Lucca can deliver soothing tracks with an unparalleled vocal tone, whilst preserving the honest lyrics that sit over the top of her well calculated melodies. The 18 year old effortlessly writes songs that you can listen to on repeat. And not only that, but she can perform them with ease with a high level of class. Check out her live session below:
We wanted to see where the inspiration behind the music came from, here’s what Lucca had to say:
Is there one particular thing, or time, that you always find yourself to be writing lyrics about or is each song its own separate project entirely?
Often themes and ideas for songs overlap as lyrics come from experiences, not necessarily my own but people that surround me too. Whether it be about heartbreak, enlightenment, social justice etc
Who would be the one person you’d thanks for recommending you a certain artist?
I would have to thank my dad for making Bob Marley and the wailers the soundtrack to my childhood. I appreciate being brought up listening to lyrics about freedom and inner peace of mind, it has had a massive impact on my perspective and my music.
Do you think its important for artists to have their own style? Whether that be their fashion sense or their musical genre? Or do you think sometimes its important to follow trends?
I don’t think it’s majorly important but instead something that happens naturally. Often an artist who is passionate about the music will adopt there own style subconsciously meaning no artist sounds or looks the same as another.
If you could ask any artist ever for a masterclass in songwriting who would you pick? Why?
would love a masterclass with Loyle Carner. His flow is impeccable, razor sharp rhymes, alliterations, onomatopoeia are churned out in every one of his songs. He serves up poetry with a hip hop beat which makes for beautifully sensitive songs about family grief…. one of my many musical heroes!
Are there any music releases on the way anytime soon?
Yes there are a few songs in the making, lots of unfinished lyrics and loose ends though.
I was sat doing my work all neat and tidy listening to Rex Orange County when my boss walked in and regarded me as listening to ‘teenage music’. It got me thinking. It’s a strange thought that we can like certain types of music more because of our age – especially considering music is one of the most universal things.
But this thought is definitely apparent in today’s society. There’s an underlining theme at every gig I have been to recently: the average age of the audience is below 20. Even maybe below 18. Indie gigs are swarmed with under 18’s all compacted into the front row of the venue smothered in a concoction of glitter and sweat. Obviously there are some anomalies, there’s always going to be the older crew too. Usually the parents of the band or the acid-head hippy in the corner who’s just doing his own thing. But why aren’t there that many more adults?
1) Maybe adults just don’t go to gigs?
It could be just as simple as adults don’t go to gigs as much as the younger generation. But that’s just ridiculous. If you go to A Rolling Stones gig you’d be hard pushed to find anyone under the age of 20. Or even is you go see rap duo Too Many T’s – a more modern artist that the Stones – then the crowd would be a large range of ages. So it seems to be that the style of music is definitely a contributing factor, because if people liked the music and they like going to gigs, then why wouldn’t they go to see it live? But then why don’t adults like indie music?
2) Teens relate to the content
It tends to be that the new indie bands that are emerging into the music scene at the moment are just coming just of sixthform or uni. This means the lyrics they are writing about usually relate to the younger audience as the band members are relatively young themselves. However a lot of indie music seems to be almost targeted to a younger audience. For example Tarek Musa, lead singer of Spring King, is entering into his thirties (which no doubt is far from old, but definitely not 16) and can be found belting out lyrics romanticising about summer holidays and other teen problems. Similarly Kieran Shudall of Circa Waves fame, is probably nearly double the age of most of circa waves’ concert attendees yet their most well song known song ‘T-shirt Weather’ is all about the stress-free fun times of teenagers off during their summer holidays: ‘Seventeen went far too quick‘.
3) Talkin’ about my generation
There’s always the issue of what music is popular with what generation – more of a music-wide issue rather than exclusively indie. The current charts are not overwhelmed with indie bands, or bands in general for that matter, so if you don’t relate to the Drake’s and Rihanna’s of today’s scene then you are going to want to find another music movement you can feel part of. This has always been the case – throwback to the 70’s where the DIY punk ethos was coming into play. The kids needed at outlet for their anti-establisment views in the form of thrashy ‘breakneck’ tempo hits. So maybe indie is the new era, rebelling in the form of jangly guitars and catchy chorus’. If you can call that rebelling.
