‘My bus smells of wee!’ Celebrities on their Glastonbury 2013 experience – The Guardian

Posted by Google News | Industry News | domingo 30 junio 2013 8:38 pm

Laura Mvula

Hi Laura, how is Glastonbury treating you so far?
Glastonbury is amazing. The sun is shining. I haven’t seen anybody apart from Rokia [Traoré], who opened. If you look at that lady, that’s kind of who I’m aspiring to be and probably will never be! She’s insanely beautiful in appearance and music.

How was your performance on the Pyramid stage?
It was amazing! It’s like you’re outside of yourself and there’s nothing you can do but let it affect you. I try to just let it be.

What’s the weirdest thing you’ve seen?
Probably my own bus! Honestly, be better organised, guys! It’s from the 80s and it smells of vomit and wee. I mean, I am thankful to have a bus but we parked up next to the Rolling Stones crew and I could see them all sniggering and laughing at us.

Michael Eavis has said everyone should drink less. Are you taking his advice?
Really? Well, let me tell you something: when it’s your first Glastonbury you need something. Even the Bible says so! No, I’m not the kind of person to get completely plastered but I don’t think I would have coped without my glass of white wine before my performance.

Where would you hide if you were Edward Snowden?
Well, not in my tour bus! Maybe under my dress? Actually, yes, absolutely, there’s room there.

Bootleg Beatles or the Rolling Stones?
OK, let me say that, in all honesty, I know less of the Stones than I do the Beatles, which is a pretty poor way of judging but it’s true. So yes, Beatles!

Liam Gallagher

Liam Gallagher: 'I'll put in a big dry cleaning bill for this.'
Liam Gallagher: ‘I’ll put in a big dry cleaning bill for this.’ Photograph: Alicia Canter for the Guardian

Hi Liam, it’s muddy and you’re wearing suede shoes!
Oh yeah. Well I’m a big Suede fan. Am I worried about the mud ruining them? Nope, because I’ve got fucking loads of pairs and I can just get a new pair. I’ll put in a big dry cleaning bill for this.

So your surprise set at 11am this morning – a bit of a wakeup call?
Wakeup call was 6 o’clock for me, mate. Turning up and playing good music is the best wakeup call you can get, though. Playing the best you can, singing the best you can … I thought we smashed it, mate. I just like the oddness of us playing at 11 o’clock. When someone asked us to do it we were like: «Yeah, why not?» I thought it was a bit early to get the rock’n’roll aggro out but it was one of the best gigs I’ve ever been involved in.

When you headlined back in 2004 as Oasis, Noel ended up apologising for the show.
Yeah, we had a bad one. It was the first time I used them in-ears and it was all a bit freaky. Today was miles better than that. Miles better, mate.

There’s a rumour going around that you will be appearing with the Stones
I know, I know … funny that, innit? Turns out I’m not the only one who’s full of shit!

Nile Rodgers

Nile Rodgers: 'I can probably get Prince to play.'
Nile Rodgers: ‘I can probably get Prince to play.’ Photograph: Christian Sinibaldi

Hi Nile, how’s Glastonbury treating you so far?
I’m cool – there’s no rain at least. I refuse to wear wellies so it had better not rain.

What’s the best Glastonbury rumour you’ve heard?
That Daft Punk is playing! It’s an ugly rumour. They’d never get in anyway; it took us ages to get through security. I was like: «Daft Punk are hidden in the trunk and they can’t breathe, hurry up and let us through.»

Get Lucky is being blasted across the site. What’s its secret?
I can’t even speculate about why it’s so popular. From our point of view it’s an organic natural song that developed because of a series of accidents. What’s the key to a Nile Rodgers groove? You have to be a little bit zany and fearless.

Will you be watching the Stones?
No, but I’ve seen the Stones a gazillion times. I produced Mick Jagger’s first solo album so I know them well. Keith lives in the next town over from me in Connecticut. Mick’s daughter Jade, who just got married, asked me to play her wedding. That’s another rumour I keep hearing – that Ron Wood and I will be playing together for the first time but we already played together with Prince years ago.

Prince performing at Glastonbury is an annual rumour. How can we convince him to play?
Prince has never played Glastonbury? Wow, I can probably get Prince to play. I’ll just call him up.

