Leeds Carling Weekend 2004

Now in its second year at Branham Park, the Leeds leg of the Carling Weekend is quickly proving that it can give Reading a run for its money. By the Thursday evening the campsite was already buzzing with speculation – would Pete and Carl be reconciled? Could Johnny Borrell’s ego fill the main stage?? And would any of the remaining New York Dolls live long enough to play???

Friday

Eastern Lane kicked off Friday in the Radio One tent with an energetic if slightly predictable half hour whilst The Fiery Furnaces attempted to break the record for most songs in a set clocking up a spectacular 746 in thirty minutes.

Certain bands are superb live and shite on record. Sadly for Dogs Die In Hot Cars the reverse is true – even ‘I Love You Coz I Have To’ proves to be tedious and disappointing.

It wouldn’t be a festival if by 4pm on the first day one of the stages was running late. Thankfully, despite the delay Client manage to play a full set in the Dance tent. Blending the synths and off key vocals of the Human League with Goldfrap’s sexiness, these two lasses decked out as S&M airhostesses prove to be one of the days highlights. Secret Machines on the other hand turn out to be a major disappointment. Possibly when a group are described as ‘the best new band in New York’ alarms bells should ring. Couple that with the fact the singer sounds like Brian Molko fronting a dance outfit and you realise the full horror. Thank God then for Radio 4. As stages go the Dance tent is overlooked and often snubbed by the indie music types but more fool them. Whilst at first glance it may seem an odd venue for these tattooed rockers as soon as they start reeling off gems from their last album ‘Gotham’ the place becomes filled with infectious beats which don’t let up until the end of final track ‘Dance To The Underground’.

I half expect The Others to be guerrilla gigging in a portaloo or something and so feel slightly let down when they appear on time in the Carling tent. To chants of ‘853’ the crowd erupts as the band battle with security and instigate a mass stage invasion – ‘There’s only three of them and a million of you. To me that’s good odds. Good luck!’ encourages singer Dominic. Heading over to The Von Bondies with the instruction ‘midnight at the dodgems’ ringing in our ears there’s a sense that we’ve just witnessed something special.

As tenth anniversary presents go, headlining the Radio One stage is not a bad one. However, tens years of gigging seem to have taken there toll as whilst Supergrass deliver a set full of hits, there’s a sense they’re simply going through the motions. What else could explain the need to perform ‘Caught By The Fuzz’ acoustically? As Gaz Coombes et al failed to bring Friday to a sufficient close The Others take up the challenge with gusto. Heading over to the dodgems for the midnight rendezvous, Dominic Masters and cohorts, having failed to turn into pumpkins, appear with portable amps, drum kit and megaphone in hand. Leading the assembled mass and a few confused passers-by onto the ride they launch into ‘This Is For The Poor’ before the mass bouncing and warnings of ‘Don’t touch the ceiling, do not touch the ceiling! You’ll be electrocuted,’ force everyone of the ride and on a hunt for a new venue. Having tried an ice cream van the pesky scamps attempt to break into the now shut Carling stage tent before setting up shop on the grass outside it. Cue four songs of flailing limbs, shouts of ‘has anyone seen my bass player?’ and general chaos until the apprehensive security finally manage to break it up.

Saturday

One of the joys of festivals is catching bands that you’d never normally pay to see on their own. With this in mind, Saturday morning sees the bleary eyed masses await Newport’s finest rappers, Goldie Lookin’ Chain. Despite reservations they surprisingly provide one of the most entertaining sets of the weekend. Break dancing their way through songs that sample ‘Lets Get Ready To Rumble’ and the ‘Jim’ll Fix It’ theme tune they end with ‘Your Mother’s Got A Penis’. It’s a good joke, but how long they can keep it up for remains to be seen.