I feel like good music is good music , regardless of the genre. And I know it is possible for the older generation to like indie music – my 60-year-old dad being the prime example of a Sundara Karma fangirl. But there’s definitely an association between indie and teenagers. Maybe adults are put off going to gigs by the thought of a bunch of teenagers off their nut? Maybe I’m being naive and I’m also being sucked into the sentimentalising of teenage themes within indie hits, and maybe I only like it because I’ve only just crawled my way into my twenties. I guess only time will tell.
Regarding musicians who find their feet using Youtube is always a tricky one. No musician wants to be known as ‘that gal off youtube’ but there is no denying that Youtube is an incredible way to build a fanbase. It’s just frustrating when that fanbase doesn’t branch further than a small Youtube community.
There’s a difference between a ‘Youtube Musician’ and a musician using Youtube as a platform to share and promote. A ‘Youtube Musician’ appears to upload for the sake of uploading, vlogs, has 5 different channels (including a gaming channel), does ‘youtube challenges’ and doesnt have a clue about the microphone they are tactically placing in shot to make it look like they are recording the vocals right there and then. All whilst maintaining that they only want to be a musician. You could argue that doing all the extras is to gain an even bigger fanbase so their music has more listeners, but that’s always hard to believe as the appealing dream of being a full time youtuber is on the rise. Not all ‘Youtube Musicians’ are talentless though, there’s no denying that Troye Sivan has got some bops and has an ongoing successful music career.
But then there’s another type of musician on Youtube. Orla Gartland, Hudson Taylor and Lauren Aquilina are some of the absolute squad who have succeeded in utilising the wonders of Youtube. They’ve developed their music careers from videos of them just playing in their bedrooms, and it was pure talent and charisma that developed their following into a reliable fanbase. Take a look at Orla Gartland for instance, an interesting singer-songwriter with facial expressions no one can compare too. She’s advanced from just sitting in front of a camera with her guitar, to touring multiple countries and releasing successful E.P’s. She still makes the occasionally youtube video to hold on to her roots, but simultaneously is writing and producing and living the musician life. And I would not have found her wonderful music without the help of Youtube. Check out her newest original below:
Some more Youtube discoveries you should be listening to:
1) Jack Vallier
This last year has been a whirlwind for Jack Vallier, from starting out with his acoustic guitar in his bedroom to now about to embark on a huge tour supporting Dermot Kennedy. After his successful release of his E.P ‘Rebeckah’, he continues to release songs driven by his strong vocal range.
Joe Probert has been a firm favourite for years. I remember going up to him at Barn on the Farm festivals years ago and being awkward and making a tit out of myself. But there’s no regrets from 15 year old me because now his hair is bigger and he’s got some even bigger tunes. He’s a talented multi-instrumentalist with the most incredible rasp in his voice that could cut glass it’s so tasty.
A beauty of Youtube is that you can appreciate artists from all over the world, and this is very much the case for Andie Isalie who is over the other side of the world – currently in the blue mountains creating music in her van. Her new series ‘Vandie’ shows collaborations and beautiful raw orignals that are not to be missed. She has blues and funk influences in her guitar style – with a unique vocal that matches her unique approach to performing covers and also her own songs.
George Ogilvie has one of the most captivating and relaxing voices I have had the pleasure to come across. He writes songs which transport you away and simultaneously make your stomach drop. His E.P ‘Nowhere’ is well crafted and thought-out from the first second. It shows him developing into the musician he wants to become – and it’s definitely the right direction.
I first came across Benedict Cork on a video of him singing ‘Spectrum’ by Florence and the Machine – frozen in awe of his control and identifying tone. He would be a stand out vocalist on a dance track but equally holds his own with just a piano, undoubtable delivering the emotion and intimacy. His Youtube channel has since been re-vamped and is now looking fancy for his new era of music – one of which will be very successful.
Greg Wanders is the whole package. He delivers crisp production, with tight harmonies and creative use of vocal samples. Alongside signature craftsmanship in his songwriting – he utilises his emotion-heavy lyrics, which are surrounded with sentiment, to drive his songs so there is never a dip in energy. Not only that, he can deliver a killer performance. Watch Greg Wanders pick up his guitar and supply us with a stripped back version of ‘Sines’ here:
We caught up with Greg Wanders to see what he had to say:
What’s the big dream?
‘What a question [laughing]. So really, simple as it sounds, is to sort of sustain a living off creating, sharing my music. I mean half of it’s like the process of doing it, I love the process of it. It’s something that’s different, it’s the never same, so always facing something different in every new song, every new project. Then also in terms of performing as well, I’d love the opportunity to just do that and sustain it.
