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Roskilde Festival 2017: Day 4, 01.07.2017

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Circuit des Yeux’s only Danish shows before today were in Copenhagen and have only been at Jazzhouse (she gives them a nod of gratitude toward the end of the set). So it’s pleasantly surprising to see how many people have turned up for her set at Gloria, given that the rain has stopped as well. We’ve been taken with her tenor-range alto since the first time we saw her, but it was exciting to see her performing with a band instead of solo. She is bolstered by a drummer and violist (and a bit of programming), turning her sinister folk somewhere between rocking and terrifyingly demonic. She closed the set with a new song, so we hope this means she’ll be back again soon.

It doesn’t matter how many times we see Jenny Hval, if she’s playing live we’ll be there. The main reason is that we know that no matter how recently we’ve seen her, the performance itself is going to be different from the last time. A festival stage is a very different setting from a small club, but she compensated with her own take on volume, namely billowing sheets of plastic.

In addition to her usual person behind the control panel, she had another synth player/vocalist and a tuba player, both whom were occasionally called upon to abandon their instruments and leap around the stage while Jenny sang as though none of it was happening around her. It takes tremendous commitment to an idea to jump to the rhythm of an odd ball song while swinging around a big fuck off sheet of plastic like it’s a normal activity.

Slowdive have played Roskilde fairly recently, but not surprisingly their 2014 set at 02:30 wasn’t very highly attended. Not the case at their set at Avalon at what they refer to as a more reasonable hour of 18:00. Then they were riding on reunion buzz, but now they’re supporting a new album. They’ve balanced their set well, weaving in new songs with their back catalogue and still seemingly genuinely excited that they’re performing. Whether it’s Avalon’s sound system or the band’s own mixing choice, there’s a lot of bass in this performance, and it’s melodic and driving enough that we don’t mind that it matches the guitars in volume at all. Interestingly, it’s the new singles “Star Roving” and “Sugar for the Pill” that elicit the biggest cheers. It seems Slowdive have succeeded in introducing themselves to a completely new audience.

Some bands appear to have been specially designed and cultivated in a B-movie laboratory in order to headline a festival, and Arcade Fire are without a doubt one of the prime examples of this. The massive hooks and singalongs that sound more than a little bombastic on record make perfect sense in this massive muddy field. Opening with “Wake Up”, the band do just that, warming up the audience in record time, to the degree that it’s only a few minutes into the set that Win Butler has managed to jump on top of our very own Morten Aagard Krogh in the photo pit. New material from their soon-to-be-released fifth album, Everything Now, is carefully sandwiched between some of their more dance and electronica-leaning work, with the transition between “The Sprawl II” and “Reflektor” being particularly pleasing in its smoothness. Having whipped themselves up with an obvious closer like “Rebellion (Lies)”, Win insists on returning to the stage for one last goodbye, with “Neon Bible”.

It feels like a natural quiet ending, but ance outfit Moderat  – a hybrid of Berlin electronica acts Apparat (Sasha Ring) and dance duo Modeselektor (Gernot Bronsert and Sebastian Szary) – have other plans. The after-midnight gig lasted three hours (at the tail-end of a rainy festival, even our hardiest reviewer only lasted one) and cemented why the outfit has been much-hyped as the ultimate electronica live act. Pounding beats were accompanied by a visually-intricate light show, oscillating from pulsating singles with frenetic drums before moving into mid-tempo ambient tracks. The festival setting meant the volume was higher than any club, leaving a lasting impression of a powerful show for festival-goers to trudge home to.

PHOTOS: Roskilde Festival 2017

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Father John Misty live Roskilde Festival 2017

Roskilde Festival 2017: Day 2, 29.06.2016

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Solange live Roskilde Festival 2017

It’s still early in the festival, but having a gentle way of easing into the day is still welcome. Julia Jacklin kicks things off at noon, and there’s a surprisingly large crowd assembled for her that early in the day. The Australian artist’s take on Americana is soothing and lilting, equal parts naive and clear. Her countrified warmth and twangy vocal would make her an ideal opener for Angel Olsen. And if nothing else, she made worked the weird strain out of the Strokes’ “Someday” and turned it into a sweet, wistful song.

