The Waterfront Festival hit Nottingham this past Saturday and Nottingham LIVE sent Rob Fitzmaurice along to check it out -
The second annual Waterfront festival saw the Canalhouse play host to thirty odd (more or less local) bands over three stages and by and large makes you wonder why The Canalhouse isn’t more of a venue on the Nottingham circuit. Sure, the scale and variety of the event can be overwhelming (although at any given time it’s likely that there would be something to like whatever your taste) but by abandoning last year’s ambitious split venue approach a greater feeling of cohesiveness was achieved.
Strings of Seville: The band’s name doesn’t conjure up thoughts of melodic yet in your face alt-rock but as ever, they didn’t fail to please. Swirling walls of guitar namecheck a whole host of other bands while stamping it with a sonic drive that is unmistakeably their own.
Gallery 47: I’ll be honest. I don’t want to like Gallery 47; twee tunes about your cat and its increasingly ridiculous mission to become the Pol Pot of the feline world don’t do a lot for me. Having lent him a plectrum (which I failed to retrieve), it seemed churlish not to stay and see what the fuss is about. And do you know what? He’s not bad at all! I still can’t warm to Calla but the boy skilfully finger picks in an appealing Richard Thompsonesque way and his sublime version of “Girl from the North Country” was worth the entry fee alone.
Captain Dangerous: More good value from the 6 indie funsters, they clearly enjoy what they do as much as the crowd. And what’s not to like? Their quintessentially British pop features ball grabbing hooks and an almost nerdy charm in its bouncing rhythm that kept me away from the bar for an all too short half an hour.
Seas of Mirth
Seas of Mirth: Now what was that all about? Their claim to be the “Piratical Shantyman Troupe among the East Midlands Shires” is not one I’d be prepared to dispute lest they make me walk the plank as part of their gloriously interactive set. Furious shanties that can’t fail to get you on your feet, fake pirate beards and a tug of war (yes really!) produce a glorious experience that even a hardened land lubber couldn’t fail to love. Splendid.
Phil Booth (vocals/guitars) - Sofa Kings
Sofa King: Purveyors of oddly pleasing thrashes through God knows what, singer / guitarist Phil Booth managed to break not one but two guitars before the second song had even started and with a wonderfully tongue in cheek petulance, was ready to call it a day then. Fortunately, yet another guitar was procured meaning that we weren’t deprived of their infectious energy, musical scales that don’t appear in any theory book and the sweat that flowed almost as freely as the ale.
Rebel Soul Collective vocalist Ant Hagan
Rebel Soul Collective: RSC were one of the first bands I saw in Nottingham (just to clarify, I’m a relative newcomer rather than them drawing pensions) but haven’t seen them for a year or possibly longer. On the evidence of this performance, that is a year that I will never get back and my life is none the better for it. Beats so fat that you’d need a crane to lift them, driving electronica and a singer that demands you – with total, assured and slightly menacing justification – to kick it with him, these were the undoubted highlight of the day. This show was sandwiched between recording sessions and the sooner the fruits of that are realised the better.
Harlieghblu: Garnering plaudits left, right and centre and clearly a favourite of the crowd this was, in fact, a masterclass in middle of the road inoffensivity. Beautifully sung, with a backing band that are professionally right on the money, their final song stroll through “I Shot The Sheriff” perhaps highlights the cabaret style cliché that such music can all too easily slip into.
The Barnum Meserve: Bands don’t need to be categorised, which is good because I can’t with these. The prominent keyboards tempt you towards Muse (or unforgiveably Keane) but that’s a lazy slur on them; anyway, the vocals and generally thumping sound preclude that. Some new material was showcased that was strong enough without adding a great deal to this curiously engaging band’s setlist, although playing this late in the day isn’t always the advantage it might be, at least from a reviewer’s point of view. Perhaps if Marmite wasn’t utterly vile it might be the nearest box to put them in but for now the love / hate analogy will do – if I have to pick, then I’ll go with the former.
Baby Godzilla: These guys should come with a health warning and all attendees (and quite possibly the band members) be required to wear safety gear. Industrial strength anarchy, the riffs don’t so much perforate your ear drums as smash you in the face with a crowbar. Their best show yet?
Sadly one person can’t split themselves in three and the sheer range of styles on offer can make it hard work, although given the huge chunk of Nottingham’s music scene (whether playing or spectating) that was in attendance a sort of family feel was very much in evidence. Honourable mentions for Prae Vita, Bang Bang Romeo, and inevitably Will Jeffrey – all of whom (among several others) will go in the notebook to catch in more detail another time.
Overall, this is a festival day to be reckoned with. It’s perhaps easy to criticise the “all things to all men” approach but at a mere fiver it represents excellent value to spend the day catching up with a few favourites whilst checking out a few newer names – it’s all for charidee mate and the organisers should give themselves a worthy pat on the back.
Review by Rob Fitzmaurice
Pictures by Stephanie Webb Photography – more photos coming soon
There have been a few complaining about/criticizing the amount of variety at this festival, which seems pretty ridiculous to me – I mean what else would you expect from a festival? And how is variety a bad thing? Plus when it’s the amazing variety that was on display I have to agree with you, the organisers should be applauded for such a great charity event.
However, BRING BACK THE TWO VENUES approach!! This years’ festival felt slightly underwhelming compared to last years due to the downsize. They also need a better PA for the outside stage if they’re going to put acoustic acts on out there, and the audience needs to stop talking all over the acoustic artists