What is your opinion on the current music that is in the charts?
I mean there’s a lot of music that I sort of bop my head too, but I think that’s the thing with pop. I think for me personally, I don’t dislike it, but I kind of like music that challenges me. I like to be challenged.
What one artist would you say has inspired you the most?
Well there’s 2 and I don’t know which inspires me more than the other. On one hand there’s Sampha and on the other there’s James Blake. Every time I show someone my music they’re like ‘oh you sound like Sampha’, but I don’t see it. He influences me more in terms of encouragement of being unique and having the confidence to just have your own unique sound and not chase a trend. I think that’s one thing that every producer at one point could account for, going down that road of following a trend. I was doing it for a while, because I wanted to make things that people would like. But after listening to their [Sampha and James Blake] albums I thought that they’ve maintained this for years so I could actually stick to that. I kind of realised that when you develop your own niche, you’ll have fans that support you a lot more than if you were in trend, because trends just fall in and fall out.
Do you prefer doing the producer side of things, or the song writing?
It kind of changes with each song. There’ll be some tracks I have where, I wouldn’t have not enjoyed the
song-writing process but it would have been quite a basic process. Then I’ve really got into the production and used it to lift everything. But then there are some tracks I have where I get so into the song writing and I’ll spend months writing it and re-arranging stuff because I want it to be perfect.
What are the plan for the rest of 2018? And what are you most excited for?
The big plan really, which sort of answers both questions, is that I’m going to be releasing my debut EP. I’ve been writing since the beginning of the year really; it’s been a long process just moulding every little thing. It’s kind of gone on this massive rotation, where I put these tracks in, take them out, put new ones in, take them out and put the old ones back in, take the old ones out… I think it’s got to a point now that when I look at it, it feels like a proper framework. They all relate and I can actually put them into a category.
How are you going to perform the more electronic side of tracks live, or are you not?
I’ve been having quite a lot of meetings and getting advice from people. It’s been the main interest – the electronic side. I really want to have that, but I’d also want to have the acoustic. I’ve got a bunch of bandmates now and we’re going to be getting together and properly practising after our exams in May. We’re gonna start piecing together what the actual live show will begin to look like. I think maybe coming from producing, I like to be a lot more hands on, so if I’m not playing keys I’d like to be doing something with pads. Or just doing something.
Like what you're hearing?
After an hour drive, an uber ride, a ferry and a water taxi, we had finally hit the Isle of Wight. An abundance of bags and tents were thrown into a buggy, and the Astrofunk boys clambered in. The engine spluttered and the buggy trickled along a solid three metres before coming to a sad halt. But this did far from dampen the excitement in the air, if anything it just made everyone more eager to get going. One hilarious rescue mission later, and nearly being flung out of a back of a buggy, we arrived in the campsite. Tents were popped up and sleeping bags were out – all with 5 minutes to spare. Harry Gibbons, Cal Sørensen and Oliver Johnston get memory sticks at the ready and run towards the Field of Dreams stage.
It was the headline slot. A huge Astrofunk collab: Harry James b2b Wax (of On The Wax fame) b2b Goldwork. The stage loomed high and projections lit up the field: flashing names and showcasing other Astrofunk past times. The boys were fluid in their mixing, and had courage in their track choice. This field, in about 12 hours’ time, would be filled with nearly 10,000 happy England fans watching the World Cup game, and rest assured you, this Astrofunk set would have gone down a treat for the after party. The mark of a successful set is drawing in a crowd and making them stay there, and that was definitely achieved here.
The next morning, I peeled myself from the sweaty inside of my tent, and crawled out into the sunshine. Today was the day we were being joined by Dan Parsons, also known as Pandar. We meandered over to the artist lounge where Pandar would grace us with a set of disco tunes which perfectly accompanied the summer heat and the cool Old Mount Cider I was drinking. I had certainly never had a festival experience quite as relaxed as this before. From here we headed back to camp. Astrofunk’s duties were done for the weekend so it was time to explore (and by explore I mean find some beverages).
