereo' and prompting the day's first mass sing-a-long, bouncy new single 'Grace' and the rambunctious 'Never Done Nothing' fit seamlessly alongside bona-fide, up-tempo festival greats such as 'Sun Hits the Sky', 'Moving' and 'Strange Ones'. And, as far as set-closers go, can any band better the fabulous two-and-a-half minute adrenaline-rush of 'Caught By The Fuzz'..?
It's most definitely a contrast to the harrowing tales of love, loss and melancholy, as gallivanted by recent Mercury Music Prize-nominee, Gemma Hayes. Taking to the stage with her loyal band of men, she immediately sets into the sweeping, distorted-edge of 'Let A Good Thing Go' and even when her delicate Irish vocal is locked within a cascading of cranked-up guitars, the effect still serves as wholly beautiful.
For a while on the site's second largest stage, such a previous effect seems unlikely to recur. Newies Halo and not-so-newies My Vitriol battle out their emotions within heavy-stricken sets that perhaps rely too deeply on trying to convey anger over belting out the songs. In the former's case, technical problems with the sound dog the set, still making way for the stronger moments such as 'Lunatic Ride' or the psychedelia of soon-to-come single, 'Never Ending'. My Vitriol, meanwhile, manage to prove critics wrong that they've nowt left to offer; despite plays of all singles from debut-LP 'Finelines', it's their latest 45, the cataclysmically loud 'Moodswings', that is most awe-inspiring.
Here it is, though: the moment of V2002. Nickelback. Live. On the V Stage. For many, this should mark a moment of deep distaste/disgust (delete as applicable). But, for those here, it means sixty minutes of pure, commercial-rock bliss, with the set's ending on a back-to-back double-clanger of 'Hero' and 'How You Remind Me' enabling such a loud swath of audience-participation that the crowd-roars could be heard all the way to the back of the furthest campsite. Reassuringly, amidst splurges of cheese-fuelled sentiments ('Are you having a good V Festival,' as frontman Chad Kroeger utters, along with, 'Well, it's definitely nice to be here,' not to mention a few swear-words for good measure), the devotees receive 'brand new, unrecorded Nickelback', which arrives in the form of a number reminiscent of Elastica's 'Line Up' interspersed with Bush guitars... Hmm, well, maybe there's hope left after all for Canada's latest success-story.
A trip across to another field makes for a completely different story. Icelandic's arch-experimentalists and soaring, instrumental music-conjurors Sigur Ros are executing their beguilingly beautiful, feedback-drenched, sky-high alt-anthems, with a minimal audience perplexed and blissfully bewildered at the same time. It's amazing. And a sight that should have been reserved for a later-evening slot in one of the tent-enclosures on-site, as opposed to a cavernous stage.
Another Canadian legend makes her first ever UK festival-appearance today, as well: Alanis Morissette. Despite being one of the world's favourite drama-queens/solo-stars, Alanis still doesn't quite know how to stand still on a stage, uncontrollably hovering to every side during the opening of her set whilst singing robotically. Must be nerves. For she soon opens up when it comes to a meaty, joyous version of 'Ironic', the show soon revisiting her past with healthy vigour and justified urgency, 'You Oughta Know' and 'Head Over Feet' making way for the real highlights, in the guise of the searing 'Uninvited' and closing 'Thank You'. Surprisingly good stuff.
Over on the 'NME' Stage, similarly, you can always rely upon Ian Brown for entertainment by the bucketload. Taking to the performance-space in attire that looks identical to Brad Pitt's 'Poiky' garb in the movie 'Snatch', the newly close-cropped King Monkey always wanted to Be Adored, and tonight he most certainly is; 'have you got your dancing-shoes on,' he even enquires. This coupled with hilarious posturing (attempts at street-mime particularly noteworthy), Aziz's luminous lime guitar, the bongo-drummer with the coolest moustache in rock, and, altogether, Mr. Brown's live show is a blast. 'The Gravy Train' proves the best of a quality singles-collection, and, after the show, Ian's treated to a five-minute ovation in which he tries to return to the stage for an encore, but is sadly prevented from doing so.
Now, quite why the V organisers decided to put the Manic Street Preachers on the second stage we'll never know (playing on the V Stage at the same time are The Chemical Brothers: sure, a cool light-show, but ninety minutes of static dance-music?). Nevertheless, we have an absolutely fantastic vantage-point just yards from the stage - and few people are likely to get this near to the Manics in person again.
