Whoever writes the weather reports failed to predict the glorious weather that Swansea was bathed in from first thing. Despite the summery conditions, there’s a decent number already in Hangar 18 for openers Our Last Goodbye. The local quartet bring a dark, alt-rock style to the day, but earn appreciation with their well-structured angst-ridden songs. Singer Bethany O’Mahoney is an elfin figure but packs a powerful voice that fits their songs perfectly. The band are visibly moved by the response and hopefully, this show has improved what Bethany described as a “few shit weeks”.
Picking up the mood considerably, local boys Yaki Dah bring their alt-rock punk edged vibe with an energy that is almost exhausting. Frontman and all-round wag Christian Sayers is in great form, full of wit and exuberance that is impossible not to warm to. Several musicians have climbed onto the speaker stacks during the weekend. Sayers gingerly place a foot on one, which wobbles. “Fuck that” he laughs, “not with 17 stone!” Regardless, Yaki Dah bring it big time, and their comedic elements inject humour into the day. “Anyone been to Merthyr?” he asks, introducing “16 Miles to Merthyr”. I’ll leave you to work out the content. “We’re going to finish with a huge apology to Sir Paul McCartney” Sayer says, before Yaki Dah obliterate “Help”. It’s fantastic fun all round. Check these boys out. They’ll make you smile if nothing else.
Dig Lazarus bring their power trio hard rock next and do a fine job. They are quite routine in some respects, with a sound that echoes Queens of the Stone Age at times, but the vibrance of frontman Ash Tustain carries them through. He may be the focal point, combining vocals with guitar in fine style but it’s the band’s overall energy that is most entertaining. Several songs from Don’t Threaten Me with A Good Time are mixed with a couple of new tracks. They all sound good enough to keep this band on the radar.
Shorn of his bandmates, kudos of the biggest variety goes to The 501’s frontman Shane Grist. He’s determined to keep the show going and steps up to do an acoustic set. It’s a jaw-dropping 35 minutes, as he plays tracks from the band’s Emotional Vandalism and other songs including a Smashing Pumpkins cover. With just his guitar, voice and leather jacket, Grist quickly gets into his stride. He admits he was nervous, but with his Valleys wit enough to see him through, he manages to make it look easy … and enjoyable. The ovation at the end is as sincere as you’ll get.
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Blind River need little introduction to many in these parts although this is the band’s first appearance in Swansea as Blind River (most of the band have played here with other outfits in the past). They’ve got album number 3 waiting in the wings (note: it’s phenomenal!) and they draw three songs from Bones for the Skeleton Thief as they roar through their set in usual high-octane style. It’s a mass of hair and movement as they start with newie “Punkstarter” which gets the room dancing. They throw in “Second Hand Soul” and “Snake Oil” too, although some of these are already road tested in true Blind River style. It’s a phenomenal set, with Harry Armstrong’s between song patter honest, emotional, and all in the name of live music. By the time we get to the band’s anthem, “Can’t Sleep Sober”, the room is won. They came, they played, they conquered. Blind River … yeah baby!!
Being sandwiched between Blind River and These Wicked Rivers is akin to playing a festival when you clash with Metallica, but The Brink do their best with their brand of melodic rock laced with some of the best guitar work all weekend. They seem a curious collective, with drummer Reubes having a unique style of stage gear not seen in these parts since the late 1980s. He’s been recovering from some debilitating health issues though and it’s to his credit he’s back on the drum stool again. He’s focused on his technique to the extent it’s almost distracting, but he keeps the engine room moving, and the band rip through their set. Their Def Leppard meets Aerosmith meets Bon Jovi is a little light for me but many in the room are taken with the band and that’s all you need. Worth another watch for sure.
There are a few bands at this festival whose star is in the ascendency. Judging by the swell in the crowd and the number of shirts and hats on display in the audience, Derby’s These Wicked Rivers are keenly anticipated. With a change in line-up not impacting on their sound one bit, the Southern twang of opener “Shine On” gets the venue jumping. Whilst guitarist Arran Day wins the six-stringer of the weekend award (he is shit hot), it’s the collective sound that the band bring that works so well. Organ combined with double guitar is always good and these guys do it effortlessly. Two new songs in “Evergreen” and “That Girl” ease into the setlist before “Testify” sees Day head into the pit, and then “Don’t Pray for Me” leaves the packed room clamouring for more that doesn’t come. One of the best sets of the weekend, by a mile.
It’s a sudden and noticeable shift in the front row of the venue for the headliners. With an EMO night to follow, placing Nottingham’s rising alt-rockers As December Falls in top billing may have created a disturbance in the classic rock force, but the room is almost as packed for the headliners as it was for These Wicked Rivers. The quartet are in feisty form, with singer Bethany Curtis a livewire as she gestures, paces, and generally owns the whole stage. The band’s music isn’t something I’d listen to, although opening duo “Go Away” and “Afterglow” are catchy. The front few rows don’t care, singing word for word to tracks from recent album Happier and their 2019 eponymous debut. Anthemic, rousing, it’s something you either get or you don’t. Modern music isn’t to everyone’s tastes, bur by the time “Ride” and then “Tears” finish the set, you can’t help but admire this band’s grit.
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Pics by Paul Hutchings