It occurred to me this weekend that I honestly was out of my depth when it came to DJing. I witnessed a conversation whilst the Astrofunk crew, including Zane Zephirin (who played a killer set with Matt Baines on the Friday), were sat in front of me. We could hear the roaring sounds of the Smirnoff Stage and the boys were giving their honest opinions. They spoke with such intuitive critical thoughts, and technicalities that there is no doubt that they actually know what they are on about. They noticed things I would never dream of noticing, and had such a depth in their knowledge of different music genres. For anyone who thinks DJing is a piece of piss, and doesn’t really understand what DJ’s “actually do”, then simply ask them what they do, because believe me they have a lot to talk about. Not only are they DJ’s but they are producers, engineers, promoters, event planners, managers, and artists all in their own right.
The rest of the afternoon was consumed by live acts from the main stage: Van Morrison, Sheryl Crow and The Killers, to name a few. This was definitely more my scene than the set played by Ed Solo the previous night, but I enjoyed both equally. I guess you never really know what you’re going to enjoy at a festival. It was refreshing to see the Astrofunk lads appreciate the live bands just as much as the DJ’s. And it goes without saying that The Killers performed an incredible live set – one which made Harry Gibbons exclaim “This is the best moment of my life”. Couldn’t agree more Harry, couldn’t agree more.
So now Astrofunk head back to their Southampton home to conjure up more cosmic nightlife experiences for the astronautically inclined. But if they do happen to come to your town, make sure you get your disco dancing shoes at the ready and get your groove on, because it will be worth it.
Rewind to 2pm Thursday, I was sat in the library writing a lab report I did not want to be writing whilst peering out the window longing to just be sat in the sun. But the only saving grace was knowing that in 5 hours time I would be thrown into a night of summery indie-pop tunes which could account for missing out on the actual sun.
We were eased into the night by 4-piece Indigo Kids. The encompassing vocals of Katie Mitchell left me feeling like their set ended too soon. It was a strong start.
Following smoothly on were Guildford based, Waiting for Malory. Not only did they provide us with a James Bay look-alike contest with a clear winner, bassist Adrian Foulkes, they gave an energetic performance with clean lead guitar riffs which were delivered without hesitation. Lead singer James Sharp had the most infectious smile which made their big pop chorus’ sound even bigger.
Last night showcased some excellent local bands, one being the main support The Night Society. As soon as lead vocalist Harry Buxton opened his mouth we were taken by surprise to his Jamie T approach style of singing – but The Night Society deliver that little bit more power. We were also given funky guitar chords and rhythms, delivered with enthusiasm, which gave a pleasing edge to their indie-rock tracks. As well as up-beat lively tracks which had the band diving around the stage, there were also slower tracks with guitar sounds similar to that of Jaws. I am as intrigued by this band as I was by the pink floral pattern on Buxton’s guitar, and by that, I mean very intrigued.
Then headlining act RedFaces swooped onto the stage. The audience was hit with lead vocals that were reminiscence of Jake Bugg from lead singer Harry Lyon that were close and tight with the backup vocals from Isaac White. The second track kept up the excitement with a circa waves-type dancing track – it got the DM’s and Converse of the crowd tapping for sure. The tight hi-hat rhythm drove this along whilst Lyon had a tasty exploration of his falsetto range in the verses. Next up was ‘Wise Up’ a track they released in 2017. The strong guitar intro was singable and drew the crowd in. Lyon (who was sporting a ‘Jack from The Magic Gang’ stripey tee look) delivered the rasp and vocal skill that is present on recordings with no trouble at all. Despite having to fight a persistent unnecessary fire alarm, new single ‘Messed Up Feeling’ came across well. But I wished they’d just turned up their amps as a big ‘fuck off’ to the fire alarm and powered through rather than letting it affect their live set and mindset. The verse vocals in ‘Kerosene’ had energy which I can imagine would go well at a larger festival set and the bigger overdriven guitar sounds played to match this. Sheffield boys RedFaces left the crowd of the Boileroom with ‘Take it or Leave it’. This sounded the most radio ready, and most
tightly played, giving a good send off. The highlight of this was the faultless drumming of Charlie Yapp which really drove the performance along. Throughout the set I was longing for more synth work from new synth guy ‘Will’ – when the synth line kicked in the chorus of ‘Take it or Leave it’ it was the moment where it really took off. It was the most interesting vibe they had – it made them have an extra dimension.
As I was driving home I was humming ‘Take it or Leave it’ over the dutty bassline that was on Radio 1, so all in all that’s a sign of a good gig.
Indie music gets a bad rep. With bands consisting of four 20-something year olds with much more hair than sense, playing slightly shitty guitar with the same generic ‘indie’ vocal plastered on top. Yes, don’t get me wrong this is an accurate representation of many many bands, but the music industry is also blessed with some complete gems.
