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Deer Shed Festival 2013: Day 1 Roundup

 
By on Thursday, 25th July 2013 at 2:00 pm
 

Right in the middle of his Saturday night headline set at Deer Shed Festival 2013, Darwin Deez brought his band to the front of the stage, and all four men lined up in silence. Then a metronomic electro beat kicked in, and they began to move. Initially, just an arm would go up in response to a recorded note. Then each dancer took on a musical motif as his own, limbs locked in time with the music, until they were a blur of moving body parts, aligned in rhythm but diverse in motion, as if the internal workings of a wristwatch. It spiralled from there: in pairs, each couple chiding the other – using nothing but the power of dance – to even higher levels of highly-skilled yet light-hearted boogie-banter. It was a moment that summed up the entire ethos of Deer Shed Festival: do something fun; do it well; do it with the unselfconscious devotion of a child. And if it involves putting a cardboard box on one’s head and pretending to be a robot, so much the better.

Rewind a day or so, and the famously clement Deer Shed weather made putting up a tent both a pleasure and a chore – baking hot sunshine is perfect when the work of tent-erection is over, cold beer in hand, but slightly less enjoyable whilst in the process of whacking tent pegs into baked-hard ground. Still, it beats rain in any form, and Deer Shed still has a 100% record for no significant rain at any of the four events so far, a record which leaves many festivals blushing with envy. The site itself was significantly rearranged this year, cleverly making use of Baldersby Park’s natural bowl-shaped amphitheatre, although this sadly leaves the eponymous Shed outside the arena, looking very much unloved and forlorn. Perhaps it could be brought into use for… ooh, I don’t know… housing deer for the weekend?

Gaz Coombes Deer Shed 2013

No sooner was the tent upstanding then it was time for music. First up was Gaz Coombes, late of Supergrass, and what a superb opening gambit he turned out to be. His recent work, as chronicled in long-player ‘Here Comes the Bombs’, was very much in evidence, as expected, as was heartbreaking recent single ‘One Of These Days’. Songs such as the sub-3-minute stomper ‘Whore’, and the more circumspect, spacey almost-prog of ‘Universal Cinema’, were rapturously received by a crowd who appeared initially not to know quite what to expect.

What they got was a spectacular performance from a well-drilled and vastly experienced practitioner of alternative guitar-pop. A lady or two might have swooned at the sight of his impressively-sideburned visage. Imagine the delight of the crowd when treated to an acoustic interlude of a couple of Supergrass numbers, including the divine ‘Moving’, which excels when given a stripped back treatment. Then imagine that delight transforming into headbanging ecstasy when the very last song turns out to be the storming ‘Richard III’ from Supergrass’ sophomore release. Not a brow was left unsweaty. (5/5)

Edwyn Collins Deer Shed 2013

By chance, a member of our entourage is acquainted with a good friend of Edwyn Collins, and from him has learned how devastating the double cerebral haemorrhage and subsequent complications Collins suffered in 2005 actually were. Thusly, we’re under no illusions about how impressive it is that he’s here at all. Which makes reviewing his performance a little tricky. Collins himself isn’t overly mobile, his right side clearly considerably weakened. He sits on an amplifier throughout and plays no instrument. He has an odd way of speaking – in short, sharp facts rather than conversational sentences. His speech is slurred. Yet here he is, confidently headlining. It cannot be overestimated how significant an achievement that is, and a tribute to Collins’ efforts of rehabilitation. Such sentiment is largely irrelevant, however, in the context of musical criticism. And whilst on the surface this could be a difficult listen – a bald reading of some relatively obscure songs from a man who slurs his words and is liberal in his approach to perfect pitch – anyone with even a casual familiarity with his work will appreciate the resonance of this performance as a whole.

The set ranges widely over Collins’ long career – the white funk of his Orange Juice period still sounds fresh in ‘What Presence?’, time hasn’t dulled ‘Gorgeous George’’s edge, but it’s the new, post-illness material that’s most impressive. We get a smattering from 2010’s superb Losing Sleep LP, including the Northern Soul-influenced title track and the touchingly romantic ‘In Your Eyes’. But the best bits come from this year’s ‘Understated’. If Collins’ voice is damaged, his ear for a tune is still factory-fresh. There’s a strong autobiographical thread running through his newest songs: ‘31 Years’ and ‘Understated’ are barely-concealed musings on his past, his achievements, and what the future might hold, all bound together with expert songcraft. Bad health may have robbed Collins of his ability to play his cherished guitars, but it has thankfully left his musical brain intact. A performance for connoisseurs, but what it lacked in accessibility it made up for in depth. (4/5)

A particular highlight of last year was Darius Battiwalla’s piano accompaniment to the eerie ‘Nosferatu’. This year, Darius was back with 1925’s ‘The Phantom of the Opera’. ‘Phantom’ tells the story of Erik, a hideously deformed figure who lives deep in the bowels of an opera house, falls in love with a leading lady, and proceeds to terrorise all those who would stand in his way. A disturbing portrait of manic depression, it contains some genuinely chilling scenes, notably the casual way Erik dispenses with his first underground caller.