John Humphrys

John Humphrys: 'I doubt I would ever go to a rock concert out of choice.'
John Humphrys: ‘I doubt I would ever go to a rock concert out of choice.’ Photograph: Christian Sinibaldi

How is your Glastonbury 2013 so far? I don’t have anything to compare it to. It’s the first time I’ve been to a music festival of any kind. Let’s be honest, if it had been raining it would have been horrible. I really can’t imagine traipsing around this place, up to the eyeballs in mud and being rained on. It would be ghastly. But as we speak, the sun is shining, the ground is dry and it is glorious. There’s a lovely spirit about the place.

What’s the best thing you’ve seen so far? For the first time in my life I saw and heard the Arctic Monkeys last night and I got just a little bit carried away.

Do they have a new fan? I wouldn’t go that far. I doubt that I would ever go to a rock concert out of choice.

Heard any big rumours? Not one. That’s very disappointing. I’m a journalist and I haven’t picked up any rumours.

Where would you be hiding if you were Edward Snowden? Definitely not in the Ecuadorean embassy. How about the Tazmanian wilderness? You would be a bit dependent on your own resources. There’s nowhere to hide, is there, any longer?

Bootleg Beatles or the Stones? The Beatles. I prefer their music.

Josie Long

Josie Long: 'I don't like the Stones because Mick Jagger has slept with so many women.'
Josie Long: ‘I don’t like the Stones because Mick Jagger has slept with so many women.’ Photograph: Idil Sukan

How has your Glastonbury 2013 been so far? It’s been wonderful fun. I got here on Friday afternoon and my gig was at 6.30 on the Friday and since then I have just been enjoying myself.

What’s the best thing you’ve seen so far? The Proclaimers. Hands down. No contest. The Proclaimers are incredible. At the end they played 500 Miles and they said: «We’re going to play why you’re all here now,» and I was gutted because I was like: «No, I’m here for your many other beautiful songs and your attitude and your charisma, and the fact that you’re twins.»

Have you been drinking less this Glastonbury like Michael Eavis said? No, I drank a lot of dark rum last night. Plus my boyfriend is from Scotland and he brought two bottles of Buckfast down that we’ve drunk.

Where would you hide if you were Edward Snowden? If I was in Glastonbury I’d hide in the Rabbit Hole tent.

Bootleg Beatles or The Rolling Stones? Neither! I don’t like the Rolling Stones because Mick Jagger has slept with so many women I find him distasteful in principle. And the Bootleg Beatles? That is not the Beatles! That’s a tribute band. You might as well go out to fucking O’Neill’s. Neither.

Matt Smith

Hi Matt, who are you looking forward to seeing?
I saw some of the Arctic Monkeys. I really want to see the Stones. I want to see Nas, Tyler The Creator. I missed Tame Impala, which I was a bit gutted about because I really like them. I bumped into Noel Gallagher and he said Chic were great. He’s got pretty fine taste in music. I’m just hanging out really. I like the food, that little shopping strip.

Heard any good rumours about secret sets?
Daft Punk – and Bowie! If Daft Punk play, though, I might have a heart attack – I would love to see them.

You’re here to share the stage with Brian Cox at the Free University of Glastonbury …
He doesn’t know that I’m coming on, and then I’m going to be outwitted and outclassed by Brian, as always. The first time I met him was on the Jonathan Ross show, and he was so nice to me – I was nervous because it was the first chat show I’d done. Every time I see him we say hello – we have quite a nice spacey-timey connection.

Who’s the next Doctor Who?
Coxy! I have no clue.

Matt Smith with Brian Cox: 'I'm going to the outwitted and outclassed by Brian.'
Matt Smith with Brian Cox: ‘I’m going to the outwitted and outclassed by Brian.’ Photograph: Alicia Canter

Brian Cox

How’s Glastonbury treating you?
Sort of busy. We did the Infinite Monkey Cage radio show – 4,000 people in a tent talking about quantum cosmology. We did it two years ago with Monkey Cage and decided to do something a bit fluffy – the science of mud or something. This year we thought, no, we’re going to find the most difficult piece of physics possible and discuss it for an hour. It seemed to go great – everyone was quiet, I don’t know whether that was because they were asleep or staring at us because we were talking about a time when the universe was a million million million million times smaller than a melon! The serious point, I suppose, is that physics is becoming part of popular culture, which it always should be – you can see it, you turn up to Glastonbury and 4,000 people turn up to a physics chat. It’s the way the world should be.

