This new film about Oasis’s glory years is rousing, heart-rending and really f**king funny
Glasto 2002 - Saturday, Other Stage : Orbital, Beta Band, The Vines
Orbital, as refreshing as ever, top off a eye-opening day on the Other Stage
Off the back of their greatest hits package they shamelessly roll out hit after hit – ‘Chime’, ‘The Box’, ‘Belfast’, the list goes on. In the outside world, Orbital may currently be without a record deal, but in here, right now, they’re the only band that could do the job.
Slack, hazy and indisputably oddly dressed (a tough feat in Glastonbury, white boiler suits incidentally) The Beta Band treat us to an ample selection of acoustic grooves from their ever-growing back catalogue.
So endearingly ramshackle, it’s easy to write off Steve Mason and co as a band possessed of only one idea – slow but funky. This belies the fact that they have so many great tunes, and so from opener ’Sleep Alone’ through to ’She’s The One’ they gently warm up the crowd for Orbital. They offered to take requests but made clear they wouldn’t do any "Wurzels, Oasis or Travis".
Coral may have made the radio-friendly ska tunes crown their own on the Pyramid Stage, but it is Vines who possess the straightforward energy that the best ska punk has flowing through it. No mistakes, nothing surplus to requirements and an unadulterated delight in the early in evening.
Even though we've had stonking performances from Rival Schools, Coldplay and Soulfly, on the back of tonight’s early evening performance, Haven are surely up there for performance of the festival.
For three quarters of an hour they whip and tease Glastonbury’s Other Stage mosh-pit into a frenzy with the biggest responses reserved for ‘Highly Evolved’, ’Outtatheway’ and a electro-shock version of ‘Get Free’. Criag Nicholls is spellbound throughout and by the end is slumped, sporting a split lip from huzzing his guitar offstage.
All the other bands might as well go home. Glastonbury already has its a band of the weekend.
Although Rival Schools have nurtured a reputation as serious angsters who walk a mile rather than smile, this is completely demolished by the sight of a Haven frisbees flying into the audience. As updates of Coral and The Faces famously booting footballs into the audience (which hopefully we’ll see again tomorrow), it takes some beating. More importantly 'Used For Glue' ups the rock ante to a great and welcome degree.
Brighton’s Coral have already quietly released one of the debuts of the year and, perhaps as importantly, transformed their live performance from frankly teeth-grindingly sloppy to tight, uplifting and quite dazzling. At first they are misleading – pretty good indie tunes with the odd interesting diversion, but soon it becomes apparent that these songs hide a sophistication that their peers would kill for. Take it as read – the second album will see them catapulted to Coldplay-style stardom.
Accomplished and solid are, unfortunately, two words that cling to [/a] like atomic-powered Velcro. Mightily-voiced but chugging musically, songs like 'Beautiful Thing' hang limpid in the air unable to engage the audience. Elsewhere however there are sparks that suggest that with supplied passion, could be promoted from the indie second division.
The head-on collision of Glastonbury and is, naturally, a beautiful coupling – there's something just so damn right about Scallydelica in a sunlight field. They rattle off sharply sounding 60s-infused sea shanties that beguile a sluggish audience. As 'Skeleton Key' drifts off into the ether, it's clear that have picked up a ton of new fans.
Saturday 1pm? Yes! It’s time for bad punk music played by four Portuguese men who look like they've just contracted scurvy after a long sea voyage. Still, never mind. Despite the fact The Parkinsons sound like a bull in an ironmongers, they're certainly entertaining. After 30 minutes of hopelessly out-of-tune garage rock, they end with a 10 minute tribute to Chuck Berry that finishes with their guitarist standing on top of the speaker stack waving his genitals in the air. Good attitude.
Whirling, swirling boogie psychedelia filling the body and mind with immaculate visions of nirvana. But enough about [a] who are playing in four hours time, The Shining comprise of the engine room of The Verve. And that's exactly what it sounds like – it ticks over when it should accelerate and is leaden when it should surge. It's a dependable warm up though for the main attraction later on.
D.O.G. are without doubt a perfect festival act, their melange of rock and rap is timeless in the sense that it sounds exactly the same as the score of bands who played at 2pm throughout the 90s. The impressive riffery and vocal spinning although seductive will be forgotten by the time the Vauxhall pulls onto the A303.
Two kings of the indie dancefloor unite for a warm, timeless take on 20th century pop and rock
This unruly second album delivers a sucker punch to anyone who had the Kent duo down as a novelty act
Justin Vernon’s third Bon Iver album is a weird and wonderful thing
With their bigger and better second album, London-based indie/dance band Boxed In have earned their breakout moment