Prompted by the large red circle backdrop, people are asking if Solange is from Japan, which means that they don’t know the one detail about Solange that I thought was a given (she’s Beyoncé’s sister, FYI). Solange’s set ranges from soulful R&B to Whitney Houston-style pop songs, and it’s choreographed from beginning to end in a subtle Hal Hartley kind of way. Even the backing band are in on it. The moment when she lets go of the choreography is during “F.U.B.U.,” when she walks into the pit and sings directly to an audience member. The woman hugs Solange and bursts into tears. It’s a really beautiful moment that melted at least one icy heart.

At the Orange stage, The XX inaugurate the first first salvo in the bout of downpours promised for the next two days. Despite the weather, and being mostly known for their rather mopey, minimal take on RnB, and the trio manage an upbeat set replete with earnest crowd-work and popstar shapes from bassist Oliver Sims. Jamie xx lurks in the background doing what a friend informs me is some top-notch mixing, although I can’t say I’m a fan of any of his drum samples. Any interest and warmth comes from the chumminess of Oliver and Romy, and from the familiarity of the tunes. They might all sound the same but a field during a downpour is not a place for subtlety. The trademark vulnerability embedded in XX lyrics – spinning collective tales of falling shyly in love and feeling cripplingly insecure about it – was enhanced by the onstage confession from Romy Madley that she was dumped at Roskilde Festival at age 16: “But everything happens for a reason, right? And now I’m here with you, and you are way more fun than she was.” Judging by the cheers and the veritable sea of dancing, it seems the feeling was mutual.

Julia Jacklin live Roskilde Festival 2017

It’s the focus on ambient sounds that threatens to derail Nicholas Jaar’s set at the Apollo stage. A beatless ten minutes of baritone saxophone and feedback is not most people’s idea of prime festival fodder. Scheduled for the late-night 12:30 slot on a rainy evening at the festival’s furthest (and uncovered) stage, the performance from Chilean-American producer was expected to be a “drop-in” affair. However the throngs who stayed were generously rewarded with a slow build that escalated into a dense, satisfying performance that lingered for hours afterward.

The rain has stopped, but it has also stopped people from queuing. It’s only as Nas takes the stage that people start to pack in. It’s 1:30am and chilly and Nas does not seem to give a shit about any of that; he’s here to do this thing. From the word go, he’s zipping around the stage, giving lessons on old school hip-hop, and declaring that Beethoven is hip-hop. I’m surrounded by white boys trying to mimic the way he waves his arm to the beat while I dance the way aging indie rock kids dance (i.e. bobbing my head as a full-body movement). Our photographer, Morten, commented that he worried watching Nas would make him want to do pushups, as Illmatic is one of his go-to workout albums. I get it. I wonder why I never thought of that before.

I walk away from his set around the time he started leading the crowd in a tribute chant to the recently departed Prodigy. Somewhere around the foodcourt the bass from Nas gives way to a fuzziness and dead thump of kick drum.

The last time the Jesus and Mary Chain took to the Roskilde stage was 19 years ago, and the Scottish shoegaze legends proved that they could deliver tracks from their genre-defining album Psychocandy with the same lush charm as when they were first recorded 30 years ago. Guitarist William Reid ensured the show – which traversed a fair stretch of JAMC’s decade-spanning repertoire rather than tossing in a few classics among their comeback content was, quite literally, painfully loud.  This reviewer had to retreat beyond Roskilde’s Arena tent for the sake of her eardrums – a roaring sound that felt somehow amplified by the fact that the band members themselves were obscured by heavy-duty smoke effects for the majority of the show. Perhaps, one cynically wonders, to obscure the passage of time.

But unlike many of the anniversary tours restoring the 80s and 90s britpop heyday to festival stages since the 2010s, Jesus and Mary Chain have nothing to hide –  the indie rockers owned their past glories and proved the old hits still endure.

Words by Charlie Cassarino, Lena Rutkowski, and Amanda Farah
Solange photo by  Betina Garcia
Julia Jacklin photo by Morten Aargaard Krogh

Roskilde Festival 2017: Day 1, 28.06.2017

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Warpaint live at Roskilde Festival 2017

The first day of Roskilde Festival is always a bit strange. Assuming your festival experience begins with the music and not the week before, it’s a lot of getting settled. Getting wristbands, finding a camping spot, the various food stalls are finding their rhythm.