Who are you looking forward to seeing?
I’m a big Elvis Costello fan, obviously the Stones – the Bootleg Beatles might be a good idea.

Where would you put Glastonbury on the cosmic scale?
Well, it’s probably the biggest festival in the Milky Way – that we know of. We don’t know of anywhere else in the universe where this happens, so it’s unique.

Source Article from http://www.guardian.co.uk/music/2013/jun/30/bus-smells-wee-celebrities-glastonbury-experience

Vampire Weekend at Glastonbury – review – The Guardian

Posted by Google News | Industry News | domingo 30 junio 2013 8:38 pm

Where and when

Pyramid Stage, 6pm

Dress code

Poised and preppy

What happened

On to a stage decked out like your gran’s front room – a flowery backdrop complete with mirror, patriotic war-time strings leaking from a radio somewhere – saunter Vampire Weekend to knock out one of the sets of the weekend as casually as taking tea.

One-time antsy Afropop brainiacs singing of obscure fonts and falling for the romantic-poet students on campus, their 2010 second album, Contra, added electronic meat to their spindly riffs. Their latest, Modern Vampires of the City, is up there with the albums of the year, seeing Ezra Koenig and Rostram Batmanglij evolve into the most intricate and intelligent songwriters of their time.

So it’s no wonder Glastonbury barely realises it’s watching history being made. It jigs along mildly to the first album favourites – A-Punk, Walcott, the Peter Gabriel-honouring Cape Cod Kwassa Kwassa – but hasn’t yet stretched its head around the intoxicating helium hooks of Ya Hey.

Step, VW’s attempt to update Procol Harum’s A Whiter Shade of Pale with lashings of demonic pitch-shifted vocals, and the mechanised Jerry Lee Lewis of Diane Young fare better, and Unbelievers is already accepted as a live favourite, succeeding in its mission to make a large field dance to theological debate. A quiet triumph.

Who’s watching

Lots of people who’ll tell their grandkids they were there, but won’t be able to tell them anything about it.

High point

Ya Hey, with its chorus resembling heave-ho-ing imps mining flawless pop diamonds.

Low point

The off-key verse of Walcott.

In a tweet

West Holts conquers pop culture

Source Article from http://www.guardian.co.uk/music/2013/jun/30/vampire-weekend-glastonbury-2013-review

Glastonbury on television, radio and online: a festival without drunk people – The Guardian

Posted by Google News | Industry News | domingo 30 junio 2013 8:37 pm

Sixty years ago at the University of Michigan, a man with a stronger stomach than mine conducted a long-winded experiment into chemical memory by teaching flatworms how to negotiate a maze then – of course! – grinding them up and then feeding them to other flatworms, who then supposedly magically «knew» how to negotiate the same maze. You might need to munch some of David Bowie‘s toenail clippings for an idea of what went down at the first Glastonbury, but for 2056’s historians, chowing down on Yannis from Foals won’t be necessary: the festival’s 177,000 attendees are almost matched in quantity by media representatives relaying the experience for those who didn’t get a ticket or, as Nick Grimshaw noted in his Friday afternoon Radio 1 broadcast from the site, «like live music but hate being in a field with drunk people».

I find live music hard work but I do like being in a field with drunk people. Still, this year I opted to experience Glastonbury not just from my sofa (how 2010) but from the kitchen (Zane Lowe’s Radio 1 Essential Mix provided a perky accompaniment to some Friday evening ironing) and the back garden, which is where I checked out NME.com on my mobile and caught up with the furore over Alex Turner’s new American accent while a lady removed a bees’ nest from a tree stump.

Gemma Cairney grinning at Glastonbury 2013
Gemma Cairney … supplying appropriate Glastonbury babble. Photograph: Jonathan Hordle/Rex Features

In the interests of transparency I should admit at this point that I am in the privileged position of living next door to one of south-east London’s most noteworthy ukelele botherers, so much of my weekend has been soundtracked by a distant twanging noise. But even without those unsolicited Glastonbury «vibes» I still feel as if I’ve experienced the best the festival has to offer. Naturally a BBC3 post-gig Chase & Status interview (Gemma Cairney: «Describe it in one word»; Status: «Speechless») is not quite like being on site, but if you’ve visited Glastonbury more than once you’ve got the general idea of what The Farmer has to offer. Combine those genuine recollections with the false memory offered by iPlayer livestreaming Chic, and you’re right there feeling hot and bothered in a dance tent.