There’s such a wide variety of indie bands to select from, you’re almost spoilt for choice.
The ‘It’s Always Summer’ Circa Wave Vibe
This is probably the most stereotypical version of indie – most of the bands have ‘that’ vocal, and the clean guitars playing sing-a-long riffs. That all being said, this is the music that electrifies crowds, solidifies bromances and causes throats to be so raw from screaming the words that a good old Lemsip is needed the morning after. There’s something anthemic about it. It’s music that makes you want to have BBQ on the beach regardless of the weather.
Who else can I listen to?
The Hunna, Paris Youth Foundation, High Tyde, Viola Beach & The Sherlocks.
The Gallagher Wannabe
If you’re the lead singer in a kickin’ band then 9 times out of 10, you are gonna be a dick. Or at least act like one. We’ve all witnessed the expansion in Alex Turner’s ego over the past decade, and a new generation of bands are inventing themselves to mirror his too cool for school demeanour. Having slurred vocals, and often putting on an accent to mimic king of cool Liam, this style of indie definitely takes looks and style into consideration. At least though we see the introduction of heavier overdriven guitars plastered in reverb and some slower sexier tracks.
Who else can I listen to?
Miles Kane, Blossoms, Catfish and the Bottlemen & Palma Violets.
The Bedroom Producer
Back in the day ‘indie’ music was the term used to describe music being released independently, and over the years as that style of underground music has come into the mainstream the term ‘indie’ is now a little bit meaningless. It’s now more of a genre rather than an ethos. However a new generation of kids have just popped out. Artists who have been mucking around recording stuff in their bedrooms whilst growing up, so now have absolute zero problems in just whacking out a polished production masterpiece. Then due to the world of the internet can successfully distribute – they don’t even have to say another word to another human being if they don’t want to. The indie singer-songwriters of today’s generation seem to all love their extended harmonies, their jazz influences and solemn beautiful vocals.
Who else can I listen to?
Rex Orange County, Gus Dapperton, Tom Misch, Yellow Days & Puma Blue.
A Whole Lot of Everything Else
It’s near on impossible to even try to categorise all the different styles and sub-genres of the whole indie family. But here’s a little guide to find a band which suits your mood:
If you're feeling a little bit funky: Peace
If you're feeling like you wanna cry: Blaenavon
If you're feeling like you wanna sing along: The Magic Gang
If you're feeling a little bit sexy: Blood Orange
If you're feeling angry: Abattoir Blues
If you're feeling like you wanna zone out: Jaws
Indie music may not have the most complicated bass lines and it might repeat a chorus one too many times, but essentially it is the music of the people. Every lyric is meticulously picked to ensure whole crowds can relate to their music and simply have a good time. And that’s why I fucking love it.
The dream-rock group hailing from Bath Spa University cut through the norms of female-fronted rock by having intoxicating melodies and a psychedelic feel. Having only formed in the second half of last year, their intricately hand-crafted tunes do not represent their minimal months they have been playing together. It’s clear these musicians just slot together effortlessly.
They are currently on the rollercoaster of recording, gigging and making a name for themselves and we were lucky enough to be a stop on their journey. Not only did they provide us with what they do best, an extraordinary live session, but we also got to find out a little bit more. Keep on reading for the story behind this up and coming band, a live session, and also the lengthy thought process when faced with a ‘would you rather’ question…
Who’s idea was it to start the band? Where did that inspiration come from?
Meg: I guess it was mine really? I approached Jessie first.
Sam S: Then didn’t you message both of us at the same time?
Meg: Yeah pretty much. I remember thinking you [Jessie] were really good and were going to have loads of people after you.
Jesse: I think it’s because you said you liked Radiohead and I just thought, well if we both like Radiohead.
Meg: I was surprised when you said yeah actually.
Sam S: I think my audition went quite well actually because I managed to sufficiently scare off all the common bands, I was like, so listen ‘I’m gonna do weird shit, If you want me that’s fine, but be ready’.
As you’re a relatively new band are you always experimenting and trying to find your sound? Or are you pretty settled for the minute?
Sam S: I think we found it pretty quickly actually.
Sam C: We are all open to experiments.
Jesse: It’s subjective, I mean it could change in the next EP or whatever.
Meg: To an extent I think you always need to be trying out different sounds and ideas.
