Saturday morning shenanigans start with the great Maynard and Holyday ‘get your ball in’ challenge, which I realise only makes sense if you are there, but skilled shots result in dubious alcoholic beverages and lots of fun all-round.
We then head to watch Pete Drake, who is always entertaining but today delivers a set that still has plenty of laughs in songs like ‘Musicians Are Needy Bastards’ and ‘Katy Perry Went Into Space’ but also is has real heart, such as ‘You’re No Longer Small’, written for his fifteen-year-old daughter, which truly resonated emotionally with its singalong chorus. ‘The First New Wave Of British Heavy Metal’ is a clever and quirky look at the music scene. Having recently gone through a year of loss, I expected perhaps to
shed a few tears this weekend, but I hadn’t expected it to be during Pete Drake’s set. When he performed ‘Queen Of The Fields’, dedicated to the brilliant and much-missed Amanda Lucas, the lyrical content was a beautiful tribute with touching tenderness that hit home hard to her friends gathered in this field.
Next up was Kai Skinner’s set which crackled with youthful energy. ‘Smell Of Toast’ felt charmingly eccentric, while ‘Parasitic Party’ and a mash-up featuring ‘Bitter Sweet Symphony’ generated positive crowd reactions. Covers blended seamlessly with originals, and there was a 
confidence to the performance that suggested an artist rapidly finding their stride. His delivery of ‘Terms And Conditions’ and ‘Ode To Britannia’ landed with biting precision, balancing anger with the razor-sharp lyricism that make these excellent covers. Every line felt aimed directly at modern Britain’s anxieties and frustrations, yet the performance never lost its sense of humanity. Definitely one to watch if you get an opportunity this year.
I, Doris delivered exactly the sort of fearless, joyous chaos audiences have come to expect. Their feminist punk anthems ‘HRT’ and ‘Beach Body Ready’ transformed the tent into a euphoric singalong, while songs about cowboys, with a hastily recruited cowboy on percussion, orgasms and everyday womanhood blurred comedy with righteous defiance. Their reworking of Squeeze’s ‘Up The Junction’ from the woman’s perspective was particularly inspired.
Musical Fruit delivered one of the weekend’s most joyous and infectious sets, turning the afternoon into a celebration of pure exuberance with creatively crafted melodies that turned familiar Warren Ireland tracks into multi-layered symphonies that complimented the originals whilst still turning them into something sparkling and fresh. I hadn’t known what to expect as I was a huge fan of Ireland’s looping work, but the band brings something innovative to the table. Brimming with brilliant lyrics, energy and irresistible hooks, they had the crowd swaying, singing and dancing from the opening moments. Long-time favourites from the Warren Ireland era sat alongside newer compositions in a way that didn’t feel forced. ‘Over It’, ‘Round and Round’, a storming cover of the Incubus song ‘Drive’ and the euphoric ‘Keep Believing’ showcased the songwriter’s gift for crafting songs that speak to your soul and with the band weaving memorable melodies, every track hit home. ‘Keep Believing’ in particular felt like an anthem tailor-made for festival fields, its uplifting spirit drawing voices together across the audience. ‘Millennials’ demonstrated a fresh confidence and a knack for sharp social commentary, while single ‘Feel Free’ is a belting rock song that was delivered with a frenzied passion that was compelling to watch. Their enchanting rendition of ‘Pure Imagination’ added a touch of whimsy and took us back to those days as we emerged from lock-down and had mini festivals with our closest friends. A raucous cover of ‘Tribute’ then brought smiles all round.
Everything culminated in ‘Crazy’, the new composition of which created a euphoric high both in the crowd and on the stage. It just works so well. Musical Fruit proved themselves masters of feel-good festival pop, delivering one of the weekend’s most irresistibly danceable performances. Warren Ireland has always been innovative but the band was a bold move and the transformed tracks are a testament to the strength of that material, with the new material looking to be just as interesting. We look forward to watching what happens next.
Elm Tree Road balanced emotional sincerity with polished indie rock craftsmanship. ‘December Kiss’ rolled forward on shimmering melodies and commanding vocals, while ‘Love Has Died’ explored love and loss with striking poignancy. ‘St Cecilia’, the title track from the album, became a heartfelt tribute to the joy of creating music together.