Early afternoon at the Carling stage plays host to two bands competing for the ‘most eccentric/ best dressed’ award of the weekend. First up are London’s Do Me Bad Things whose three million members twist, turn and preen themselves through a spectacular set. Following DMBT would seem a hard act to follow but Pink Grease rise to the challenge. Singer Rory – the spirit of Mick Jagger in the body of a younger, slimmer Boris Johnson – struts and pouts as if his life depends upon it and makes the brave decision to wear white jeans. If the New York Dolls need to any more replacement members they could do far worse than look here.

With a set cut to twenty minutes, Modest Mouse have a lot of ground to make up. Sadly they fail miserably and even the mighty ‘Float On’ fails to redeem them. Heading from one band I expected to be great to another that I assumed would be crap, The Departure give an engaging performance. Whilst single ‘All Mapped Out’ is the best thing about it, the worries about them simply being Franz Ferdinand/ Killers clones fail to be realised.

Pelle Almquist is our saviour or so The Hives singer tells us during their main stage slot. For a crowd happy to bottle the Rasmus the previous day they seem willing to believe anything the Pied Piper of Leeds Festival proclaims. It’s doubtful whether all his schtick and bravado would be as appealing if they didn’t have the killer tunes to back them up. Thankfully, it’s something we’ll never have to discover.

Whilst Supergrass proved major disappointments the day before, festival stalwarts Ash know how to work a crowd. Striding onto the stage with flaming guitar held aloft Tim Wheeler doesn’t mess about. Fifty minutes of frantic pogoing accompany hit after hit after hit from ‘Kung Fu’ through to newer offerings ‘Orpheus’ and ‘Star Crossed’. There’s something spine tingling about a mass sing-along to ‘Girl From Mars’ in the afternoon sunshine and as set closer ‘Burn Baby Burn’ fades away the Dorian Grays’ of the indie world prove to be as fresh and exciting as ever. After the success of 2 Many DJ’s many people forget just how great a live band Soulwax are. Blowing away the crowd with gems such as ‘Conversation Intercom’ and ‘Much Against Everyone’s Advice’ they end, fittingly, with ‘Too Many DJs’.

Festival rumours never tend to amount to much however but the one about Super Furry Animals headlining over Graham Coxon turns out to be true. As a result of this, Coxon takes to the stage to be met with a slightly confused crowd. This time last year Blur headlined the main stage with a good but self indulgent set, suffering from mauling of their last album. 365 days later, Coxon wipes the floor with them, reeling out hit singles, covers and obscurities. This is a man whose b-sides, ‘Right To Pop’ and ‘Life It Sucks’ are as brilliant as singles such as ‘Freakin’ Out’ and the stunning ‘Bittersweet Bundle Of Misery’. Despite the headline switch with SFA he manages to deliver a top of the bill set and probably the festival’s best.

Having started the day with comedy band GLC it seems fitting that the main stage headline slot be taken by that other comedy band, The Darkness. Three songs in and the strain of spending the last year touring start to show. Whilst they’re a band who live can be fantastic, tonight The Darkness seem almost lost and the gigantic stage is unable to be filled by even Justin Hawkins falsetto warblings.

So then over to the Carling tent where ‘just about to become massive’ rockers Kasabian are rounding off the day. As a result of recent top ten singles, wall to wall press coverage and that all important CD:UK performance the tent is packed to the rafters as the stoners of the world unite to welcome their new heroes. If, during the set, Ian Brown appeared and announced he was reforming the Stone Roses it’s doubtful if the audience would notice, such is the jubilance directed at Leicester’s finest. As we stumble out of the tent with treasures such as ‘Club Foot’ and ‘LSF (Lost Souls Forever)’ buzzing round our heads we’re met with the spectacular firework display heralding the end of The Darkness’s set. Sadly, the fireworks turn out to be the highlight of the main stage headliners set. Oh well. Back to mid afternoon next year guys?