Sam S: This sort of style we’ve got at the moment has just sort of trickled out of the covers hasn’t it? It feels right. It feels good.
What’s your writing process?
Sam S: It’s a very normal writing process.
Sam C: There’s nothing particularly experimental about it.
Sam S: Although I guess it is different in the sense that we don’t really have one lead song writer.
Jesse: I think that’s the best way to go about it though, we don’t have a ‘lead’ necessarily.
Sam S: This latest track, I sort of started it then everything built up.
If there was one album you wish you could have written, what would it be?
Jesse Roache:Innerspeaker – Tame Impala.
It’s a production masterpiece. It blows my mind to how well structured it is and I just aspire to be as good as Kevin Parker.
Sam Cother: Songs for the deaf – Queens of the Stone Age.
It seems to perfectly have that blend of pop sensibility whilst keeping a sense of originality. It’s wicked.
Sam Showler: Thriller – Michael Jackson.
It made a fuck-tonne of money. It’s a terrific album. Actually ‘Off the Wall’ is better, but Thriller still made more for the bank.
Meg Jones: Heaven or Las Vegas – Cocteau Twins.
She’s got a beautiful voice, but the melodies that she writes are so intricate and unexpected, they work really well. And the guitar sounds amazing.
What’s more important, the lyrics or the overall feel of a track?
Sam C: It completely depends.
Meg: Like with that song we’ve just been working on, that’s all about the feel of the track and not the lyrics.
Sam S: But I don’t think there’s any excuse for bad lyrics. Like you can write ok lyrics and the instrumental can hold it up, but if you have good lyrics you sort of get the ball rolling, because you have feeling.
Jesse: You just need a song people can relate too.
Sam C: I mean you could argue that in a band like Primus, they don’t really give a fuck: ‘Wynona’s Big Brown Beaver’, like how the fuck can you justify saying “God I really connect with this”.
Sam S: I think that actually summarises why Primus are so difficult to get into. There is no relatability in their songwriting whatsoever.
Jesse: I guess you could say that for Rush aswell. Some of the lyrics are pretty out there.
Sam C: That would make sense to why Rush and Primus have essentially the same fans, I’d say.
Sam S: We sort of derailed the question there, but in summary, there isn’t an answer.
Jesse: Prog is the answer.
What’s the plan for 2018? Any releases? Upcoming shows? What are you most excited for?
Sam S: We’re gonna get a beach house.
Jesse: [laughing] Cocaine and hookers…
Meg: Is that what you’re gonna blow your money on? The small amount that we earn?
Sam C: Just a one-legged hooker and tiny molecule of cocaine.
Sam S: We’re hoping to get an EP out.
Sam C: Hopefully in time for summer. I’m most excited for working on the EP, gigs are fun and all, but being in the studio is where your music comes to life.
Sam S: Its early days though, still need to figure out if people actually like it first.
And finally, would you rather a head the size of a tennis ball or a head the size of 3 watermelons?
Sam S: I think an important factor is whether your organs scale to the size of your head. Because if you imagine the tennis ball, your head would just be a face. But then if you had the watermelons you would have like a giant fucking skull and tiny face in the middle. And would your brain scale to it aswell?
Meg: Yeah that’s what I was thinking, would you have a tiny brain, like the size of a pigeon brain?
Sam S: I don’t know what would be more horrifying.
Sam C: I think that the tennis ball would be terrifying to see from afar. Because you’d be like “Fuck that guy is decapitated” from far away, then he walks up close then its just some guy with a head the same size of a cat or some shit. I personally think 3 watermelons.
Sam S: If my intelligence didn’t scale with the size of the head I would go with the tennis ball. It would make me smaller and more likely to fit into tight spaces.
Jesse: You would be fucked in a mineshaft if you had a watermelon head though.
Sam C: Wait are we thinking the watermelon’s going upwards?
Sam S: [laughing] Do you mean 3 watermelons stacked on each other?
Sam C: No I’m thinking both.
Sam S: 3 watermelons?! Like a fucking axis on a graph? So 9 watermelons?!
Jesse: I think this has become way more complicated than it needs to be. I think I’d go with the tennis ball as freaky as it would look.
Meg: You probably wouldn’t be able to stand up with the head the size of the watermelons.
Sam S: You’d be such a fucking baller on Halloween aswell.