‘Ashes Of The Bow And The Swell’ offered one of the weekend’s most beautiful moments alongside ‘Greyhound Woman’, a stunning ballad delivered with aching tenderness. Meanwhile, ‘Carnivals In Her Eyes’ swelled into a tumbling folk tune that had toes tapping across the field. The band deliver songs of such beauty that I always look forward to watching their set and hope to see more of them this Summer.
Muddy Summers and the Dirty Field Whores combine everything that is awesome about the grassroots festival scene into one band. The songs are poetic and political, their performance rebellious and melodic and more than anything else, you know that this is a band that means every single word they sing, which is precisely what we need when the world is becoming an increasingly worrying place. There is a righteous anger in some of these songs as Gail articulates both the despair and hope that many of us are feeling as the world is becoming a more worrying place. ‘Broken (Don’t Vote Fucking Tory)’ melds a beautiful melody with clever lyrical content, elevated further by Gail’s vocals, which resonate with passion. There is a singalong part at the end from the enthusiastic crowd as we wave our arms in the air to the chant. ‘Get Off My Tits’ is body empowerment at its best, reiterating the message that our bodies are our own and no one has the right to police them. The recent addition of ‘Tateworm’ demonstrated that Muddy Summers continue to tackle contemporary issues with biting satire and irresistible hooks. Meanwhile, ‘Mother’s Call’ revealed the emotional depth that makes Muddy Summer’s And The Dirty Field Whores’ songs speak to so many people in the crowd. That concept that we have a world worth saving in from the morass of malevolence that currently threatens us shines through this beautiful song about our responsibility to future generations.
Muddy Summers and the Dirty Field Whores are so compelling because there is a complete absence of pretension here. Their songs arrive wrapped in humour and punk exuberance, yet there is genuine heart beneath the mud-splattered chaos. Every chorus seemed designed for audience participation, with the crowd enthusiastically embracing the band’s wonderfully anarchic spirit.
There is also something refreshingly fearless about the band. Whether delivering barbed observations or heartfelt reflections,
Muddy Summers And The Dirty Field Whores songs speak to a different society, one we have forged ourselves in fields full of folk who are prepared to put the work in to making a fairer society based on inclusive values happen. Their performance possessed the kind of spontaneity and warmth that cannot be rehearsed and cannot be manufactured.
At the centre of it all stands Gail Something-Else, a genuine force within the grassroots scene. Through Muddy Summers and her tireless support of independent artists, she has helped foster the spirit of inclusivity, creativity and mutual support that lies at the heart of the Grassroots scene. That sense of community permeated the entire set as this was a band playing among friends, and a crowd revelling in every glorious minute. Long may this celebration of punk, protest and community continue.
The Star Botherers are another firm favourite here at Lyric Lounge Review. We first saw them a long time ago at Bearded Theory Festival and they were one of the bands that made us look more into the local grassroots scene. The lyrics are either laugh-out loud hilarious, serious, social commentary, or a blend of both and their performances are always a highlight of any festival for us. ’13 Years In Oregon’ is fast-paced tale of debauchery that highlights the superb storytelling that underpins many of The Star Botherers tracks and has the crowd dancing to the foot-stomping beat. This is one of the reasons why I love ‘Just Around The Corner’, a narrative about the difficulties of working class life and the depths of the cycle of deprivation that develops empathy through clear characterisation. ‘First Night Festival Fever’ is a joyful jaunt into regret following too much hedonism and I really love watching people in the crowd point at their hungover mate as they bounce around to the melody. The brilliance of The Star Botherers if that their songs are often relatable. ‘Dreads’ is a laugh-inducing lampoon of a certain type of poseur and has the crowd shouting ‘of course he has’ during the chorus. ‘Bad Guy’ is Jordan’s favourite song, so he sings along to every word whilst the rest of us shout ‘and haulage’ at the appropriate moment and people who have not seen the band before are grinning as the lyrics outline the advantages of being a villain. ‘Robots’ and ‘Blackpool’ keep the pace high-octane and then the packed tent sing along with ‘When Dave’s Dead’, a festival favourite with brilliant lyrics and this is why The Star Botherers are such a brilliant band because they have songs that make you think deeply about the state of our society and also songs that showcase witty lyrics that keep us from drowning in despair. It is impressive when a festival gets that balance right, but even better when it is in one set. Get yourself to a Star Botherers’ gig, or better still, to ‘Nah Then Festival’, where you will also be able to get an Illicit.
