I’m going to start this review with an apology. Call of the Wild 2024 was almost three months ago and the festival is getting ready for its first major announcement for the 2025 iteration. And I’m only just getting our review online. It’s not my style and it’s certainly not Moshville Times’ style. That said, the week after the May bank holiday, my day job went nuts. I’m talking doing days where I’d work far longer hours than usual, get home, cram some food in my face, get a shower and head to bed to do it all over again. And it meant reviewing this amazing festival got neglected whilst also the general running of the site (as well as other Moshville Times endeavours) and personal/other work commitments got in the way, too. And I promised it would get published, so here we are, three months later after chipping away at the review any time I’ve had five minutes to myself. So to the bands, PRs, managers, the festival’s organisers and its patrons – I’m sorry, life got in the way. Now, let’s roll back the clock…
Attending Call of the Wild has been a long time coming but finally, 2024 was the year I, and by extension Moshville Times, made the pilgrimage to Lincolnshire Showground. From past years, social media shows a festival that always seems to get the sun, a place where strangers become friends and family and three days of excellent bands. Whilst the sun wasn’t around for most of the weekend, it didn’t stop people from revelling for the entire weekend.
Once we’ve checked in to collect our passes and have a look around the massive room which will form the press room for myself, Gabi, and several of our peers and colleagues to work in and conduct interviews, we’ve pitched our tents and taken a wander into the arena. Thursday night for us, as newbies, is all about getting the lay of the land and finding our feet. The walk from the from the press room to the arena is a few minutes, as is the walk from our campsite to the arena. Whilst us press/media types were in with the bands and staff, I’m led to believe that even for the punters, it’s minimal. In the arena itself, there’s a bar, dubbed the Wolfpack, which will double at the Trailblazer stage, a set of stalls which form an island and another set of stalls along the far side, ending with the tent where bands will be selling their merchandise and coming to meet fans after their set.
Tonight, after we’ve had a look at all the stalls, dormant until tomorrow, it’s time for food and drinks, and catch up with some friends, a chance to relax before the hard work starts tomorrow. We’re treated to an excellent Guns N’ Roses tribute band, Guns N’ Yorkshire Roses who focus on faithful renditions of the energetic Appetite for Destruction numbers and some of the many highlights of Use Your Illusions. People-watching allows for some funny moments but there’s also a chance to see people meet their regular gig buddies or friends who they haven’t seen since 2023’s iteration of the festival. There truly is a community feel to this festival and it may be trite to say it but it does feel like a family. However, all that is gone once I hear the intro to “Nightrain”, I hand my pint to my friend and I’m into the tent, winding my way down to the front to join the inevitable pit. And the rest of the night? It’s all about singing along to all our favourite classic rock anthems once Guns N’ Yorkshire Roses are finished with their thrilling set. If the organisers are reading this – can we have them again next year?
Friday morning gives us the chance to set up in the press room and we’re told of the amenities – there’s tea, coffee, water, squash, and some snacks. Meanwhile, in the men’s toilet (can’t speak for those using the ladies), a bowl of toiletries are set up with a note for people to use for anyone who’s forgotten something. Needless to say, the festival are looking after everyone this weekend and it’s these little things that you remember and appreciate, and it’s no wonder why there’s sites and punters who have been here since day one and keep coming back. Now in the daytime, all the traders and food stalls are open – burgers, noodles, pizza, curries and toasties (I can personally speak for the curry and the toastie stalls, both were great and I think I fell in love with the toasties) and after the quickest of looks around, it’s time for the first band of the weekend with Loz Campbell.
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Already there’s a sizeable number of people in the arena – say what you like about the unsigned/DIY scene, you can’t deny the enthusiasm of the patrons. Having missed Campbell last year at SOS Fest due to merch duties for MuddiBrooke, there wasn’t a chance I was missing the first of their two sets and the band to kick the weekend off on the Southall Lawless stage. Which they do with style and aplomb in equal measure. The four-piece draw from the likes of Halestorm, Guns N’ Roses and Skid Row whilst bleeding modernity and filter it through an alternative tone with elements of punk for good measure. They’re tight and polished, each of the foursome loving every minute and making it count for their own memory and ours – after all, the first band sets the tone and they do it with style.
We Three Kings are one of the rare two-piece bands of the weekend (yeah, that doesn’t add up, does it?), the guitar and drums combo in matching leopard-print shirts are all about balls-out swagger rock with fat, chunky riffs. If Eagles of Death Metal were British, this is what they’d sound like. Artax is the first of many visits to the Trailblazer stage and the first Scottish band and one of the bands which help create a diverse range of sounds and sub-genres found at the festival. Here, they go altrock with a dollop of prog whilst the final song of their set brings in a metal edge. They’re a solid live act and a reminder of how rich the Scottish scene is and that there’s more to the country than Biffy Clyro, GUN, Texas, and Anchor Lane (all great bands!).
The Heat Inc. go hard on the classic rock sounds. Imagine Rival Sons on steroids and you’re just about there. It’s more muscular and far less mystical, stripping out the more psychedelic tones you’d find on the Jay Buchanan-led band. However, they’re just as snazzy in their stage wear. It’s moody without the meanness and never falls into the arena of pretentiousness, instead, it’s all about ensuring everyone has a good time and is the kind of classic rock that can’t help make you smile. Piercing screams from Brooke and Anna of MuddiBrooke kick off their set as they rattle through their catalogue, working in new songs “Money” and “Inside” which they toyed with last year, hinting at what’s to come. Their altrock/grunge blend goes down well, as does their banter with the audience and between themselves. It’s a set which is a display of power and passion, the trio working as one organism, in sync with each other at all times.
