Review: NICK ASHTON & CRAIG BAILEY
Photos By: NICK ASHTON
Saturday morning starts with an opportunity for any aspiring musicians amongst the festival crowd to Jam with Jack. The idea being that people could get up and play a song or two with Jack J Hutchinson (NA), which turned out to be a great success. There was some real talent on display and Jack always entertains with anecdotes between songs. Charlie Rachael Kay and Drew Moore from his own band were on hand to help out and play a few of Jack’s tunes too. This was a great way to ease everyone into the day while we waited for activities to begin on the Trooper Stage. Having been nagging people to be sure to get out of bed in time to see Jayler (CB), it was so good to see that plenty had done so to secure their spot on the barrier for the start of the day’s fun and games. It is hard to write anything about this band without making reference to the fact they are all only 19. They play and perform like seasoned pros such is their astonishing ability. People will point to the obvious Led Zepp stylings and influences but to not look beyond that is to miss the point; this is a band creating their own classic rock identity from probably the best starting point there could be. Jayler immediately had the sizeable crowd on side with No Woman which has a massive groove that blew away the remnants of any hangovers. This was the only released song they played and it is a sign of confidence, or just sheer balls, to do that at a festival like this. The Getaway drives like a robber leaving the bank and shows how, even now, the band are at home on bigger stages. Tyler is a guitar god in the making, Ed’s drumming is immense and Ricky is the classic no nonsense, no fuss bass player who makes it look and sound so easy. Lovemaker is where James vocal prowess and range just has your jaw on the floor but it is the epic Viking warrior tale of The Rinsk which shows the band have a second stunning guitarist in James and showpieces the songwriting, the power and the tightness of this four piece. The crashing conclusion was greeted with huge cheers and astonished wonder closely followed by a stampede to the merch desk.
White Tyger (NA) have their work cut out to follow such a striking performance, but they are up to the task and bring their sleazy, Sunset Strip-inspired hair metal to the Big Top stage. Permanent Vacation and Heartbreak Hotel have the riffs to match the attitude, while new single Vanilla Circus rattles along at a frantic pace with a squealing solo from guitarist Chris. Frontman Kip tries to get an audience singalong going, but it’s perhaps a bit too early in the day (or more likely the hangovers are still raging); nonetheless he remains undaunted as we a take a trip to Skum Townbefore the band close with the attitude-defining No Fucks Given. With The Hot One Two (CB) you will not find another band who look like they are having more of a good time on stage and who will put the biggest of smiles on your face. They hit the stage like Red Bull-fuelled Tiggers and then rampaged through a clutch of soon to be sing / shout / scream along (delete as appropriate) classics like God Forsaken Blues, The Fray, Hot At the Top and Tie Me Down. The heavy shower mid set only added to a great atmosphere as everybody moved closer to the stage to get under cover and nearer the band. This was about as good a mid-Saturday afternoon as you will get anywhere.
The pace doesn’t let up as Dead Man’s Whiskey (NA) keep the party going, exploding into life with their well-crafted and hugely enjoyable hard rockin’ tuneage. Masquerade, from latest release In The Storm, has the type of big chorus, catchy melody and flashy solo that defines good time rock ‘n’ roll. This Fight and War Machine are heavier riff monsters, while Fighting To Survive gets the enthusiastic crowd singing along to the whoas. As is customary at a DMW show, vocalist Nico explains the meaning behind the heartfelt ballad Make You Proud, which is dedicated to his mum who lost her short-term memory following brain surgery. After this moment of reflection, the pace picks up again as we hurtle to the climax of the set with Racing Bullet which smashes you straight between the eyes. Xander And The Peace Pirates (CB) 2022 album Order Out Of Chaos was a post-COVID masterpiece so to finally hear the songs live provided the perfect sunny mid-afternoon chilled bluesy soulful vibes. The set was a masterclass in providing the audience with the chance to catch their collective breath whilst still keeping everyone hanging on every single note. Stole My Soul, Dance With The Devil, Let Go and Searching For The Light were soaked up and thoroughly enjoyed by an appreciative crowd. The best way to enjoy XATP is to free your spirit, to dance and sing…and as Xander says “clap your hands if you have got them”. Continuing the mellower mood and venturing into prog territory, Icelanders The Vintage Caravan (NA) bring their intricate melodies to the Big Top. It’s been a while since I last saw this band, who sadly don’t make it over to the UK as often as I would like, so I am keen to lap up the spaced out, trippy Crystallized. They can rock hard too, as Reflections proves with it’s driving bassline and fuzzed-out guitar tone while Innerverse takes us back to their mellow side before rocking out again with Babylon. Guitarist/vocalist Óskar Ágústsson breaks a string during On The Run, so Stefán Stefánsson fills in with an impromptu drum solo while there is a quick change of guitars before the set closes with some stunning fret-work by Óskar.
There is a palpable sense of anticipation as we await the arrival of Florence Black (NA) on the Trooper Stage. As the intro tape fades into the slow grind of Bed Of Nails, it’s clear that the band have lost none of the intensity on display during the tour accompanying their sophomore release. Jordan prowls the stage in a mass of swirling hair, Perry is shrouded in smoke as he batters his kit while Tristan screams out the lyrics like a feral beast. Start Again and The Deep End batter the senses, leaving you bloody and bruised, while Taxman takes a bitter swipe at HMRC. The pace slows for Warning Sign and Back To The End, and the momentum is lost somewhat as the band leave the stage for a pause before picking up with Black Cat. Rockin’ Rage is brutally heavy and induces much frantic headbanging both onstage and off. Tristan yells out “scream for me Manchester” at regular intervals, to which the crowd yell back “Stockport” (these things matter if you are a local!) and eventually he picks up on his mistake much to the delight of the audience. All that remains is a gallop through a brooding Zulu, a glorious singalong to big radio hit Sun & Moon and encore Breadfan which leaves everyone breathless. However, there is no time to recover as Crashdïet (NA) take us back to the sleazy excesses of the 80s. I must admit that I had not heard of the band before, nor had quite a few people who I spoke to ahead of their set; but as Stret and Bev proved last year they have a knack for bringing bands better known overseas to the attention of the Firevolt faithful. As the band launch into Knokk’em Down, Riot In Everyone and So Alive it quickly becomes apparent that these Swedes are Sunset Strip gutter rats to their rotten core. The choruses are big and the solos even bigger as they swagger and pout like we’ve been transported back to the Whisky a Go Go in 1987. Together Whatever’s gang vocal chorus is a catchy as hell, while Native Nature gets down and dirty. As the set closes with We Die Hard and Generation Wild we all need to check into rehab to recover.
As a festival organiser, if you want to guarantee that Saturday night is going to close with a bang then you can’t do much better than Phil Campbell and the Bastard Sons (NA) playing a Motörhead set. You can bet the bar takings that everyone knows the words to all of the songs and is going to go crazy as soon as those big fat greasy riffs blast out of the PA. The set list is a dream: Iron Fist, Damage Case, Going To Brazil, Born To Raise Hell, We Are the Road Crew, Ace of Spades, Bomber, Overkill. Joel doesn’t have Lemmy’s growl (who does?), but he can belt out the songs and whip up the crowd with the best of them. Phil stood onstage to Lemmy’s right for over 30 years, so he has been there and done things that would likely kill most of us, while the rest of the Campbell clan were raised on these songs from childhood. It is simply a fantastic way to end day two for this Motorhead fan.