The train out is crowded, no surprise there. A group of four girls who looks to be about twenty take the two free spaces in my cluster of four with two standing next to them rather than find free seats away from their friends. I find this unwillingness to split up strange given they are going to spend four days in close quarters and massive amounts of predicted mud. Based on the number of sugary alcoholic drinks they consume on the half-hour train ride, I also assume they’ll come to tearful blows at some point as well.

I’ve given myself an hour and 45 minutes from when I arrive at Roskilde Station to collect my wristband, drop off my bag, and get to the first band I want to see, Warpaint. Apparently I am bad at math. I queue for an hour to get my wristband, not something I’ve had to do in previous years, but maybe my timing was better then. A man who has been left to watch all of his friends’ camping gear shouts, “You’ve stolen my life!” if you want an idea of the mood.

Certain precautions seen elsewhere in Europe have been taken in Roskilde as well, again not surprising. You would hope that a festival attended by 75,000 people would worry about security, but Danes think of themselves as immune to these things and it makes people chatter. I just notice that more entry points are closed off and I’ve got to walk a longer way around to get where I need to be. I don’t have time to check in my bag, which holds my raincoat (to safeguard against the impending meteorological apocalypse) and my laptop. Instead I queue again to get onto the festival grounds so I can rush to see Warpaint.

But first I need to be patted down, my bag needs to be searched, both ineffectively since I’ve had New York security at gigs look more carefully for bottled water for decades at this point. Security seems more affronted by how much I have in my bag rather than what’s in it.

“You should travel lighter, it would be easier,” the man checking my bag informs me, and I know the look I give him is not a kind one.

It’s a small miracle that I only miss the first five minutes of Warpaint’s set. More than anything I want to see Stella Mozgawa, the drummer who’s played on a bunch of records I’ve loved in the last few years. There’s a surety to her movements that is both reassuring and slightly threatening, like she could either pull the world together and split it apart depending on her mood on a given day.

Kevin Morby live at Roskilde Festival 2017
Photos by Morten Aagaard Korgh

Warpaint as a whole are great. They’re high energy and really trying to work the crowd. I’d always thought of their music as leaning more towards goth — not in a Peter Murphy sense, but with dense guitars and vocal harmonies that are both sweet and a little sinister. I’m a little surprised when they sell themselves as a danceable band, but I buy it. The programming, the beats, it all works, and though I’m not sure into the early on-set hedonism physically hitting me from ever angle, I am into this energy.

I wonder if part of this early sense of abandon has to do with the constant whispers of “enjoy it while you can.” It’s supposed to rain. All anyone will talk about is how it’s going to rain. I’ve received text messages from family back home who have read articles — presumably in English — about how it’s going to rain and we’ll all be washed away. Not yet though. Now the weather is chilly, windy, and dust is blowing over shoes and into eyes.

There is a large crowd at Pavilion for Kevin Morby, unsurprising since he sold out his show at Jazzhouse last year. The setting is wildly different, as are the acoustics, but he definitely rises to the occasion. His set, mostly taken from his new album, City Music, is noisier than his recordings.

Probably most noteworthy is that he lets his guitarist, Meg Duffy, steal his thunder. Think George Harrison on “While My Guitar Gently Weeps” — that’s tough to compete with in your own backing band. The crowd is happy; they are clapping along to all different songs, dancing when dancing doesn’t really seem appropriate. Someone is blowing bubbles and it’s weirdly endearing. The band seem happy too and. despite the cold fog blowing off the stage, the atmosphere is very warm.

The mass of people walking away from the stage provide human barriers to all of the dust blowing around, but there’s still no escaping it. It gets in your mouth without you realizing it and dries you out despite the cool weather. But we’ve escaped the first day without mud.

INTERVIEW: Greg Fox on Guardian Alien, Ex Eye, and Roskilde

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Fox Millions Duo live roskilde festival

Greg Fox (right) performing with Fox Millions Duo. Photo by Morten Krogh.

Drummer Greg Fox is the sort of performer whose name comes up in a variety of contexts. Though perhaps most often associated with Liturgy, the human drum machine is also currently playing with Guardian Alien — his one-time solo project, which is currently a duo including Alexandra Drewchin of Eartheater — and Ex Eye, a new band formed with Colin Stetson. He also has an ongoing pairing with fellow drummer Kid Millions of Oneida known as Fox Millions Duo.