The production is astonishing even when viewed with a jaded modern eye – the subterranean lair is a romantic gothic masterpiece, and the restrictions of black and white film are used to its advantage when portraying the inky blackness of water, and by the use of tints to reinforce the emotional context of a scene. Battiwalla’s playing is an absolute joy, so expertly reflecting the on-screen action, one could close one’s eyes and imagine how the story was developing. Beautiful melodic vignettes of disparate theme, pitch and tempo flow together to create a seamless soundtrack, all the more impressive for being played without sheet music. Cinema doesn’t get any better than this. (5/5)

Head on over to Martin’s Flickr for high-res versions of his photos taken at this year’s Deer Shed Festival.

 

Tramlines 2013: The Bands Speak

 
By on Wednesday, 24th July 2013 at 11:00 am
 

Not counting the varying levels of success in 2006 to 2008 at a Baltimore racetrack and since 2009 when Richard Branson brought in the Virgin Mobile FreeFest to Merriweather Post Pavilion (the venue, not the Animal Collective album), Washington DC doesn’t have a major music festival. And the FreeFest doesn’t even attempt to cater to people who might not be mainstream music listeners, such as myself. I wouldn’t drive anywhere to go see the Black Keys or Jack White, just two examples of previous FreeFest headliners. Most other American festivals suffer from the same problem. They focus on getting huge names that the MTV watching public would enjoy. Coachella and Lollapalooza, anyone? Despite John and Martin’s urging that I need to do one at least once, I don’t think I could survive the massive camping festivals, so city festivals, with their many venues dotted across one given place while also allowing me to sleep in a real bed for the night, are very appealing to me.

This year I decided to pay more attention to a local UK city festival that has been going on for a couple years and seem to be doing it right: while they bring in big names to headline the main stages, there is a whole wealth of bands, big and small, playing traditional venues to the town cathedral. I am, of course, speaking of Sheffield’s Tramlines, which I had understood from the get-go had been an idea borne by local Sheffielders such as Arctic Monkeys’ Matt Helders, Jon McClure of Reverend and the Makers and Toddla T.

Even the name of the festival, inspired by the friendly-looking tram transit network I admired when visiting the city in the spring, seems to indicate the pride the festival organisers have just by being from the city and wanting it to remain something very special to the people that live there, yet all the while being entirely welcoming to those who choose to come into town to enjoy it with them. It’s hard not to have your heart warmed when you hear things such as Festival Director Sarah Nulty talking about this year’s event, “A huge thank you to everyone who attended and made it a truly wonderful event. The fantastic weather on Friday set everyone in a great mood which lasted across the site all weekend. Musically it was a great year for Tramlines with so many talented artists on the bill. Through Tramlines we get to showcase exactly what Sheffield has to offer and we’re very proud of it.”

John and I have been in discussion that next year we might just join forces and go finally, having looked jealously as this year’s line-up and whinged that we weren’t there. Who was there were the bands, of course. We’ve asked several of them to weigh on their Tramlines 2013 experience, so here we go…

Andrew Parry, keyboardist, Story Books:
Tramlines 2013 was our first band trip to Sheffield, and what a pleasant one it was. Tramlines is one of those inner city festivals that takes over an area of a city, encouraging sprawling crowds on streets and music coming out of its ear holes. Situated a few yards away from the aforementioned tramlines, our venue of battle was The Bowery, a cosy bar with a stage the precise dimensions to squeeze us and our gear on. This made for a real fun set. Nice and close in, we forgot any inhibitions and had a ruddy good time. The crowd were attentive and appreciative, with many a complimentary post-gig word. Which is all you can ask for isn’t it? That, and chips and gravy. And ‘scraps’. We’ll be back, Sheffield. Cheers.

