03 July 2009 (Music Review)

Words: Jenny Mulligan


So, after all the waiting and all the excitement, Oxegen 2009 is now over. If one's things to be said about the recession, it's that it's is nice not to have the place packed to the brim. Travelling down to Punchestown on Dublin Bus was relatively hassle free, after the first initial glitch of having no ticket bus early on Friday morning.

The crowd was young and a little on the, eh, cheap side. Let's just say I saw far more body parts that I would have liked to, the worst offender a girl in a wee skirt who wrote the words 'insert here' on her leg, accompanied by an arrow pointing upwards. Um, classy. But really, the amount of drugged out lunatics was no more than expected, and most of them seemed harmless.

Services were surprisingly plentiful. Queues for toilets and bars were never too long, with the longest queues at food stalls, which were also quite diverse and plenteous. With a Captain America, a Gourmet Burger Kitchen, a Mao, a Yumi, a Bagel Factory and loads more to choose from, getting food was as easy as, well, pie.

Weather was not on our side, and anyone who forgot their raincoat and wellies was regretting it by Saturday afternoon, when Punchestown racecourse became a lovely big mudbath. The real star of the show was, of course, the music. Florence and the Machine, TV on the Radio, Fred, St. Vincent and Patrick Wolf were my personal highlights, while Snow Patrol and The Specials gave particularly strong performances.

For more on Oxegen 2009, keep reading.....


Friday 10th July

The Brilliant Things kicked of Oxegen on the Main Stage, and were soon join by The Artane Boys' Band, in their full band uniform, looking absolutely delighted, with their synchronised moves, and their enthused and youthful guitarists. The shorter jumped as if he were playing with a world class rock band, while a rendition of 'The Final Countdown' was well received, before the band gave a tribute to the late, great Michael Jackson by playing an instrumental version of 'Thriller'. Meanwhile, The Brilliant Things' frontlady got well into the spirit of things by putting a band jacket on top of her full length pink tulle dress.

Having made it to the Heineken Green Spheres Stage, we were just in time to catch the end of The Dirty Epics, with their pink haired front-woman puttin on quite an energetic show, while their drummer carried them with his skillful rolling rhythms. The rain suggested we should stay in the tent until God Is An Astronaut brought their instrumental post-rock to the stage. Their earth-shuddering, bass heavy rock was accompanied by creepy visuals – psychadelic patterns, apocalyptic scenes and space age animals. Their rhythms are contagious though, and all around the crowds tapped to their drummers beats.

The craic in the Barcardi B-Live Bar is better than it's ever been. An unnamed DJ plays indie hits from Fight Like Apes, Lykke Li, Yeah Yeah Yeahs, Ida Maria, Passion Pit and Animal Collective, and drinks are actually quite reasonably priced. Well, cheaper than they'd be in any Dublin bar, at any rate.

Next, on the O2 Stage, The Answer were playing their characteristic sharp guitar riffs, with frontman Cormac Neeson head-banding his long ginger hair to his audience's delight. In the Red Bull Music Academy, Jape played his recognisable indie-electro tracks to a crowd notably more 'techno' than usual. Richie Egan played his best known song 'Floating' before raising a circling synth hook and techno beat that sent them wild.

Lily Allen's set was a little disappointing, but that wasn't at all her fault. A hyperactive crowd gave Lily her best reception when she delivered her well known covers of The Kaiser Cheifs' 'Oh My God' and Britney's 'Womaniser', though she also got a good response to her most successful singles 'Smile', 'LDN', and 'The Fear'. For album tracks though, 90% of the crowd played little or no attention, but then, they were like that for everyone. There was a 'bad sound' pocket mid-way down the field, where we happened to be, hearing her voice come and go above a grumbling bassline.

In an effort to find a bar with real drinks (unsuccessful, as it happens), I came across Duke Special, playing an elegantly subdued rendition of 'Freewheel', and urging a small but fervent audience to sing-a-long, and succeeded too. The Duke's voice was gentle yet clear, while his jazzy looking double bass player thunked away delightfully.