And thanks to blanket coverage, one benefit of not being at Glastonbury in 2013 is that you actually get to see what’s happening. I know that Nile Rodgers doesn’t mind having his arm touched by Craig Charles. I also know that Jordan from Rizzle Kicks has a nice jumper with a fox on it, and I’ve now experienced the full HD horror of Miles Kane‘s union flag «ensemble». Over on 6 Music, Matt Everitt interviewed John Humphrys on Sunday afternoon. «Well,» Humphrys said. «I knew it was going to be horrible – far too many people, far too much noise and far too much rubbish everywhere. And I was right on all those points. Except, it wasn’t horrible.» Then he described trying to sleep in a tent, «as bass sounds reverberate right through the soil into your very soul».

It took Humphrys, and his weary depiction of one man’s attempt to sleep while a distant sound system whacks out some early-90s post-ambient noodling involving Steve Hillage, to make me really miss the farm. It’s agreed that everything except the music makes Glastonbury what it is, but nobody has yet managed to capture the demented intensity of Shangri-La on Saturday night. Still, this may change. On Friday the BBC experimented with a pair of Google glasses attached to the drummer from a band called Turrentine Jones. The jerky and blurred movements soundtracked by mediocre guitar music suddenly brought the real Glastonbury to life. All it really needed was the feeling of having nonsense babbled at me by a confused stranger but, fortunately, Gemma Cairney wasn’t far away.

Source Article from http://www.guardian.co.uk/music/2013/jun/30/glastonbury-television-radio-online-festival

Rolling Stones at Glastonbury 2013 – review – The Guardian

Posted by Google News | Industry News | domingo 30 junio 2013 8:37 pm


The Rolling Stones

Where and when

Pyramid Stage, 9.30pm

Dress code

Glittery dandy (Mick), 1980s pirate (Keith), dapper gent (Charlie)

What happened

«After all these years they finally got round to asking us,» deadpans Mick Jagger, wrily acknowledging Michael Eavis’s annual efforts to get the Stones to the Pyramid stage. Having finally succumbed, the Stones are smart enough to rise to the occasion rather than treating it as just another gig. Jagger even sings a song he claims to have written the previous night, Glastonbury Girl, a charmingly daft ditty about wet wipes, wellies and MDMA. He prances across the stage with a playfully imperious air, secure in the knowledge that he’s learned a trick or two over the past 51 years. Keith Richards is clearly not the guitarist he once was, but Ronnie Wood is much better than he was so it kind of balances out, and they still, after all these years, seem to take huge pleasure in playing these extraordinary songs together.

Link to video: Glastonbury 2013: The Rolling Stones in one word

After going in hard with surefire hits like Jumping Jack Flash and Gimme Shelter, they stretch out in the middle with fan-friendly showcases for Richards (You Got the Silver) and ex-guitarist Mick Taylor (Can’t You Hear Me Knocking), which thin the crowd a little but, frankly, if you can’t stomach the Stones getting bluesy for a couple of songs then they’re probably not the band for you. There’s no shortage of diversity anyway: Miss You and the rarely performed 2000 Miles From Home show how they could get a handle on disco and psychedelia respectively.

The final stretch is simply staggering. During Sympathy for the Devil the scrap-metal phoenix at the top of the stage raises its wings and spurts jets of fire, while flares in the middle of the crowd produce suitably infernal red smoke. You Can’t Always Get What You Want, with its soaring choir, is hugely moving, an anthem to acceptance which draws celebration from resignation. A raucous, extended Satisfaction sounds like one of rock music’s holy relics. It drives home the realisation that the most patiently pursued headliners in Glastonbury’s history have finally made it, and they’re right here in front of us, and they’re very, very good.

High point

Sympathy for the Devil. Phoenix. Fire. Woo-woo.

Low point

Midnight Rambler puts the emphasis on the rambling.

In a tweet

You can sometimes get what you want.