Fran O’Hanlon, vocalist and multi-instrumentalist, Ajimal:
The cathedral might have been the most beautiful construction site I’ve ever played! Unfortunately, the body of the cathedral is being renovated, but the sound was pretty incredible none the less, such a beautiful and massive space. There was a bigger crowd there for me than I expected, which was lovely to come out to, and really attentive – those kind of venues always seem to inspire pin drop silence.

It was nice to wander round and get a sense of everything going on in Sheffield at Tramlines. I also managed to catch Dutch Uncles who I’d been meaning to see since their last album came out. Brilliant band.

James Leesley, vocalist and guitarist, High Hazels (read my Bands to Watch on them here):
To collectively summarise the weekend in two words, hectically pleasant would probably be accurate. Saturday was a day where we had three shows to play, the first being inside the Sheffield Cathedral. I think we were all particularly excited about playing in the cathedral, it’s quite a rare place to play and sonically speaking, it has a natural sound that we strive for within a lot of our music. The gig surpassed all our expectations and went really well – the audience sounded like they enjoyed it which is always a good sign. Along with the Cathedral, we played at Weston Park and later at Shakespeare’s, which was our highlight. There was a great atmosphere and it was a fitting ending to a very good day.

Sunday, we were on at The Bowery in the afternoon which was another full house and a great show. It was a good way to draw the curtains on our playing for the weekend and we were all really pleased with the response and quite humbled by the way we were received.The rest of the day was the first real chance we had to catch some of the other bands and join the traffic of the festival, which is always nice.

We thoroughly enjoyed it and are looking forward to next year.

Eddie Dullaway, guitarist, Van Susans:
After a 4-hour drive and two festival gigs in Kent on Saturday, we arrived in Sheffield’s Weston Park for the first of two performances. As we were setting up there was an apparent air of anticipation. A crowd, not on their feet, but sitting waiting for the next eargasm. We made for a musical fixation, drawing in with technical interludes and catchy hooks; our set time was halved but it kept us short and sweet and the crowd eager for more!

Our second show was at The Forum at 10.30 PM so with a little time to spare we engaged ourselves in frisbee, interviews, football, eating and more interviews. It was also Olly’s birthday, so a small amount of alcohol was consumed! The second show came bringing much of the crowd from the first into The Forum for an acoustic show which equally entertained the listeners. Overall, it was a brief, hectic but energetic day. We left Sheffield at around 12 AM to return to base (Bromley, Kent) and arrived home at 4.30 AM just in time to see the sunrise.

Ben Duffy, vocalist, Fenech-Soler:
Sheffield, for me, felt like it all clicked from a live perspective. It takes some shows and some experiences to fully get to grips with new material, especially the way we make our music. On the first record we had hundreds of shows testing things out but Tramlines felt like we were fully comfortable. We hadn’t actually slept in few days as we’d come straight from Switzerland so that just added to the mental state on stage. It’s nice getting totally lost in a performance. It’s also always hard at festivals playing songs that no one knows but the reaction has really made the last 12 months worth it. We’re just looking forward to releasing ‘Rituals’ (their second album out on the 2nd of September) now.

Dave Fendick, multi-instrumentalist, Fossil Collective:
Tramlines was pretty cool. We love playing in Sheffield, and it’s always good to be so close to home (as we can sleep in our own beds!) Although the weather forecast predicted rain, it held out and it was nice to arrive and see everyone lounging about, drinking beer and soaking up the vibe.

Playing on a bandstand instead of a normal stage was a nice touch. It made a change from the normal festival stages that we play. The crowd were very receptive too. (The cheap beer helped!) It was a nice family vibe, with lots of little stalls selling a variety of food and drink. We stayed on for a bit after the gig, talking to various people who’d seen us by chance and who were very glad that they did.

We left having made some new friends, and hoping that we get another invitation next year.

Tom Sanders, vocalist and guitarist, Teleman:
We played in the afternoon on Sunday, the weather was calm and temperate and everything seemed nice and relaxed. I don’t think many people knew our songs, or who we were, but that didn’t seem to stop people from enjoying it. I always think these kinds of festivals are about just wandering round and discovering new music anyway. Some of the best shows I’ve seen have been entirely by accident. Sheffield seemed a perfect setting for the festival and I can only see it going from strength to strength!

Bridie Jackson, vocalist and piano and guitar player, Bridie Jackson and the Arbour:
We played two gigs at Tramlines on Sunday, starting off with The Folk Forest, where we enjoyed some great music and our first Pimm’s of the season! The atmosphere was fantastic and the audience were great – we even managed to get them to join in with our rather whimsical Justin Timberlake cover.