In the Heineken Green Spheres tent, Mogwai played their usual static, raucous set – not quite deafeningly loud, not quite. As ever, they perfectly time the switch from gentile, soothing moments and a guttural wall of noise. Their tracks were almost unrecognisable, plastered as they were in electronic sound effects, with ever intriguing results. Images of the post-rock Scots were displayed in a large discoball screen above our heads. Soon, security folks were needless telling us to get to our feet, clearly unaware that Mogwai are one of the best chill-out bands around.

Surprisingly enough, Snow Patrol were one of Friday's most entertaining acts. Clearly a lot of people were there to see them, and they completely lived up to their strong reputation as a live band. The entire crowd sang a lot to 'Run', a song which Gary Lightbody joked was their first number one, though they weren't the ones who got it there. To the crowds singing abilities Lightbody said 'that was beautiful' - clearly, it sounded different where he was. Well, he was convinced that everyone was 'gorgeous' and 'beautiful'. Two teen girls join Lightbody on the stage, taking on Martha Wainright's part in 'Set the Fire To The Third Bar'. Having clearly exaggerated their vocal skills, Lightbody carried them with grace and good humour. Snow Patrol, as well, had a good knack of blasting you with massive walls of sound, having begun most of their tracks softly and quietly and built them from there. If one thing's to be said about a Snow Patrol performance, they never let it get boring.

Finally, it was the piece de resistance, the one we were all here for, the princes of Britpop – Blur. Actually, it seemed like perhaps more people were here for Snow Patrol, as the young uns around is looked oblivious to the fact that one of Britain's greatest acts was on stage. Albarn an co. played a great number of their well-known hits, playing the odd album track for hardcore fans, which were not well received by the crowd. Highlights included Graham Coxon's sliding guitar on 'There's No Other Way', Alex James taking on a double bass, the brass section and couple of gospel singers that played on 'Country House', and Albarn's touching and beautiful rendition of 'Tender', including a vocal solo, accompanied solely by his audience. The band kept 'The Universal' for their encore, dedicating it to Joe Dolan, of all people.

Saturday 11th July

Fred kick off Saturday in the Heineken Green Spheres tent with their usual contagious energy oozing out through the tent, kicking off with 'Good One'. The Cork popsters filled out their guitar and keyboard sound by inviting a trumpet and trombone to play with them, while keyboardist Carolyn Goodwin herself played the saxophone. It wasn't long before two violins also graced the stage, adding depth and character to their single 'Skyscrapers'.

On the O2 Stage, The Gaslight Anthem were almost half an hour late to the stage, but eventually managed to get a soaking wet crowd going with their gruff, blues influenced rock. Lead singer Brian Fallon looked as if his growling voice didn't belong to him, with his clean-shaven, boy next door looks, while their hairy, tattooed guitarist Alex Rosamilia was the exact opposite. The highlight of the set was 'Great Expectations', as well as a great performance of 'The '59 Sound.'

With the Gaslight Anthem also late leaving the stage, we just made it in time to catch the last few tracks for Howling Bells. Their round guitar rock didn't quite grab until the very end when punky frontwoman Juanita Stein took a pair of drumsticks vigorously to a some drums and gave it her all for the last few minutes.

A dinner break later Passion Pit were up on the Hot Press New Bands Stage. Since their overriding sound is electronic dance pop, it was surprising that their main instruments were guitars, but their tunes were still invigorating, urging all around into dance mode. Singer Michael Angelakos was another whose voice didn't suit his body, his high pitched squeak more suited to a young girl than a big beard faced man. Their best known single 'Sleepyhead' was a true highpoint, even if only because it had the crowd squealing along to its Chipmunk style pitched-up vocal line.

Yeah Yeah Yeahs' main stage performance was not so hot, again not their fault in the slightest, as Karen O gave an intense performance in her green leggings and flowing top. Still, her sultry croak was almost the only thing audible with the poor sound quality, though those at the front seemed to be having a ball. They played a rip-roaring version of their recent single 'Heads Will Roll' before it was time to head for the IMRO tent for St. Vincent.

Annie Clark is a sheer wonder to watch. A wonderful guitarist with an utterly beautiful voice, she's joyfully eccentric, as are her songs, and her bandmates for that matter, especially one oddball saxophone player. It was only a shame that it was absolutely necessary to get to the front of the stage in order to be able to hear the difference between her normal microphone and the one beside it with a shaky effect on it. As well as songs from her new album 'Actor', St. Vincent also played 'Now Now' and 'Your Lips Are Red' from the last one.