The set itself doesn't open with a blast so much as a nuclear-rocket up its backside. They rip through 'Motorcycle Emptiness', 'You Stole The Sun...', and 'Masses Against The Classes' with all their original, early power and energy. But whilst James, dressed all in black and looking decidedly slender, gyrates around the stage ferociously, Nicky Wire looks unimpressed throughout. He doesn't speak a word to the crowd all night - a chunk of Wire wisdom is always a welcome thing - and his instrument-trashing of V99 seems a world away. Still, this is a taut, to-the-point greatest hits set, with one stadium-sized chorus after another, the closing 'A Design For Life' still capable of evoking the spirited shout-a-long of the entire weekend. And, in current times, it's rare that a band which has survived a legacy such as theirs can manage to possess such awe-inspiring power after all these years; simply, they're a credit to modern rock-music.
Reviews: Matt Tomiak, Nicola Jenkins / Photo-Credit: James Faherty
Day Two - Reviews
Following the previous day's rich plethora of acts, it's rather apt that Day Two of V2002 in Chelmsford maintains the diverse range of talent consistently cropping up. In fact, the V Stage today is inaugurated in the early afternoon with a cacophony of pop-crossover acts, beginning with the soulfully-oozing Rhianna, a young lady capable of some fierce throated-action (no, not in that sense) and continuing with the ever-exuberant Beverley Knight, whose constant jeers to the crowd and renditions of 'Get Up' and 'The Greatest Day' trigger off rows upon rows of bouncing souls. With the final batch of such artists arriving within the drum-'n'-bass/electronic-orientated Bristolytes, Kosheen, it's such tunes as the vibrant 'Hungry', set-initiating 'Catch' and dark closer, 'Hide U' that truly awake the thousands in a refreshingly dynamic fayre.
Yet the kiddie-delights don't quite stop there, either; for those still awaiting a bit of sex-appeal to this year's line-up (for, let's face it, Nickelback don't often apply to every person's wildest fantasy) there's the barely-legal teen-sensation, Sugababes. Packing out the JJB Arena to an extent where people attempt to scramble in for entry via climbing underneath the tent (to humorous levels of failure), the 'Babes flutter their grossly make-up-scattered eye-lids continually for forty minutes straight whilst performing a back-to-back juicy dish of 'Freak Like Me' and their inaugural (and still their best) hit, 'Overload'. A signing-tent appearance later in the day then allows the threesome to meet their adoring fans; bless 'em.
But, enough of that malarkey - let's change the scene, and get down 'n' dirty with some guitar-brandishing bandits. The Crescent prove to be one of the first main draws of the day on the 'NME' Stage, spending their brief, half-hour set knocking through the awesome recent release 'Test Of Time', displaying more charm and gentle competence (plus sunglasses-covered cockiness) than their current peers. Indeed, they even suggest more is capable than what's unveiled today, with their Stones-inspired debut-single 'On The Run' played and added to with a climactic, dramatic, all-guns-blazin' furore of an ending... On first sight, they may well seem a bunch of Scouse scallies - but underestimate 'em at your peril.
With a quick run over to the Strongbow Golden Arena, The Wiseguys' DJ Touche is starting the first part of his marathon 3-hour DJ-set, winding through tracks so bass-heavy and percussive-driven that leaving the arena imprints a recurring hammering in the head... It's a haven to witness Seafood soon after, therefore, who are playing possibly their last British show of 2002. Suitably, too, it's a sombre, yet life-affirming affair, the indie-rockers parading their brand of sweaty-guitar epics alongside compositions of a slower pace towards the dying embers of their stage-time. All girl-group The Donnas, who are next on, are certainly less forward-thinking, instead preferring to slip back to the style of the 70s, delivering a catalogue of material that ends in the riotous-riffs ballbreaker of 'Skin Tight'. ROCK!
With The Coral's arrival, the first thing that floats into your brain is the realisation of their rapid rise in profile over the last couple of months. Unknown just over a year ago, they now have an award-nomination, a hit-single, and an album that's just gone silver in the UK. Today, as they march on to the 'NME' Stage, the sextet are in a justifiably hyped-up and confident mood, singer James Skelly marching around and wobbling his maracas so violently that he often seems set to become a moving blur. However, despite the unquestionable stage-presence, not all is calm in the northerners' camps; with The Zutons' drummer filling in for their own at the last minute, one could anticipate chaos, pandemonium... No such bad luck. Instead, it's three quarters of an hour of unrelenting sea-shanties in the form of 'Spanish Main', 'Simon Diamond' and plays of the more obscure moments such as their debut-effort, 'Shadows Fall', plus the jaunty, likeable Specials-ska of 'Dreaming Of You'. In all, it's an unmistakable highlight of the weekend.
And socking it to 'em on the main platform of musicianship is Starsailor at this point, frontman James Walsh pulling out all the stops to ensure his voice, which is continually on the verge of cracking due to over-exertion in recent weeks, holds out - and it does, sublimely at times, transforming the anthemic new tune 'Silence Is Easy' into the performance's peak, only nearly outdone by a closing and rousing 'Good Souls' (complete with injuries on-stage).