Our second gig was at The Riverside, which boasted the highest ratio of cellos on one stage that we have ever seen! All the music was excellent, but particular highlights were The Early Cartographers, The Pocket Satellites and Joe Banfi. Again, the crowd were great and fun was had by all.

Matthew Whitehouse, vocalist and guitarist, The Heartbreaks:
Arrived in Sheffield at about 8 PM. Sat in the van outside the Harley mixing vodka and tonic in the bottle until Russ and Tom from the Crookes walked past and Russ gave us some promotional Red Bull cups. Tom was eating a margarita pizza. Saw the singer from Grammatics (who we went on our first UK tour with) and met the singer from Komokino, who our tour manager Mark used to drum for. Charlie Bone was there too. At about 5 past 10, we walked out to Sharpe’s ending theme as sung by Rifleman Daniel Hagman and played seven songs, including ‘Polly’ for the first time since February. Joe did a nice new drum bit at the end. Dedicated a song to Richard Sharpe and no one laughed. Ate an entire packet of custard creams.

Tom Dakin, guitarist, The Crookes (photograph below from the stage by drummer Russell Bates):
Tramlines is comfortably the highlight of the musical year in Sheffield, and will always have a place in our hearts. We’ve played at every year of the festival and it has been thrilling seeing it grow from its smaller roots into the city-wide, all encompassing event it now is. Every day on our route to our practice room in town we cross the green where the main stage is (Devonshire Green) during the festival, and it’s hard to believe it’s the same place when we’re stood onstage looking out at all the people.

This year has been particularly special for Sheffield music, which really is the lifeblood of our city. Bands such as Hey Sholay, Seize the Chair and High Hazels are just a few of the brilliant new wave of Sheffielders breaking through, and 65daysofstatic created a stunning combination of three-dimensional music and visual effects which left us wondering if our minds would ever be the same again as we wandered in a daze from their installation at the Millennium Galleries.

Needless to say, as the dust settles on this year’s Tramlines, all we can do is try to shake off our hangovers and begin the countdown to next year’s festival. May there be many more.

Crookes Tramlines 2013 sm

And that’s it from the bands of Tramlines 2013. Funds and time off from work willing, we’ll be in the thick of next year’s festivities so we can experience first-hand what always sounds like one of the best UK city festivals of the summer. See you soon, Sheffield!

 

Live Gig Video: Story Books perform ‘All Those Arrows’ at T in the Park’s BBC Introducing stage

 
By on Wednesday, 17th July 2013 at 4:00 pm
 

One of our favourites from SXSW 2013, Story Books appeared last week at T in the Park on the BBC Introducing stage, and we’ve got live footage from the performance. Watch the band playing ‘All Those Arrows’ below.

[youtube]http://www.youtube.com/watch?v=QjAeiCGlEiM[/youtube]

 

Live Review: OMD with Diamond Rings at 9:30 Club, Washington DC – 13th July 2013

 
By on Wednesday, 17th July 2013 at 2:00 pm
 

Once I saw OMD wow fans at the posh settings of the Gateshead Sage in May, there was no question that I wanted to see them again when they came round to DC 2 months later. Forget that Savages were playing a sold-out show on the other side of town; the 9:30 Club was the place to be Saturday night. If it wasn’t entirely sold out, it was pretty damn close: if you turned around and looked back from our spot down the front, all you saw were bodies and more bodies crammed in on the floor and on the balcony.

Whether or not frontman Andy McCluskey recalled I was based in DC after answering our Quickfire Questions last week, it didn’t matter. Both him and partner in arms Paul Humphreys were bowled over by the reception, with McCluskey saying that there were definitely more punters present than in 2011. He further requested of us, “next time bring a friend…and maybe in 5 years’ time we’ll play the arena!” (meaning the Verizon Center, where Coldplay and Foo Fighters regularly sell out). It was a terribly optimistic statement for a band that many still view as a ‘80s new wave nostalgia act, but he wouldn’t have said it if he hadn’t been impressed by Washington.

