First up at this year’s Leeds extravaganza is Canadian hipster BUCK 65. Playing before a diminished crowd in the Dance tent, his unique blend of country, punk rock and hip-hop surely deserves a higher billing than the half three slot that he is allocated. Regardless, those here to see him are treated to a great performance.
Part cowboy, part apocalyptic visionary, Buck stands almost aloof as he scratches expertly before a mesmerised crowd. Finally he declares the festival well and truly alive:
“Where I come from, when people get together to dance under a tent it’s called a ho-down!”
Remaining in the dance tent for FOUR TET, (aka Kieren Hebden) this reporter is suddenly very conscious of the fact that he is standing in a tent, wearing an anorak and scribbling away in a notepad: the quintessential train-spotter look. This moment’s insecurity is not helped by the swell of Nathan Barley- style Fashionistas in the audience. “This is wicked man!” says one such, before seeking his friend’s approval: "This is wicked, isn’t it?"
As it happens, the Trendy’s assumption is fairly accurate. Hebden’s blend of disjointed beats, bleeps and laptop generated sounds are a fusion of the highest musical order. With a strobe-intense finale, 4Tet gives a wry smile as he raises the tempo to cardiac arrest inducing proportions at the crescendo.
Fair play to IGGY POP, the guy is still living the dream. Stripped to the waist as per se, Pop reveals the kind of leathered torso you’d expect to see on a plinth in the Natural History Museum. Whilst the rest of THE STOOGES could easily be mistaken for the cast of Last of the Summer Wine, they are still as tight ever; drummer Scott Ashton’s timing impeccable as always. Coinciding with the re-release of much of their back catalogue, Iggy et al blast through such incendiary gems as 1969, TV Eye and the mammoth ‘I wanna be your Dog’, displaying why they are such an important part of rock music’s esteemed heritage.
Back under the covers of the NME/ Radio 1 tent, BRITISH SEA POWER conjure up a performance of epic proportions. The stage is suitably adorned with leaves, branches and stuffed birds, whilst members of the audience hold aloft pieces of foliage in homage to the band. (Ah, the irony of BSP fans decapitating Yorkshire trees for the nature loving Brighton quintet!)
As searchlights swoop across the crowd, the Sea Power delve into the anthemic reaches of debut album ‘The decline of…’ with ‘Remember Me’ and ‘Carrion’ and recent single ‘It ended on an oily stage’. Beneath the barrage of feedback and overdrive, BSP, like Bowie, have great melodies, none more so than the grandiose ‘Lately’, extended into a ten minute epic to close their set. Even the 9ft grizzly bear who joins the stage finds his hair standing on end and the song reaches its zenith.
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Sprinting to the dance tent, we catch the tail end of M.I.A., whose raga-tinged vocals provide a pleasant diversion from the norm of skinny white-boy rock. Whilst it is not for me to pass judgement on her attire (shirt- think Nelson Mandela, early 90s), the music is fantastic. ‘Bucky done gone’ samples the Rocky theme tune, interspersed with hip-hop beats and lyrics liberally peppered in political content.
LCD SOUNDSYSTEM frontman James Murphy’s manic performance on ‘Losing my edge’ is more intimidating than any metal/rock act to play Leeds this weekend. Shifting from the narrative of a man attempting to justify his existence, to the chorus where Murphy appears to break down before our very eyes, the extent to which the song is autobiographical is intriguing. Playing as a live unit, the LCD sound encompasses early Talking Heads with all the dexterity and fluidity you would expect.
Having seen THE FUTUREHEADS on two previous occasions, it is with great expectation that tonight’s set will showcase some new material. Alas, the Sunderland quartet sticks tightly to the script, scarcely deviating from their eponymous debut album. Then again, with such strong material, why should they? ‘Meantime’ displays the band’s wonderful four-part harmonies and, as usual, the crowd are divided into sections for ‘Hounds of Love’.
However, it is the lesser known tracks that stick in the mind from tonight’s performance: ‘Carnival Kids’, ‘Man Ray’ and the beautiful if brief a cappella version of ‘Danger of the Water’ illustrate why the Futureheads are now one of the biggest bands in the country. “We might as well be headlining the main stage” quips bassist Ross Millard. And he’s right, the NME tent is packed. Roll on the new album.
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