It probably shouldn’t be surprising that Fox’s appearance at this year’s Roskilde Festival wasn’t limited to one set. But when you consider how exhausting a festival can be for a mere spectator, Fox’s three performances over as many days with as many bands is damn impressive. Unsurprisingly, Fox was difficult to track down between sets, but he answered a few questions for us via email after the festival.

How was your Roskilde experience?

I enjoyed Roskilde. It is a huge, overwhelming festival, so luckily the backstage area for artists was very hospitable. The food was great and it was easy to relax back there.

How do you prepare for three days of shows with three different projects?

Regarding preparation, there isn’t much to it, really. More than anything I try to prepare for presenting a full set for the audience. Seventy-five minutes is longer than most sets I tend to play, so there was some thought and planning given to what material to play and how to structure the sets. The nature of Fox / Millions duo and Guardian Alien involve more improvisation within a predesigned structure, so clearly outlining those structures was the main aspect of the preparation. For Ex Eye, it’s a matter of playing the material we have been writing, so not much to do before that set besides stretch!

How did you end up playing with Ex Eye?

Colin and I had been talking about doing a “heavy” project together for a while, both of us being fans of what you might consider various forms of extreme music. Shazhad [Ismaily] has been a longtime friend and collaborator, and one of my favorite people to play and travel with, so him being in the project was a no brainer, and Toby [Summerfield] is an old friend and collaborator many times over of Colin’s, so at his suggestion Toby came on board. That’s it really. We just wanted to start a new project, so we did!

Fox Millions Duo is a fairly unique set up. What inspired the project?

What inspired the duo is mainly just Kid and I really enjoying each others’ playing and company. We have a good time together. We were asked once to do a “drum off” as an opening act for a Lightning Bolt show, and instead we decided to come up with something collaborative. And it just went from there. I think we will definitely be making another record soon.

Guardian Alien has been through a few incarnations now. Is it going to continue to evolve?

I don’t know if i can speak to any kind of permanence regarding anything at all, so it’s hard to say – but I definitely enjoy the current duo lineup of Guardian Alien. Yes we have been working on new material, using new instruments and technologies, and we are very excited about what we have been creating together.

How is Guardian Alien different from your other work?

Guardian is different than other work that I do because Alex is my partner in the non-musical realm first and foremost, so the collaboration is obviously different than it is with other people. We know each other extremely well, for better and for worse, and we also love each other very much — and we share our lives with each other. So in many ways doing Guardian as a duo with her is really joyous and fun, and in other ways it can be very challenging. But I think that challenge makes for better creative outcomes.

LIVE REVIEW: Roskilde Festival 2016, Day 4, 02.07.2016

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Guardian Alien — Pavilion

We didn’t know exactly what to expect from Guardian Alien as the band is constantly changing. Once the solo project of Greg Fox (of Friday’s Fox Millions Duo), the current incarnation has him paired with guitarist and vocalist Alexandra Drewchin with each of them queuing up tracks from laptops.

guardian alien live roskilde festival
Photo by Morten Aagaard Krogh

Though Guardian Alien is nominally thought of as Fox’s project, Drewchin steals the show. It’s not just that as the guitarist she’s more mobile than the drummer — her vocals have a wacky range between her natural soprano and an evil vocal effect, her guitar playing uses effects that make it look like an optical illusion, and she’s twisting her body in an awe-inspiring way. When she bends over backwards and sings while facing the crowd upside-down it proves to be particular popular. When faced with addressing the crowd through heavily reverbed vocals or heavily distorted vocals, she often opts for the demonically distorted vocals. She’s fucking with us, she wants us to know it, and it’s hilarious.

There’s not much more that can be said about Fox’s drumming that we haven’t already said, but this current combination for Guardian Alien belies a playfulness that contrasts nicely with the weight of the music. It’s a little bit tribal, a little bit demonic, and perhaps the most concrete project he’s working on right now. — AF