Diamond Rings Washington live

The support band for this entire North American summer tour was Toronto’s Diamond Rings, aka Jon O’Regan, who started out in two entirely different bands before striking out on his own as an electronic artist. Like I’d brought Martin to the Gateshead show, in Washington I took Cheryl to this one, as she didn’t know much about OMD and I knew she would enjoy it. She had a very astute observation about the Diamond Rings’ style, suggesting that teenagers who enjoyed the Neighbourhood would also like this style of dance music. ::editor facepalm::

That would be an easy excellent explanation on why I didn’t like it – the music just wasn’t for me – but I knew it was more than that. It kind of hit me like a ton of bricks that the me of 3 years ago would have loved the strobe lighting and flashing coloured lights accompanied by funky electronic beats. That me wouldn’t have been bothered by O’Regan’s Max Headroom-type haircut. That me probably would have let lyrics like “I wanna be your A to Z!” slide, choosing to instead focus on the rhythms instead. But not tonight. Make no mistake, O’Regan definitely has talent, with a voice that can range from the dark Dave Gahan-esque vocals of ‘Waiting on My Angel’ to the nursery rhyme style of set closer ‘Day and Night’ that suits his youngest listeners. And I suppose until La Roux returns with a new album, Diamond Rings will just have to do.

OMD Washington 2013 1

In my review of OMD’s Sage show, I alluded to a potential UK vs. US disconnect in the way punters were likely to react to their set list. As you probably imagine, I don’t get the opportunity to see shows by the same band in two different countries all that often. By and large my assumptions were correct: while the set list had only minor differences, McCluskey smartly changed his stage patter ever so slightly to accommodate a stateside audience. Instead of referring to ‘If You Leave’ as the song where the band had sold their souls to the devil (Hollywood), the short preface of “this is a song from a film” was a sufficient signal to their American fans that “OMG! They’re playing my favorite song!” (I didn’t actually hear this uttered but there were two very excited, very drunk middle-aged women next to me that I thought might succumb to heart attacks when the Pretty in Pink theme song was queued up.) It must give McCluskey and Humphreys such a kick that one song can have such different reactions in two different countries. Instead of 1996’s ‘Walking on the Milky Way’, whose associated album ‘Universal’ did nothing in America, OMD’s encore began with the Humphreys-led ‘Secret’, to which McCluskey quipped, “we didn’t play this the last time, it’s lucky we got out of here alive”. Ha! Oh really?

OMD Washington 2013 2

Perhaps also it is the setting of the 9:30 Club that affected punter behavior, encouraging all out dancing and fist pumping. Earlier during Diamond Rings’ set, the first two rows of fans were wearing sunglasses as if in deference to the baby-faced Canadian artist who was also wearing them. Multiple times that evening, the aforementioned drunk ladies were shaking their tushes and didn’t care where they were shaking them, which generally didn’t happen the Sage, as the audience was largely encumbered by the auditorium style seating. I think also that a good barometer of just how good the audience was could be determined by the fact that the Americans were more receptive and accepting of the new material from this year’s ‘English Electric’ album, with McCluskey’s absolutely mad explanation of what ‘Kissing the Machine’ was about making everyone laugh and both ‘Metroland’ and ‘Dresden’ were met with mental dance reactions. These same reactions pretty much rivalled the kind of reaction you’d expect from ‘Tesla Girls’ and permanent last song of the night ‘Electricity’.

Two different shows, two different countries. Yet one result: appreciative, happy fans. And that’s what it’s all about, isn’t it?

 

There Goes the Beer: Craft Beer Challenge Festival 2013 (GB vs. USA)

 
By on Monday, 15th July 2013 at 2:00 pm
 

Editor’s note: I enjoy the odd beer or two, but usually only in Britain, as I think it tastes much better than here in DC for some reason. I got to thinking it might be nice to cover something a little different on TGTF this summer. So this is it, our first foray into a non-music-related festival and Ben’s giving you a front row seat. Err, you know what I mean…

A battle is brewing in East London as the capital’s ale-lovers, stout-slammers and bitter-botherers descended on London Fields Brewery for the British Craft Beer Challenge Festival.

As you may have guessed, this is outside TGTF’s usual remit. But, in the interests of balanced journalism, I went along with just a notebook, £20 note and a dream, to answer the immortal question. That is, “If this beer was a band, then what band would it be?”

First up from us whining limeys is the fruity little red number that is Summer Wine’s Rouge Hop. A heavyweight, tipping the scales at 5.0%, it boasts a thick seam of coal that belies its Huddersfield roots. Taste-wise, there’s no long lasting affection on the palette but the bombast of a 5.0% buzz pulls it through in a live pub setting. I therefore dub it a ‘Bring Me the Horizon brew’.

Next, straight from Spike Milligan’s ‘Jabberwocky’ – it could only be the behemoth that is Ommegang’s Hennepin, a syrupy, 7.4% badass from the Big Apple. There’s a subtle accessibility about its simple taste spectrum. It’s unassuming, but lingers with you in mind and mouth. Doing the simple things well and coming up with massive results, it’s got to be a sip of The Strokes.

