Charlbury Switchblade

And here's part 2. Nothing much more to say tonight, I'm tired; winning the pub quiz by a record margin was nice, but I shoudln't have had that victory pint. In bed with the prom, I suspect.

RIVERSIDE FESTIVAL, Mill Field, Charlbury, 20/6/10

“Please welcome Slantay,” yelps the main stage MC as Sunday kicks off. Well, it’s written Slainte, but pronounced “slawncheh”, meaning “health” or, colloquially, “cheers”; a tough word for an Anglophone, perhaps, but surely if your job basically boiled down to saying the names of bands before they played, you might make the effort to work out what the words sounded like, no? Not as bad as the announcer later on who introduced Redox by telling us they played “one of” his weddings (classy), and yet still laboured under the misapprehension they were called Reedox.

After a slightly scratchy opening Slainte, who are a Gaelic folk act (get away), build to a great head of steam, leavening the predicted foot tapping reels with “La Partida”, a luminescent harp showcase.

Apparently, gents think of the Alphabet Backwards if they’re trying to stave off, shall we say, a particular moment of intimacy. Funny, then, that the band is a huge explosion of pure energetic release. The beauty of the band is that they balance their Sunny Delight exuberance with some excellent song writing, not to mention the fantastically ornate and playful synth lines, that are like being wined and dined by a sexually predatory Ms PacMan. My God, Sunday has started well.

And it doesn’t stop there. Sonny Black is a white haired chap playing acoustic blues, and although we sometimes feel we’ve heard enough white haired chaps playing acoustic blues in provincial music events to last us until the day the lost chord is unearthed, Black really is worth a listen. Not only does he have some effortless bottleneck technique and a great little bucolic melody in the lovely “North Of The Border”, but he can also celebrate Mississippi John Hurt’s “easy-kickin’ fingerpickin’” in an English accent without sounding like a dick. There’s a quiet grace about him and his music, and he should have been higher up the bill with a few more train loads of listeners to greet him.

Lee Christian’s Prohibition Smokers Club are a loose-limbed latin pop jam band, looking like a mushroom ingesting cult pretending to be Kid Creole & The Coconuts. The horns are punchy, and the set is pitched as a little interlude of fun, but still we felt it didn’t quite come together, and a cover of The Fun Lovin’ Criminals’ “Smoke ‘Em If You Got ‘Em” drove us to the bar. Everybody else in the whole of Charlbury seemed to love it, though, so what do we know?

“Think Maroon 5 meets Beverley Knight combined creatively with early Red Hot Chili Peppers,” says the programme’s write up of Alyse In Wonderband. Jesus, if we had thoughts like that we’d turn ourselves in to the nearest police station for the good of the nation. Actually, they’re not bad at all, a youngish band who have a natural control of their pop-funk, and perform it with plenty of vim, Alyse Kimsey’s voice working well above fluent keys. “Creep” in particular (no, not that one) has a groove that even cuts through our professional cynicism.

As is the case every year, billypure make like The Levellers to cheer up the revellers, and if it isn’t a revolutionary leap from their previous sets, they do a good job, as ever, and the James cover is an interesting arrangement. The violin sounds horribly scratchy though – get a new pickup!

The Shakellers make a big-boned chirpy rock racket, something like The Bluetones pepped up on MSG and barndance cider, but The Black Hats do the perky guitar bit far better, their new wave ditties as excitable as a friendly puppy – and, oh look, there’s Lee Christina on guest vocals, with some of that sneering chutzpah we missed from the PSC set. However, it’s Von Braun that really win us over, making a good grungy early Muhhoney noise with drums, two guitars and a frankly buggered mike lead. At times the songs lift off into surreally wired mantras approaching The Pixies at their effervescent best. A great discovery.

You have to wonder how some of the acts find themselves on the Riverside bill, and what they think of it when they get there. Take Dead Like Harry, who have travelled all the way from Sheffield and who have recently toured with Scouting For Girls, do they think “finally, back to the roots”, or “disembowel the agent” when they roll up onto Mill Field? Not to mention all the stall holders selling dayglo dope leaf hoodies and all that crud, who look as though they make about three sales all weekend, do they feel swizzed? Well, fuck ‘em, the Riverside crowd is too sensible for that rubbish – the wacky hats are left to wilt in the sun whilst the home made cakes stall does a justifiably roaring trade.

Dead Like Harry are, of course, awful, but they don’t enrage us as much as we expected, even though they sound like Keane played by Hothouse Flowers. In fact, they come across as a likable bunch, and their piano-flecked pop is easy to tune out whilst finishing the crossword.

Phyal have been warmly welcomed back for a few reunion gigs, and Riverside is exactly the sort of place their approachable rock romps make sense. “Crude” doesn’t quite hit the spot, but after some drumkit surgery and a few swigs of lemon squash – oh, Kevin Eldon, if only you’d been there – “Daisy” flies out of the traps, setting the clattering tone for the next thirty minutes. A superb set but, it must be said, after three reunion gigs Phyal need to stop with the nostalgia and make some new recordings, or shut up!

Nah, only joking, they’re always good value, as are The Mighty Redox. They are a truly under-rated band outside of the furry fraternity in which they move. Nick Clack and Graham Barlow, aside from looking like shiftless dropouts from some Restart scheme for unemployed wizards, are an outstanding rhythm section, but they certainly know their place, leaving the lion’s share of the stage to Phil Freizinger’s fuzzy guitar and the frankly loopy Sue Smith’s acid-sauteed vocal wailing. Set highlight “Eternity” sounds like Gong freaking out in a banshee wife swapping party, until the world is fed through Freizinger’s giant phase pedal, which probably has its own generator backstage.

The weekend finished with The Quiet Men, who aren’t the band aging scenesters will remember, but an Irish folk rock band, with a big line in Pogues songs. Well, that’s OK, we all like The Pogues, right? Crowdpleasing, we suppose, but a disappointingly unadventurous end to the weekend. But then again, the beauty of Riverside is that it can entertain old West Oxfordshire boozers, sun-drenched children, well-heeled salmon sandwich picnickers as well as miserable musical zealots like ourselves. And, the real miracle is not that they’ve managed to put on a festival for free that aims to please so many people, but that they actually succeed. We’ll definitely be back for more next year.

Slantay.