When St. Vincent finished, we were infuriated to find the Hot Press tent was filled to the brim for Little Boots. An underestimation of Victoria Hesketh's popularity added to the continuous rain and ever increasing levels of mud meant that there was no way to get in to see her. From outside we saw her bouncing about in an extravagant dress to 'New In Town' and 'Mathematics' before we decided it might be a good idea to get into the Heineken Green Spheres tent well in time for TV On The Radio.

Beginning to fade at this stage, TV On The Radio injected some well needed energy into us with their exotic offbeat numbers. Kyp Malone and Tunde Adebimpe's voices meshed together perfectly - one too high to be real and one sharp and clear. The saxophone bled through each track, danceable numbers packed with wonderful rhythms. 'Dancing Choose' was a particular highlight, its fast-paced, rap-like vocals and punchy sax line. Tunde Adebimpe's wiggle was excellent yet sort of hilarious, and he bounced and jumped with endless vivacity.

On the way to see Patrick Wolf, we caught the end of Elbow's set on the main stage. 'One Day Like This' was a wonderful closer, with its strings, and fans singing its repeated closing line. At the end they blasted confetti from the middle of crowd into the air towards delighted fans.

Having waited for Patrick Wolf for the entire day, we waited another half an hour while crew sound-checked. A repetitive reggae bassline rumbled and resonated through the structures and the ground while the rest of the song was entirely inaudible. When Wolf finally arrived on stage, he was dress in one of his typical flamboyant costumes – a black and white union jack jumpsuit with a black feathered shawl like a great black eagle. When he began, it became clear that the sound wasn't going to get any better, as the bassline reverberated in our ears, drowning out anything else worth hearing. This forced us back from the stage, where we could still see Patrick crouch at the front of the stage and sing into a stage lamp. A mournful rendition of 'Damaris' was quite moving, as Wolf took up his violin to play along with his violinist and electric cello player. 'Oblivion' was also a highlight, with Tilda Swinton's spoken passage coming in on a backing track along with gospel style backing vocals. Wolf finished up with 'The Magic Position', a more upbeat track that sent the audience wild, and stuck in your head for the night.

Sunday 12th July

After our Dublin Bus driver took a wrong turn on Sunday morning, we made it to Punchestown just in time to see The Noisettes take to the Heineken Green Spheres stage. Kicking off their set with 'Wild Young Hearts,' frontwoman Shingai Shoniwa sang splendidly with her nasal tones, wearning a bright pink cropped jacket, and tutu-like white skirt. After listening to their hit 'Don't Upset The Rhythm (Go Baby Go)' on an ad for Mazda all weekend, it was a sure hit with the crowd, especially when Shoniwa draped herself seductively over their equipment. However, having played their two biggest hits at the very start of their set, soon the tent began to empty, and, yes, we were among the deserters.

Surprisingly R.S.A.G. was still battering away on his drum kit by the time we walked the ten muddy minutes to the Red Bull Music Academy, the smallest stage of the festival on the far side of the arena. We arrived just in time for 'Stick To Your Climb', it's repeated guitar and catchy bassline resounding wildly, as Jeremy Hickey speedily banged at his instrument. At one stage, his backing track and projected band stopped to allow him play and sing alone, building up to a feral highpoint.

Soon, all of the festival goers were making their way towards the main stage, waiting for Lady GaGa to appear. It seemed the devout fans were all at the front, while those further back, like us, were attracted by morbid fascination. If there's one thing I've learnt this weekend, it's that Lady GaGa should never be allowed to talk... ever. When she sang, she did so powerfully and with ease, like a cheap version of Christina Aguilera. When joined by dancers, the pace was exhilarating. But between songs, when she spoke, all she did was make an idiot of herself. A pointless story about pushing to the front of festival crowds, and idealistic nonsense about peace, love and music came before a ten minute piano introduction to 'Poker Face', in which GaGa had a go at humping her piano stool, as well as standing on it, bending down to play, and waving her arse to the air (in its full glory, might I add - not one of her three spangling costumes covered the blessed thing). After stopping between verses to endow us with more senseless twaddle, she finally got going, and it was almost worth the wait.