An honest, hard-working man’s ale with a hint of rugby shorts and a lot more in the locker than it’s given credit for, this is Manchester’s Lagonda IPA. A child of the Marble brew house, it’s grown into a gruff 5.0% bar-prop with bite. Stingy, uncomplicated and nostalgic, we’ve got a cup full of The Courteeners.

Add malt, wheat, hops, barley and a handful of American ale stereotypes, and you’ve got yourself a Ska True Blonde. Michael Palin used to say that American beer was like having sex in a canoe – f**king close to water – but this is our only example of the day. It had its bright side of life (namely the 5.3% sticker) and, like an alcoholic Alka Seltzer, would make a great hair-of-the-dog. So, let’s call this one a Lumineers.

Love Not War is an eclectic taste of London today from the festival’s own venue, the London Fields Brewery. A complex meld of simmering spices from the globe’s four corners – soul power in a condensed glass. A physical manifestation of the big smoke with an alcohol content of 4.5%, it’s late puking princess Amy Winehouse.

An all-American seasonal brew with the body of a German lager (/shot-putter), New York’s Brooklyn Summer Ale has a yeast content to ensure it’s permanently three feet high and rising. A smooth flow with hop-laden major chords and a myriad of fruity colours, this 4.5% wonder-jar is the summer staple that is De La Soul.

And, the award for the most metal ale-ias of the day goes to… Dark Star’s Revelation! A leaden 5.7% sacrament that blocks out the sun with a smoky brown spectrum of colour, it’s the culmination of years of taste-laden experimentation from this south coast brew house. A mosh-master from Brighton way? How about Architects?

San Francisco fruitiness with tropical hints of Um Bongo, Anchor’s Liberty Ale leans over and spanks you with its 5.9% palm. Tame Americana in name, but with an eccentric sunny edge and a nose full of hops. Both ethereal and guiltless, we’ll chalk this one up as POP ETC.

There are many things the Scots are known for, but health consciousness isn’t one, which is why the intensely meaty – almost marmite-like – potency of Tempest’s Unforgiven (silver medallist in the ‘Metal Ale-ias Awards’) comes as little surprise. A no-nonsense, Loch Ness monster of a pint with a bouquet of what can only be described as Bacon Frazzles; why, it’s Biffy Clyro.

Our last entry is a 5.5% beer-smoothie in a big gulp from Denver, Colorado. Its name – Doggy Style – comes with a mandatory soap opera wink, and its timing means that most of it has soaked into my shirt sleeve. So, what’s dark orange, wholesome as toast, sometimes cheesy but always a spirit of St. Louis? In some states he’s doubtless still number one in the charts today. He’s Mr. Colorado, he’s John Denver!

There we have it; 10 mighty beers locking horns in the quest to be crowned king of the Atlantic. Have the Yanks broken free from their imperialist forebears, or is it another case of “the British are coming”? The crowd have spoken (or at least slurred something vaguely offensive). And, it’s a massive win for our American cousins, 72-41; a result that can clearly be blamed on the resident donut shop attracting an imbalance of clientele, not that I’m biased or anything…

And thus concludes TGTF’s coverage of GB vs. USA in Round 2 of the British Craft Beer Challenge 2013. Round 3, Britain vs. Europe, takes place on Saturday the 3rd of August, leading up to the grand finale on GB vs. the rest of the world on Saturday the 7th of September. Check out the official Craft Beer Challenge Festival Web site for more info on upcoming events.

 

Live Gig Video: Electronic briefly reunite to perform ‘Getting Away With It’ at Live at Jodrell Bank 2013

 
By on Thursday, 11th July 2013 at 4:00 pm
 

While us New Order and Smiths fans will be waiting forever for original line-up reunions that will never happen, over the weekend Bernard Sumner made a guest appearance at the Live at Jodrell Bank festival just outside Manchester (naturally) during his former Electronic collaborator Johnny Marr‘s set. Humorously, at the start of the video, Marr looks down at his watch, as if wondering, “where the hell is Bernie?” Watch it below.

[youtube]http://www.youtube.com/watch?v=KwxvBt9t13Q[/youtube]

 
 
 

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There Goes The Fear is where we tell you about the latest music, gigs, and tours we love and think you should too.

We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like no-one's watching.

TGTF was edited by Mary Chang, based in Washington, DC.

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