LaVire bring a big alternative slant to the day. Sonically powerful and vocals which can go toe-to-toe with the music, it’s stiff competition to see who can overpower whom. As a band who are constantly on festival and tour posters, it’s easy to see why. Bass rattles hard against razor sharp riffs and drums which would give Animal a run for his money Definitely one of the many bands over the weekend I need to investigate more. Big Iron might be from the wrong side of Scotland (sorry, not sorry) but they make up for it with their massive rock sound. It’s aggressive, it’s thrashy, it’s punky, and as you’d expect from that, full of more energy than the Duracell Bunny on a weekend coke binge. The five-piece don’t play the Trailblazer stage so much as assault it and everyone in it and I’m all for more of this. If you like your music too rock to be metal and too metal to be rock then Dobermann have you covered. The power trio have oodles of groove under the hood and, for those lucky to catch it – pyro (I saw the photos – I was interviewing at that point) and when they’re not playing their own material, they’re nailing covers of HeadGirl’s “Please Don’t Touch” and Van Halen’s “Hot For Teacher”.
One of the few sleaze rock bands to grace the arena is HARSH. With a name like that, you’d expect a logo you can’t decipher and some of the nastiest black metal you can find. But no, this is rock straight from the Sunset Strip but given a modern lick of paint. As chugging riffs barge into meaty drums, it allows for a heavier tinge to seep through against the wailing vocals of dynamic frontman Albert Arnold. Absolva take the hard rock/metal combo and dial it up a notch. As NWOBHM is as pushy as an overbearing parent, the band go all out on their no-frills approach to their sound and performance, allowing the strength to do the talking and they manage to do so with ease. It’s easy to see why they’ve been Blaze Bayley’s band in the past with a performance like today’s.
All eyes would have been on She Burns Red regardless of the recent departure of their bassist/singer. But as they step onto the stage to Chumbawamba (you know the one), they’re met with nothing but love and compassion. With an hour to work with, they hammer through their excellent debut album, fit in a drum solo, guitar solo and some extra songs (possibly the new material they’ve been work on or older songs – more ardent fans can correct me). With Big Iron’s Jack Sandilands filling in on bass, he feels a natural fit and the four of them give it everything they’ve got. She Burns Red have always been an impressive band but to do this in such a short turnaround time without even stumbling is nothing short of working a miracle. But it’s earned and it’s a victorious evening for them, one that’s not lost on them as “Crosshairs” is introduced in a typically dry Scottish fashion of “It’s been quite a few weeks”.
Drummer Scott Hanlon takes a turn on lead vocals with “Run” which he handles with ease given that playing drums and singing is the musical equivalent of patting your head and rubbing your stomach. Meanwhile, Andy Moore steps up and shoulders much of the extra vocals required of him, comfortable in the front and centre position but is also aided by Big Iron’s Oliver Wardell for “Crack the Sky”. And as a victory lap for the finale, the band are joined by Beth Blade for a rocked-up version of “The Boys of Summer” which frankly, they should get into a studio and release as a single – it’s that good. This might not have been what we were expecting a couple of weeks ago but they looked the challenge in the eye and met it to create a “you had to be there” moment not just for the band but the festival as an entirety.
Scarlet Rebels are one of the many Welsh bands here this weekend (seriously, how is there so many for such a small country?). There’s a sizeable crowd drawn for them and given the accolades they’ve earned with 2022’s See Through Blue, it’s well-warranted. As they hammer through their set, they don’t pause for much breath, instead letting the music do the talking to impress the newcomers and satisfy the hordes of fans. While they don’t pontificate, it’s very obvious who their lyrics are aimed at, following in the footsteps of IDLES and The Virginmarys. It’s a slick hour for those who love their classic rock with a splash of 21st century sounds.
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“We’re The Quireboys,” a well-dressed bandana-wearing Geordie bellows. “And this… is rock and roll!” And that’s exactly what Spike and the rest of The Quireboys provide over the next hundred minutes. It’s everything you expect from a Quireboys show and there’s not a doubt why they’re at the top of the poster. This new line-up may have only played a handful of shows a couple of weeks before this but to look at them, it’s like they’ve been doing it for years. Thunder’s Luke Morley handles the guitar work as if he’s been playing it since 1990; it’s well within his capabilities and pays homage to a whole host of Quireboys staples. Indeed, the band naturally pulls heavily from A Bit of What You Fancy as always and who can blame them? It’s an incredible album without a weak track on it. However, it’s a welcome change to hear a couple of extra numbers from Tramps and Thieves that I’ve never seen them play before with “Can’t Park Here”, “Ode to You (Baby Just Walk)” and “King of New York” (this is when someone scrapes through the dozen or so reviews I’ve written on them over the past decade and inform me I’ve seen them play these songs before).
As an extra treat, they also show off some of their new songs and it’s like stepping back in time to the early 90s. They feel like the natural successors to those two albums, stripping out the gypsy stylings of their 21st century output and going back to pure and simple British rock and roll. Whilst their newer material was great in its own right, these new songs show how the band have evolved and taking it back to the roots is a breath of fresh air. With Spike having written these songs with Guy Bailey, they sound timeless and by the time the chorus comes around the second time, you find yourself singing along with them. The high hopes I had for the new album are now even higher.
Unsurprisingly, all eyes are on Spike as he covers every inch of the stage, every bit the rock and roll frontman we know him to be. There’s plenty of banter and jokes between him and the crowd or between him and Simon Hanson. Spike’s in good form vocally, his inimitable rasp a magnificent boom in the Lincolnshire night and the entire band play like they’ve been together for years. And as ever – by the time they’re finished, they’ve conquered the night, everyone smiling, singing and dancing, just like any other Quireboys gig. But it’s this festival that seems to elevate it tonight, everyone is receptive and a more fitting headliner for the first night you’d be hard pushed to find.
Photos by Gabi Kowal