Source Article from http://www.guardian.co.uk/music/2013/jun/30/rolling-stones-glastonbury-2013-review

Azealia Banks at Glastonbury 2013 – review – The Guardian

Posted by Google News | Industry News | domingo 30 junio 2013 8:37 pm


Azealia Banks

Where and when

Other Stage, 3.15pm

Dress code

Dungarees, baseball caps and full 90s revival gear

What happened

There’s been a sort of pleasant roundness to most performers at Glastonbury this year, and you’d be hard-pushed to find anything that would sound out of place on Radio 2, though this is, perhaps, more an indictment of the current state of the music industry than Glastonbury’s bookers. So it’s an undeniable thrill to see Azealia Banks spitting her way through a series of booming, bass-heavy, rave-inflected tracks that take in the New York drag scene, being a bad bitch, and how fierce she is. It helps that she looks like a refugee from Camden cybergoth shop Cyberdog (who have a stall here), all decked out in neon rubbery spines, while two queens vogue away behind her. «I got in a lot of trouble for releasing this song,» she admits, launching into her Harlam Shake, with a Born Slippy teaser. «But y’all know I don’t give a fuck.» That attitude is very, very welcome right now.

Who’s watching

Rabid fans on the front rows, plus baffled punters waiting for 212.

High point

Obviously, it’s 212. Hearing a field full of people shouting, «I guess this cunt gettin’ eaten» while they pump the air is definitely bracing.

Low point

Her between-songs patter didn’t really set the field on fire: «This is a great achievement for me!» Great!

In a tweet

Bitch I’m in the 212, right round the corner from that bacon stand near the bar.

Source Article from http://www.guardian.co.uk/music/2013/jun/29/azealia-banks-glastonbury-2013-review

Glastonbury 2013: celebrity photo tour – The Guardian

Posted by Google News | Industry News | domingo 30 junio 2013 3:33 pm

Once, we couldn’t hear everyone’s Glastonbury stories until long after the festival was over. But Instagram has changed all that – now festivalgoers can bombard us with self-satisfied photos around the clock. Even celebrities have got in on the act. Here’s the pick of the bunch from the weekend.

Cara Delevigne having a jape

Glastonbury is such a special occasion that it even prompted noted wallflower Cara Delevingne to come out of her shell and draw attention to herself in a slightly obnoxious way for once.

Mick Jagger shows off his yurt.

One day, science will invent a word that perfectly encapsulates the simultaneous sensation of pride, disgust and confusion. Only then will anyone be able to describe Mick Jagger‘s face with any degree of accuracy.

Hudson Taylor's audience

A photo that Hudson Taylor took immediately after asking their audience if anyone wanted their money back.

Rita Ora is blown away

Approximately 98% of all celebrity Glastonbury Instagram photos feature Rita Ora in some way. This is the only one where she looks like she’s being knocked over backwards by a fart.

Pixie Geldof is happy

But Glastonbury isn’t all about music and yurts. Look, Pixie Geldof has found a big conker made of twigs, and it might have something to do with River Island, and she looks quite pleased. This is the true spirit of the festival.

Lou Barlow with Harry Styles

This is either a photo of Harry Styles and Lou Barlow grinning near a toilet, or Future Harry Styles has travelled back in time to warn Present-Day Harry Styles about a catastrophic life decision that will soon cause his entire life to unravel. Which one is true? Who can say?

Normski's mate goes for a jog

Remember Normski? He had a very productive Glastonbury, taking photos of Glastonbury’s eccentric underbelly. This man, for instance, went jogging! At Glastonbury! What’s he like? LOL!

Stella McCartney's view of the Rolling Stones

Tens of thousands of people saw the Rolling Stones play on Saturday night. But how many people saw them from an angle that made them look like distressing Soviet-era east European marionette puppets? Only Stella McCartney.

Millie Mackintosh and friend

In the end, let’s not forget the true meaning of Glastonbury – witlessly overdressed people from TV shows you don’t watch (eg Millie Mackintosh from Made in Chelsea) larking around in unnecessarily expensive wellies and treating the whole thing like a jumped-up photo opportunity that was created especially for them. Beautiful.

Source Article from http://www.guardian.co.uk/music/2013/jun/30/glastonbury-2013-celebrity-photo-instagram

Yunupingu farewelled with tears and music – The Guardian

Posted by Google News | Industry News | domingo 30 junio 2013 10:25 am

Australia has said a public farewell to one of the country’s leading indigenous figures, Dr Yunupingu, in a state memorial service attended by hundreds of people from all over the country, and broadcast live on two national television channels.