Gojira – Arena

After touring their latest album, “Magma”, apparently French metallers Gojira have been on a bit of a break. “We’re really rusty” claims frontman Joe Duplantier, whose facial hair today makes him look remarkably like Alan Rickman playing the Sheriff of Nottingham in that shit Robin Hood movie. That’s not a diss, it’s a solid look. Either way, evidently Gojira’s definition of ‘rusty’ is brutally unforgiving. The 1/32-note kick-drum tears through the audience, driving the business-suited gentleman next to me to froth at the mouth with glee. The metal audience at Roskilde will always be a minority, but they definitely get their fill. And if nothing else, they did a solid job of drowning out the sound of Dizzy Miss Lizzy from the Orange Stage. And for that I shall be eternally grateful. – CC

gojira live roskilde festival
Photo by Morten Aagaard Krogh

Cate Le Bon — Pavilion

Cate Le Bon plays whimsical pop songs that she delivers with a dry voice (think of “dry” in the same positive light as when it’s used to describe wines). Her vocals live are note-perfect to their recordings, which is precisely what we were hoping for. The only disappointment is that she doesn’t have more small talk between songs, because she speaks with the same delightful lilt as she sings.

cate le bon live roskilde festival
Photo by Tom Spray

Le Bon’s set is mostly comprised of songs from her latest album, Crab Day, which in addition to allowing her to hit the high notes also have her backing band shuffling around instruments. There are times when the bass is too high in the mix, and this drowns out the keyboard in particular, but there is plenty of ramshackle guitar to propel things forward.

And though the aforementioned dryness of Le Bon’s voice is a huge selling point, it is not without emotion. Highlights from the set included “What’s Not Mine” and “Are You With Me Now,” which, for all their forthrightness, leave us wandering back out into the cloudy Saturday in a slightly ruminative state. — AF

New Order — Arena

New Order were always going to be a bit of a wild card, the legacy band that doesn’t want to be a legacy band and doesn’t want to play by the rules. The obvious choice would be for them open their set with a hit, and instead they choose “Singularity” from last year’s album, Music Complete.

new order live roskilde festival
Photo by Tom Spray

While there were some reminders that the band do in fact have a new album, they were forthcoming with singles from throughout their back catalogue, with tracks new and old complemented by stunning short films. The vocals could have been louder, and it was a little difficult to understand Bernard Sumner’s lyrics and his between-song quips. Still, it’s hard to describe the collective euphoria of a packed tent of people singing and dancing along to “Blue Monday” — except for the band themselves, who played to the new wave parody of standing stock still despite the energy of the people in front of them.

After we walked away from the crowd, having been told that “Temptation” was all they had to offer and jabbering about how bands don’t play encores at festivals and anyway New Order had a reputation for not playing encores at all, we heard the cheers erupting from the tent and the opening bass line of “Love Will Tear Us Apart.” Needless to say, we made our way back to Arena very quickly. Several people told us afterward that they were moved to tears, and at least one of us feels no shame to count herself amongst them. — AF

LCD Soundsystem – Orange

It has been a day of highs and lows. Guardian Alien’s thrilling set in the early afternoon, friends in tears over New Order’s encore, and crucially, having to witness Italy lose to penalties against Germany. But all is not over: I am in the pit at Orange Stage, about to see LCD Soundsystem.

Five years ago the band had bid the world farewell with an already legendary three-hour show in Madison Square Garden. Their return this year was greeted both with enthusiasm and a fair bit of scepticism. After all, why invalidate such a brilliant swansong? But as soon as the band begin to trickle onto the stage to the beat of “Us V Them”, the answer seems self-evident: because it’s simply too fun to stop.

LCD Soundsystem - Photo by Morten Aagaard Krogh
Photo by Morten Aagaard Krogh

The set itself flawlessly balances material from all periods of the band’s existence, including a personal favourite, the caustic and hilarious “Losing My Edge”. There is a triumphal, assured quality to everything James Murphy and his merry companions do on stage. From this vantage point you can see his expression as he grins and gurns at the band with his back to the audience. They’re all drinking champagne, playing some of the best dance music made in the last twenty years. For the first few songs it looks like they are playing more for each other than anyone out in the fields of Roskilde. But eventually Murphy looks to the audience and professes his surprise and gratitude that so many people have stayed on in spite of the cold and the mud. Suddenly what looked like arrogance begins to resemble more a genuine joy for the music.

Perhaps LCD Soundsystem’s greatest legacy will be their ability to both narrate and enact the pleasure of music as a shared experience. The ability to be both incisive and fun. But to me, they shall forever more be remembered as the band that gave birth to the first ever Here Today editorial dance party. – CC

PHOTOS: Roskilde Festival 2016, Day 3

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tal national live roskilde festival

Photos by Morten Krogh and Tom Spray.