There’s not a lot better than having a boogie in the sunshine with a pint in one hand and reminiscing about the disgusting antics your friends displayed the night before. Or spending the weekend training your core muscles by hovering over every toilet seat within a 2 mile radius – an Olympic workout just for the sake of having to pee. There’s definitely a fine art to smuggling alcohol into the arena, one of which many of us have conquered. The options are infinite: down your bra, disguised within an inflatable horse costume or your secret could be a warm crotch can of beer. Whatever it is, we all have our special place.
The first wave of lineups have recently come out and it’s about time you start figuring which part of the world you are going to get royally fucked in this summer. So here’s our honest opinions…
Want to know what this Sock Rating business is all about? Find out here!
Truck Festival has evolved from a family fun festival in Oxford to the dirty little sister of Reading Festival. Glittered up teens swarm to this breeding ground so they have an excuse to where their shit ‘trendy’ sunglasses and trackies and crop top combos. But in all seriously, we properly rate this years lineup. We highly merit Truck’s continuing support to up and coming bands – Bloxx, The Night Café, The Magic Gang, and Dream Wife, just to mention a few. Alongside with long-term favourites such as Peace, RAT BOY and Circa Waves. But the party doesn’t stop there. The Palm City lineup hold some of the best newcomer names in bassline music – the kids are getting ketty for Skepsis, Darkzy and Holy Goof.
For The Final Chapter, this year Boomtown have gone all out. You’d be hard pushed to not find a band that you like on this line-up. The diversity of the music and medley of audiences are what make up the psychedelic magical world that is Boomtown. It’s a place where Napalm Death, Lady Leshurr and Fishbone can all be on the same bill no questions asked. This lineup shows what Boomtown is about – celebrating all aspects of music, new and old, in a mind-altering experience. Not to mention, three incredible headline acts. Each bring their own wacky and wild take on the world, perfect for the final chapter.
Reading and Leeds Festival
Now before you criticise, this isn’t another “this used to be rock festival its gone too mainstream blah blah blah” – I’ll tell you why this isn’t a good line-up.
Reading Festival needs to take more risks in the form of new headliners. So let’s start with Fall Out Boy, they co-headlined two years ago. Two. Are the organisers saying there are no other bands they could get? At least give it a few more years. So then we move onto Kings of Leon. They don’t have a great reputation with Reading, after being booed off stage in their headlining 2009 slot, it’s a bold move to have them back. But even if they are changed men and don’t take their anger out of the crowd this time they are still not a very relevant band. Their last album was in 2016, and they’ve been around for nearly two decades. Why not get a new band just starting their career and make some history? Everyone remembers the excitement and endearing naivety of Arctic Monkeys’ first Glastonbury slot – not many remember their following ones. For example, Royal Blood or Wolf Alice would do a great job in the top spot. If I’m honest I think it was a great shout with Kendrick Lamar. He’s one of the most successful artists in the world and gives the world of Reading Fest a different genre of headliner. However, it was a safe bet. After his 2015 performance, it was certain he was going to go down a storm. But come on Reading, branch out a little. How many years have Corteeners played for goodness sake? And the same with Skepta, there’s only so many times you can sing ‘That’s not me’ before it gets a bit tedious.
The main appeal with Citadel is that it showcases artists which aren’t regulars at every other festival in the season. This is highlighted in the excellent headline choice: Tame Impala. Not only is it a UK exclusive but it feels like they haven’t done the classic UK festival circuit before, so it makes their performance a little more treasured. Another UK exclusive is Goat, a truly mesmerising band which any festival would be lucky to have. Other acts that caught my eye were Leon Bridges, a delicious soul singer perfect for a sunny day, and HONNE who will get you grooving. This day festival really packs a punch, and I’m eager to see the next release of artists.
Boardmasters occurs in the height of summer overlooking the beautiful Cornish beaches but is main competitor for Boomtown as they both fall on the same weekend. Boardmasters always deliviers with strong headliners – this years highlight being Catfish and The Bottlemen. Catfish give a fierce performance which has a hint of nostalgia, similar to the days of peak time Oasis – absolutely just giving all you’ve got to give a stellar performance and not really caring about anything else apart from that moment. But the only reason I’m not raving about this line-up is for a similar reason to Reading, I feel like it’s a bit samey. It doesn’t wow me that Years and Years are on the lineup, similarly with Everything Everything. I understand that obviously bands have to return to festivals, and I love it when they do, just there needs to be a new wave of acts hitting the festival lineups, and I don’t think Boardmasters really delivers that this year.