The memorial was held at Gulkula, north-east Arnhem land – the site of the country’s premier indigenous festival, Garma, which Yunupingu founded with other members of the Yothu Yindi band. The ceremony was attended by the prime minister, Kevin Rudd, and compered by the former education minister Peter Garrett, a friend of the family.

The service was a mixture of celebration and mourning, revisiting the singer’s key achievements in indigenous education, healthcare, politics and music. It included a number of bungul (dances) and a performance from Yunupingu’s nephew Geoffrey Gurrumul Yunupingu.

Many attendees were dressed in yellow ochre, the traditional colours of Yunupingu’s Gumatj clan, in a sign of respect for the deceased elder. It began with a crocodile and rock bungul, headed by members of the Yunupingu family.

In a welcome address, Yunupingu’s brother Djungatjunga paid homage to the Gumatj traditions being shared with the country: «The ceremony you witness today my clan spent many thousands of years, a ceremony that my brother did not forget. It is a ceremony that was always embedded as part of our land.»

The chief minister of the Northern Territory, Adam Giles, paid tribute to a «remarkable territorian». He referred to one of Yunupingu’s most famous tracks, Treaty, written in response to the then prime minister Bob Hawke’s failure to deliver a reconciliation treaty he had pledged to indigenous Australians. It was a song about «holding politicians to account», Giles said. «Too often we politicians have let you down.»

Giles also acknowledged Yunupingu’s public battle with kidney disease, saying: «Dr Yunupingu was a teacher to the end, documenting his struggle with renal disease in the hope that it could help others.»

It was a «tragic reality» that indigenous Australians were four times more likely to die from disease. «His battle should inspire us to all work harder,» Giles said.

Yalmay Yunupingu, widow of the former Australian of the year, wore his famous headband throughout the ceremony. She said it was «the one that my husband took to the world, promoting Yolngu music, languages and culture in his attempt to bring down white Australian’s racism».

«Racism was something he experienced many times in his life,» she said. «Even when he was named as Australian of the year in 1993.»

Yalmay paid tribute to her husband’s record as an educator. He was the first indigenous Australian from Arnhem land to gain a university degree and became the principal of Yirrkala Community School, where he helped pioneer the «both ways» education system, which used traditional Aboriginal teaching methods and language alongside western practices.

She ended her address by quoting her husband from a parliamentary meeting with education officials in 2009. He said: «We learn from our elders that education is sacred … I consider children in Yolngu schools to be as clever as anywhere else in the wider world … they should have equal rights, the same as any in the world.»

The singer Paul Kelly, who collaborated with Yunupingu throughout his career, recalled the artist’s «big beaming smile» and said Yothu Yindi’s music «expressed the duality of their culture. And also the duality of Australian culture in general.

«Their example gave pride and encouragement to indigenous fans all across the country.»

Source Article from http://www.guardian.co.uk/world/2013/jun/30/yunupingu-farewelled-memorial-indigenous-arnhem

Rolling Stones make Glastonbury debut – The Guardian

Posted by Google News | Industry News | domingo 30 junio 2013 10:25 am

Two titans of rock music met at last on Saturday night when the Rolling Stones made their riotous Glastonbury festival debut 51 years after they formed.

Sir Mick Jagger, sporting skinny black jeans and a green and gold sequinned blazer, danced his famous peacock strut across the Pyramid stage as a mass of 170,000 fans swelled, danced and sang every word to Stones hits.

The blockbuster two-and-a-half hour set opened with some of their best known tunes, with Jumpin’ Jack Flash, It’s Only Rock ‘n’ Roll (But I Like It), and Paint It Black – in a departure from their 50th anniversary celebrations last year.

As the sun went down over Worthy Farm, a flame-throwing phoenix on top of Pyramid stage brought to an end a totemic performance that most thought would never happen. The phoenix was reputedly commissioned personally by festival organiser Michael Eavis, whose lifetime aim to see Jagger and co on the Pyramid stage was finally realised 43 years after it first took place.

And in a nod to the tortuous behind-the-scenes negotiations between the pair, Jagger joked that the organisers had «finally got round to asking us» to top the bill. «It’s great to be here doing this show, doing this festival,» he said after belting out It’s Only Rock ‘N’ Roll (But I Like It).