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LIVE REVIEW: Roskilde Festival 2016 Day 3, 01.07.2016

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peaches live roskilde festival

 Reviews by Charlie Cassarino and Amanda Farah. Photos by Morten Krogh and Tom Spray.

Fox Millions Duo — Gloria

An hour of two drummers doing there thing sounds like a hard sell. What on earth would they possibly do for all that time?

But Greg Fox and Kid Millions are two of the best drummers in New York. Their day jobs in Liturgy and Oneida respectively constantly push them outside of your standard rock drumming, and they’re not afraid to let things get a little weird. They spend the first twenty minutes of the set sat on either side of a snare drum with a backing track fading in and out over them, Kid Millions with a serene, trance-like expression on his face the whole while (Fox is a bit more fidgety, though it’s impressive watching him get up and shift around without it affecting his playing).

Fox Millions Duo live roskilde festival

Watching each man at his own drum kit has a different feel. The delirium of the first song has evaporated from Kid Millions, and he’s now pulling faces as though it’s his college roommate sitting across the stage. The two communicate through a series of nods, with a synchronicity that is boggling. They are so in synch, at one point they each cast an empty water bottle on the ground at the same time.

If experimental music can lack an organic element, the Fox Millions project makes up for it. Maybe you can’t dance to it, but this has pretty much killed the gimmick of having two drummers for any other band to come. — AF

Mac Demarco — Arena

I arrive at the edge of the Arena tent, coffee in hand, tired from work, desperately needing a lie down. Not the best mood to dispassionately review a gig. The crowd is immense, and a good third of them looking like carbon copies of Mac himself, so no chance of seeing much. Mac and co take to the stage (or rather, as the noise from the crowd leads me to guess that they are coming on), look at each other goofily as they tune up. “Get comfortable,” Mac tells us, and at that I realize that it’s Friday, I’m drinking coffee, I’m at a festival, and things aren’t quite the disaster I’d made them out to be.

Mac DeMarco live Roskilde Felstival

No matter what you think of Demarco’s output, he has charm. He stands before thousands of people as easily he would be jamming in front of a few close friends. But although there are plenty of people gushing with enthusiasm for renditions of “Salad Days” and “The Stars Keep On Calling My Name”, the predominantly casual crowd drown things out a bit. This is painfully obvious during the David Syvian-esque down-tempo love song, “Another One”. Given that Demarco’s output can be a little on the samey-side, these keyboard-driven tracks become among the most interesting. But the chatter in the crowd starts to drown out everything. I suppose that’s the danger of being so laid-back. — CC

Colin Stetson and Sarah Neufeld — Gloria

Colin Stetson and Sarah Neufeld made names for themselves working with Arcade Fire and other indie darlings, but their work as solo artists does not approach those pop turns. It’s hard to even imagine the conversation that led them to decide that their instruments, bass saxophone and violin, were the two destined for a collaborative effort, but it’s for the best that they know better than we do.

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Neufeld’s violin playing feels like a series of loops, reflected in her own songs as well as her collaboration with Stetson, and it’s this light thread that acts as a guide through their compositions. Stetson, by comparison, offers more range, from the thin and reedy to a gut rumbling frequency, as on their final song, the title track to their album, Never Were the Way She Was.

It’s not only their joint album they play. Stetson provides sax for one of Neufeld’s pieces and each of them trading off in performing their own songs while the other sitting quietly to the side, setting a relaxed example for the assembled crowd. It’s weirdly perfect music for a rainy afternoon that has people taking flight into the sheltered Gloria space. The only way it could be better is if there was room to get rid of the wet rain gear. — AF

Peaches — Apollo

A muddy field is not really the right venue for an encounter with Peaches. Her confrontational brand of eletro punk is more befitting of a grimy basement. Her cartoon amazon warrior outfit, graphic in its anatomic detail, more than befits the stomach-churning stabs of bass that issue out of the PA. It feels more like an extreme form of interrogation than a musical act, but you get the impression that’s exactly what she’s going for. — CC

peaches live roskilde festival

Tal National — Avalon

There are no two ways about it: it’s a bit of a dispiriting, wet day today. But over the years we have discovered a secret, albeit a fairly obvious one: when things are looking a bit down and dreary, go find a West African band. And Niger’s favourite band, Tal National, are precisely the people to save this rainy Friday evening.