A triple-whammy of treats arrives hereafter, with Elbow kicking off proceedings, easing from the grisly, dark 'Any Day Now' through to a mesmerising 'Scattered Blacks & Whites'. Along the way, the Bury-stars find just enough time to slip in the majestic likes of 'Red', 'Powder Blue', and 'Bitten By The Tailfly' (complete with brass), along with some insults towards their female technician, Bammo, the usually-outspoken Guy Garvey restraining his comments throughout the performance to just that of encouraging the audience to call out the name of their on-tour associate every time she comes into view... Aww, how sweet.
Turning up the tempo tenfold are Idlewild, Roddy Woomble in specifically attention-commanding mode, and flailing around the stage like a man in need of an urgent hernia operation. It's a greatest-hits affair, naturally, the four-piece immediately grinding into 'Little Discourage' and making way for 'You Held The World In Your Arms' plus incendiary new number, 'I Am What I Am Not': essentially Suede's 'Trash' - with its speed trebled. We then get a golden oldie from their debut-LP, 'Hope Is Important' - the still-to-this-day elevating angst of 'I Am A Message' which is a suitable pre-cursor to the power-driven surge of 'A Modern Way Of Letting Go'.
And, just when you think they could do with easing it down a notch, they do - and Woomble is left with guitarist Rod Jones to perform the affecting lullaby, 'I'm Happy To Be Here Tonight'. Of course, it then goes mental again, and 'When I Argue I See Shapes' follows, bringing with it 'Century After Century', 'Idea Track', 'Stay The Same', 'Roseability' and a memorable 'American English': the band's own 'Wonderwall'. Graceful, entirely enthralling and rich, the 'Wild will merely be heightening their strength as their career progresses.
Doves close the dose of semi-prominent Brit guitar-packs, beginning as they mean to go on with the sumptuous 'Pounding' and 'There Goes The Fear', their just-under-an-hour show backed up effectively with vintage screen-images in the back of the stage, allowing the gigantic, epic moments - i.e. 'The Cedar Room' - to become overtaking, enveloping swirls of hypnotic sound. Hell, they even dressed for the occasion - Jimi Goodwin, for instance, looking more a member of an emerging NYC cartel than frontman of one of the UK's most currently vibrant and important bands.
Then, suddenly, it all gets a bit heavyweight-y on the V Stage. Following the largely chill-out, folk-hop of Gomez, who play all the good bits from recent LP 'In Our Gun' and scan their back-catalogue generously, it's over to Scottish-stalwarts, the hard-hitting rock-electronica super-group, Primal Scream; tailgunning their latest LP 'Evil Heat' to dangerously dramatic proportions, the actual music played is even bettered by bassist Mani's irreverent comments, mainly consisting of insults to the crowd of being 'cheapskates' for not buying the group's latest full body of work. Ooh, err. Still, they must forgive us by the end, it all closing exquisitely within the shape of 'Movin' On Up', the crowd rejoiced in a moment of uplifting sensations whilst frontman of the act, Bobby Gillespie, stares on, unimpressed. Some people, eh?
Equally reluctant to show us his true appreciation at the start is Kelly Jones of headliners, Stereophonics, who easily can lay claim to gaining the largest audience turn-out of the entire weekend. Soaring from triumph to triumph, the kick-start in the vein of 'Mr Writer' (and an eerie remixed intro) means that as they swing to 'Vegas Two Times' and straight into 'A Thousand Trees', although the group are often perceived to be as edgy as pair of blunt scissors, as proven here tonight, there are few others that can prove quite so crowd-pleasing. A people's band not for the critics, it's a safe bet that they'll be entertaining to audiences of this size for some time yet.
Wrapping up matters over on the 'NME' Stage for the evening are Basement Jaxx, however - and they're yet another addition to the bill that can't go wrong. From every single of their career - including the mesmerising 'Jus 1 Kiss', vital 'Where's Your Head At', and the infectious set-finisher, 'Bingo Bango' - to the trancey moments where no-one dances, the atmosphere is electric, the stage filled with activity: fireworks, lights, dancers... It's the perfect, celebratory end to a weekend of many memories, defiant performances and quintessential bouts of partying.
How V2003 will shape out following this is anyone's guess, but as proven once again this year and from prior experiences, the organisers of this festival undoubtedly know what we all want... Thank them for their endeavours by pre-ordering your weekend ticket for next summer. As soon as you can.
Photo-Credit: James Faherty
Scrapbook:
THE PEOPLE'S VERDICT
(based on 75 opinions)
Best Band Of The Weekend?
1. Stereophonics
2. The Chemical Brothers
3. Manic Street Preachers
= Basement Jaxx
5. Supergrass
6. Primal Scream
7. Badly Drawn Boy
8. Doves
= Idlewild
10. Alanis Morissette
Photo-Credit: James Faherty
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