Sunday

Other than trips to see Bloc Party and The Ordinary Boys in the Radio One tent, Sunday is spent exclusively in front of the main stage. It can’t be denied that the ‘WooHoo’ refrain of the rockabilly hit which propelled The 5678s into the limelight is annoyingly catchy. Thankfully it’s the only annoying aspect of their set which has tinges of the Shangri-Las about it. Last year, the greatest songwriter of his generation plus band only played the Reading leg of the festival, opening in the Carling tent. Just 12 months later and Razorlight are propelled to a midday main stage slot. Any one who has previously seen the band know that in a tiny venue they’re electric so what on earth happened to create forty minutes of pure dirge remains to be seen. It can’t be denied that Johnny Borrell has talent and songs such as ‘Dalston’ and ‘Golden Touch’ can send shivers down the spine. However the free styling and Iggy Pop impersonations are cringe inducing, he looks worse for wear and seems disconnected to the rest of the band who just go through the motions. As Soulwax said, something’s got to give and at this rate it sadly may be credibility.

Fast forward twenty years and David Johansen could be an aged Borrell. Thankfully a reformed (sadly now with only two original members) New York Dolls are everything Razorlight weren’t. Entertaining and engaging, the passing years haven’t damped spirits as they wheel out ‘Trash’ and ‘Personality Crisis’. I doubt I’ll get to see them play live again which makes the set even more special.

Franz Ferdinand are another band who last year were much further down the bill on the Carling stage but after an amazing year they deserve their early evening slot and take full advantage in charming the pants off the crowd who in turn sing back word perfect. New song ‘Your Diary’ rubs shoulders with ‘Darts Of Pleasure’, ‘Cheating On You’ and the now anthemic ‘Take Me Out’. If you want to put money on next year’s headliners you couldn’t go far wrong than backing the Duke whose murder led to the First World War.

Last year The Libertines played with a man down after Pete Doherty was thrown out of the band due to his drug problems and was awaiting trial. This year The Libertines play without Pete Doherty who has again been thrown out of the band due to his drug problems and is er, awaiting trial. Welcome to Groundhog Day. This time however, a large proportion of the crowd know more about the band’s personal life than their music. All credit should be given to Carl Barat for keeping the whole show together but The Libertines without Pete is like trying to function when missing both arms. People will applaud you for carrying on but ultimately it’s not the same. ‘Can’t Stand Me Now’ seems weird as a solo piece with lyrics changed to, ‘oh I’ve got it the wrong way round? I kicked you out and blamed it on the brown?’. Whilst NYD performing without a full line-up is understandable, to perform when the missing member is still very much alive and desperately wanting to be part of the gang seems odd. New album closer ‘Whatever Happened To The Likely Lads?’ beautifully sums up the bond between Barat and Doherty and whilst deeply upsetting also offers a glimmer of hope that the good ship Albion may yet weather the storm.

The next comment will possibly lead to my early death at the hands of outraged indie kids but I’ve never really got the fuss over Morrissey. Granted the lad has produced a few good tunes in his time but the level of devotion he provokes baffles me. However, after discovering that we share a love of all things Mark Cullen (Pony Club) and this year’s fantastic ‘You Are The Quarry’, I’m prepared to give him a second chance. Maybe it’s the setting – sitting on a hillside surrounded by campfires in the evening breeze – but my first live experience of Mozza is pretty magical. Opener ‘How Soon Is Now?’ is met with rapturous applause with continues the length of the set as newer songs, ‘Irish Blood, English Heart’, ‘First Of The Gang To Die’ mix with classics such as ‘Everyday Is Like Sunday’. I doubt I’d ever pay to see Morrissey on his own but put him on a future festival bill and I’ll swing my gladioli with the best of them.

Final band of the festival, The White Stripes, were meant to play last year but, due to Jack White’s unfortunate injury sustained whilst ‘distracted’ by girlfriend Renee Zellweger, they were forced to pull out. By way of apology they now take the headline slot providing almost two hours of moody, blues-soaked, good old fashioned rock ‘n’ roll. As finale ‘Seven Nation Army’ fades away and the crowd disperses, Jack and Meg have proved the old adage, ‘good things come to those who wait’. Until this time next year Leeds, adieu!