Look, if you’re in the habit of reading several different Roskilde reviews, you are going to encounter a recurrent word in conjunction with Tal National: tight. Certainly a merited adjective, if not exactly the most descriptive. The core sextet (although reportedly the band can consist of upwards of thirteen musicians) are preternaturally in synch, weaving disparate rhythmic patterns together, stopping and starting without warning, keeping everyone on their toes. The audience, many of whom are in the Avalon tent mainly to shelter from the rain, take instantly to the skill and enthusiasm that is at the heart of this group.

tal national live roskilde festival

As they say themselves, Tal National are all about unity. Its members hail from every part of the country, come together to travel from town to town (while also holding down day jobs) spreading the music. One image from their set speaks volumes: the band’s defacto leader, Hamadal “Almeida” Moumine, picks up his bandmate’s drumsticks and shows them to the crowd. They are both splintered right through the center. “This happens every time, he is a very expensive drummer.” The man in question beams on, steam pouring off his bare shoulders. — CC

LIVE REVIEW: Roskilde Festival 2016, Day 2, 30.06.2016

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savages live roskilde festival

Reviews by Amanda Farah and Jesper Gaarskjær

Courtney Barnett — Avalon

If what you want is high energy rock music, it’s hard to do better than Courtney Barnett. Her blues-driven slacker rock with big choruses is perfect for jumping around and wailing along. You could take ready cue from her bassist, who spends much of the set flinging his body from side to side like Muppets are made to when they’re dancing. Add to the to that the background projects of weird but amusing cartoons and there’s the feeling of a subversive kids’ show for adults.

courtney barnett live roskilde festival

It’s also clear where Barnett’s comfort zone is. It’s well into her set before she says anything to the crowd, though this is a kind group who’ve heard “No One Really Cares If You Don’t Go to the Party” on the radio a hundred times and are singing along to “Depreston,” a song about gentrification and property values. But when she plays a solo her body turns into a rubber band and she loses herself in something ecstatic.

It’s easy to imagine a day when Courtney Barnett will be headlining festivals. She has the songs and she has the energy. The ability to command a stage is still forthcoming, but you can see that she knows it’s something she has to work on. It’s growth we can look forward to seeing. — AF

PJ Harvey — Arena

PJ Harvey knows how to make an entrance. She walks out onto the Arena stage with her band in single file, including a mini drum procession, with her saxophone in hand and wearing an amazing black feather vest.

The Arena stage is filled from end to end with her band, no mean feat, and the crowd is spilling out from the tent. If Polly Jean doesn’t say much between songs, it’s because she has the sort of presence that allows her to get away with saying so little. The profundity of hearing songs like “Let England Shake” and “The Words That Maketh Murder” a week after the UK’s referendum is not lost, even if she doesn’t call direct attention to it.

pj harvey live roskilde festival

It’s not as the PJ Harvey is someone you go to see for lightheartedness. The shift away from political drama to songs from To Bring You My Love, including the title track and “Down By the Water” fills the space with a dark energy.

She closes with “River Anacostia” from her latest album, The Hope Six Demolition Project. Slowly, her band join her in a perfect line, singing the final lines together in a communion that’s almost spiritual. Though the crowd lingers, cheering for more, it’s too perfect an ending to follow up. — AF

Tenacious D — Orange

We went out to see Tenacious D thinking it would be a laugh, and it absolutely was. Jack Black on stage is essentially the guy from School of Rock, and Kyle Gass is the guy who is not Jack Black, i.e. an excellent straight man who deals with Black’s over-the-top emoting. For goodness sake, there’s a guy in red body paint and pair of furry trousers playing the part of Satan.

It’s 10 years since the release of The Pick of Destiny, and the set features heavily from the record. A rare outing for “Master Exploder” turns into a somewhat elaborate Milli Vanilli joke, and the segment culminates in “Phoenix,” which acknowledges that sales for The Pick of Destiny were less than stellar. Even if it’s heavy handed in the way that only main stage acts can be, the display of performance is admirable (Black’s repeated mispronunciation of “mange tak” is less so, but points for trying).