Fraser Morgan brought warmth, wit and an unmistakable sense of community to the festival, delivering a set that fizzed with his effervescent energy. His easy-going humour and affection for the scene shone throughout, creating an atmosphere that was both welcoming and wonderfully entertaining.
At the heart of the set was ‘Festival Song’, which quickly evolved into an instant call-and-response favourite. Before long, the audience were enthusiastically joining in, transforming the track into one of those special moments that perfectly captured the spirit of the weekend. It was impossible not to be swept along by the sense of fun that radiated from the stage.
Morgan then spoke about mental health issues in young men and the importance of being there for one another but also about being open and honest when you are struggling. It is an important message and one that Morgan explores in two fantastic songs delivered with a startling sincerity that hopefully will resonate beyond this moment. ‘Girl’s Night With The Boys’ showcases Morgan’s songwriting skills as he admits that he wants to ‘take about [his] feelings’. It is a simple line but one that encapsulates a societal problem that we need to act on and perhaps this is the answer. ‘Call Me Mate’ continues this theme, with a powerful delivery. When Morgan pauses after highlighting that men under fifty who don’t talk about their pain is by taking their own life, there is a silence in the tent. Around the room, people are hugging each other and men put their arms around each other’s shoulders. Community is a word that is bandied around a lot but here, in this moment, Morgan’s words bring these people together.
Our motto at Lyric Lounge Review is that music matters and Morgan proves it by sharing a song that helps people to share their sorrow. Ending with the bouncy ‘Fell In Love Again’, Morgan has the crowd singing along and smiling. It is a real skill to capture an audience so entirely and take them into the darkness but then lead them back into the light and Morgan did it with sincerity, charisma and energy.
As darkness descends, the festival tent belonged entirely to Urban Voodoo Machine. Transforming the space into a late-night, bourbon soaked carnival, the band delivered a set that was equal parts theatrical spectacle and joyous celebration, with every song accompanied by a sense of mischief and infectious energy. We watch a lot of bands every year but Urban Voodoo Machine always stand out when we get the opportunity to see them due to their musicianship, their compelling stage presence and their fantastic songs.
‘Empty Plastic Cup’ has a compelling melody and tells of a world destroyed by greed. Urban Voodoo machine know how to captivate a crowd and the room is full of people dancing, stomping their feet and singing along. ‘Living In Fear’ tracks some of the shame and tragedy of contemporary society with references to the Windrush Scandal and Grenfell Tower Tragedy, showing that the lyrical content of the songs is as meaningful as the flamboyant performance power of the band. Its ska-spangled rhythm with frontman Angel’s strong vocal delivery has the audience dancing. ‘No Bail Blues’ swaggered into life with a heady mixture of calypso rhythms and country-blues grit. The crowd responded enthusiastically, embracing the singalongs and call-and-response moments that gave the performance such a communal atmosphere. It was impossible not to be drawn into the revelry unfolding on stage.
Much of the set’s unique character came from the band’s colourful musicianship. Slim’s accordion work added another layer of personality, while cries of ‘Olé!’ rang out across the tent and the band danced around the stage. The saxophone-led melodies brought a rich, celebratory quality that elevated the music into something truly distinctive and unforgettable.
‘Rusty Water’ and ‘Love 666’ roared with blues-rock swagger, maintaining the momentum and keeping the audience fully immersed in the band’s strange and wonderful world. Meanwhile, ‘While We Sleep’ combined stop-start rhythms and audience backing vocals with a timely warning about vigilance, proving that beneath all the carnival chaos lay songs with something meaningful to say. A great headline to an absolutely superb line up and there’s still a whole day left to go.