Nearby, White Lies were playing on the O2 stage. Their heavy rock wasn't enough to rouse potential fans, but Harry McVeigh's voice, deep and solid with its 80s style, was enough to keep them civilized at least. Having played 'Farewell to the Fairground' at the beginning of the set, they had enough sense to keep their audience by holding back their other hit, 'Death,' until the very end.

Following dinner, and some mouth-watering ice cream, it was time to make the long trek back to the Heineken Green Spheres stage, where Oxford math-rockers Foals were playing. Except for their haircuts, you'd never have known they were a trendy band, as they filled out their jerky riffs and sharp beats with noisy distorted guitars which really gave them an edge. After a juddering, dance-worthy performance of 'Olympic Airways', Foals played their most popular single 'Cassius' before we headed to the main stage for The Specials.

The sky was spitting when we left the Green Spheres tent, but by the time The Specials were halfway through their first track, the classic 'Do The Dog,' it was a full on downpour. It was possibly the worst of the entire weekend, soaking through cheap raincoats and leaving nothing but rivers of muddy water in its wake, a perfect environment for dancing, twirling and splashing to The Specials' classics, as well as mud fights and slides. Terry Hall kept his face straight as an arrow, while Neville Staple and guitarist Lynval Golding are still wonderful showmen, dancing and cheering the audience on. Meanwhile, the group's brass trio were the icing on a massive ska cake. 'A Message To You, Rudy' was the best received song of the set, but The Specials got their biggest cheer by thanking the crowd for watching them, since they haven't played together for 26 years. The crowd was notably older and smaller than for most of the main stage, of course partly because of the rain, but mainly 'cause most of these kids have never heard of The Specials.

Another band they'd never heard of were Wild Beasts, whose set was poorly scheduled for Hot Press New Bands stage at eight in the evening. When the quartet came on stage, they were greeted by cries of 'Who the f**k are you?' by some cheeky rain evaders, while a small amount of avid musos stood right at the barrier, their cheering urging the band to ignore their hecklers. The jeering stopped as soon as Hayden Thorpe and Tom Fleming opened their mouths. Fleming's voice is deep and sure footed, a little reminiscent of Morrissey, while Thorpe's is a high falsetto, breaking into a croaking screech at his command. Together they are truly awesome, as is their drummer, Chris Talbot, who looks almost young enough to be a school boy, but can beat out sophisticated rhythms with the best of them. A set of mostly new songs as well as the fantastic 'The Devil's Crayon' was sadly cut short by the impatient stage crew, eager to keep to their schedule.

Late to the stage and playing a substantial set, Of Montreal were still on stage when I made it to the Red Bull Music Academy. Their stage show is one of the most bizarre things I've ever seen, with people 'dancing' onstage wearing masks of all sorts - pig masks, gas masks, even a dinosaur mask. At one point, two mustached men twirled around each other in their luminous leotards. The band paid tribute to Bat For Lashes with a cover of 'Daniel', before finishing with a guitar rock tune, very different to their previous synth pop numbers.

As soon as Of Montreal left the stage, the crowd pushed forward, making it clear that if you wanted to see Florence and the Machine, you had to stay put. Grumpy because of errors on the schedule, the diverse crowd booed each and every person preparing the stage before Florence finally appeared. From what I could see, which was not much really, Florence was wearing a black cloak and a flowery headdress like that of the one in her video for 'Rabbit Heart (Raise it Up)'. She opening with 'Between Two Lungs' and proceeded to play all the most upbeat numbers from her new album, with some heated moshing for punk number 'Kiss With A Fist'. After officially making friends with her audience, she split us into two halves and asked us to howl like wolves, before playing, guess what, 'Howl'. A chant pleaded with Florence to play 'Cosmic Love' (another track which was blared all weekend on its ad for The O2), so she did, with her harp player twinkling along beautifully. By the time the 45 minute set finished, I was far from where I had first stood, and judged, that if I had actually been able to see her, Florence might have been my Oxegen favourite.

For more photos from Oxegen 2009 click here