Despite the duo’s best efforts not to be serious at all, the crowd is definitely taking them seriously. This is typified in the mass singalong of “Tribute,” which explicitly states that it’s not the greatest song in the world. But if you can’t get in on the joke, what’s the point? — AF

 

JÚNÍUS MEYVANT (IS), Pavilion

It starts with a resounding “HU!” from the crowd. These days there is something special about everything from Iceland thanks to their football teams’ success at the Euro 2016 and their now legendary HU!-cheer. This event is no exception. Júníus Meyvant, on stage preparing for the first song, seizes the opportunity and gets the whole tent to roar “HU!”, and so a pleasant afternoon begins in the best possible way.

Június Meyvant has brought quite an orchestra to the setup. Eight people in all, including three of them playing wind instruments, kicking off with a surprising instrumental take, indicating that Június Meyvant has much more to offer than the soft, folky tunes from his celebrated first EP. The likes of “Gold Laces” and “Color Decay”. We got those beauties, of course, but the red-bearded Icelander takes the audience new places from song to song. Hushed tunes, full-blown orchestral compositions and solo appearances with only Júníus Meyvant on stage with his guitar.

At the center of it all, his trademark voice, both smooth, raspy and raw, adding some edge to the folky softcore. In between the melodies — during the sometimes too long breaks — he entertains with a profound sarcasm that stands in contrast to the songs, many of them taken from his forthcoming debut album. After this afternoon, that also ended with a “HU!”, expectations are mile high. JG

 

BISSE (DK), Gloria

There really is no one like Bisse. He blew up Gloria with a high voltage performance, making a clear statement: he is one to watch in the next few years.

He enters the stage as colorful and powerful as his music would lead you to expect. Glitter on one cheek, painted oversized eyebrows on the other, red lipstick, red nails, circular sunglasses, and — when he took the glasses off — a determined, piercing stare under the blond hair. And backed by a tight, intense three-man-band he delivered his shouting, rattling songs; this blend of rage, light, darkness, tenderness, new-wave and punk, that is nowhere else to be heard.

Photo by Morten Aagard Krogh

 

Bisse shouts more than he sings, flitting around  the stage, changing dress three times and dancing with a naked torso, sexy and edgy at the same time. And he has a lot to say to the world. He has released four albums in a single year, and though their quality can fluctuate a little, and though it often was hard to distinguish the words from each other in Gloria, he gives everything he has, an artist at his most beautiful, leaving the room breathless. Even when he announces that he is about to do some ballads, it takes only a few seconds before the first ballad turns into a raging roar.

Bisse, this highly gifted chameleon of emotions, attitude, chaos, sex and poetry, really makes the blood rush. JG

 

SAVAGES (UK), Avalon

I adore Savages. I adore lead singer Jehnny Beth, the black intensity in her eyes, her explosive moves and unbreakable voice, and this Thursday night she and her three bandmates underlined what has been obvious to the world the last three years: Savages is a ripping, gripping and ruthlessly beautiful live act.

Savages_DSC1674

Jehnny Beth is above all the mesmerizing star. Pitch-black backslick, red lipstick, pale skin and dark suit. When she stares or points, she leaves a mark of latent danger. She is known for her interaction with the crowd, crowdsurfing and crawling over them — I last experienced it this April in Boston, USA — but that dimension was unfortunately missing at Avalon.
That said, Savages lit the tent up with their energetic darkness and songs about anger and love turned bad, both in their ballads and in their tight punk explosions. JG

PHOTOS: Roskilde Festival 2016, Day 1

in Photos by

Bring Me The Horizon_Photo by Tom Spray_06

Bring Me The Horzion, Arena, by Tom Spray

 Vince Staples_Photo by Tom Spray_01

Vince Staples_Photo by Tom Spray_03

Vince Staples, Pavilion, by Tom Spray

Action Bronson_MG_5583

Action Bronson_Photo by Tom Spray_03

Acti0n Bronson, Avalon, by Morten Krogh & Tom Spray

at the drive-in live roskilde

at the drive-in live roskilde

At The Drive-In, Arena, by Morten Krogh

aurora live roskilde

Aurora, Pavilion, by Morten Krogh

hinds live roskilde

Hinds_Photo by Tom Spray_01

Hinds, Pavilion, by Morten Krogh & Tom Spray

Wiz Khalifa_Photo by Tom Spray_05

Wiz Khalifa_Photo by Tom Spray_01

Wiz Kalifa, Arena, by Tom Spray

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