«They were amazing,» said Gordon Richardson, 55, from Utoxeter, a lifelong Stones fan who is going to see his favourite band in Hyde Park, central London, next month in the Barclaycard British Summer Time festival. «2000 Light Years from Home was out of this universe.»

Contrary to the rumours, there was no guest appearance from Lady Gaga, Katy Perry or Taylor Swift – but Mick Taylor, who famously left the Stones in 1974, did make an appearance.

Capacity for the Pyramid stage was increased to 100,000 especially for the gig, with dozens of tents shifted back and fans squeezed in around the edges for the headline slot. Fans to the far left of the stage chanted «Turn it up! Turn it up!» shortly after the set started at 9.30pm and as the day’s blue skies were replaced by cloud.

But when the famous foursome finished with You Can’t Always Get What You Want, the complaints had been replaced by adulation.

«It was really good but it could’ve been a little bit louder,» said Corrie Davies, 29, who was one of hundreds filing away from the Pyramid stage to catch an impromptu DJ set by Fatboy Slim elsewhere on the site. «In the middle it was fantastic but it was too hot though – I had to come out.»

Jagger, who turns 70 next month, finished with (I Can’t Get No) Satisfaction and saw the headline slot out with fireworks. Rivals for fans’ attention came in the form of drum and bass outfit Chase & Status on the Other stage, indie band Hurts in the John Peel tent and Public Enemy on the West Holts stage.

Source Article from http://www.guardian.co.uk/music/2013/jun/30/rolling-stones-glastonbury-debut

Glastonbury day one roundup: Music Weekly podcast – The Guardian

Posted by Google News | Industry News | domingo 30 junio 2013 10:25 am

Alexis is joined by Kieran Yates, Tim Jonze and Dorian Lynskey to discuss the headline acts from Friday night at Glastonbury, including Portishead, Arctic Monkeys, Haim and more.

Plus, Tim Jonze apologises, Michael Eavis rides a steampunk boat through Glastonbury with artist Joe Rush and Kieran chats to singer-songwriter Laura Mvula about making her debut at the festival.

What have been your highlights so far? Leave your thoughts below and we’ll try to include them in the next programme.

Source Article from http://www.guardian.co.uk/music/audio/2013/jun/29/glastonbury-2013-day-one-podcast

Britten’s War Requiem; Music in the Space Time Continuum – review – The Guardian

Posted by Google News | Industry News | domingo 30 junio 2013 10:24 am

A silence as tangible as grief hung in the air at St Paul’s Cathedral last week – for nearly two minutes at the close of Benjamin Britten’s War Requiem the audience sat mute, stunned by the bleak grandeur of it all. Conductor Edward Gardner kept his hands raised, willing the packed building to hold its applause, but he need not have troubled; no one wanted to break their own silent meditation.

«My subject is war, and the pity of war. The poetry is in the pity … All a poet can do today is warn,» wrote Wilfred Owen, killed just days before the 1918 armistice. His words chimed perfectly with Britten’s pacifist stance and when in 1962 the chance came to mark the inauguration of Coventry’s new cathedral the composer produced this masterpiece, an interweaving of the traditional Latin requiem mass with nine of Owen’s poems.

Coventry’s 14th-century cathedral had been destroyed in November 1940. Out of its ashes arose a building dedicated to a ministry of reconciliation. Britten seized upon this theme, scoring the solo parts for British, Russian and German singers, an ambition realised again at St Paul’s last week: the admirable German-born baritone Russell Braun was joined by the Russian soprano Evelina Dobraceva (replacing an indisposed Albina Shagimuratova), and the quintessentially English tenor Toby Spence.

The piece presents several problems of direction and balance for the conductor. It’s scored for chorus and huge orchestra, a separate chamber ensemble accompanying the soloists, two organs and a boys’ choir, required to sing at an ethereal distance. In the cavernous acoustic of St Paul’s, the potential for disaster was significant but Gardner triumphed, displaying total command of his massive forces.

He was aided by Andrew Carwood, director of music at the cathedral, who conducted the tremendous boys’ choir, hidden away behind the platform, their crisp, clear interjections rising above the clamour to thrilling effect. Carwood was Graeme Knowles’s inspired appointment when he arrived as dean in 2007. Knowles couldn’t have known then that his tenure would be cruelly cut short as a result of the Occupy protest in 2011 but he can be proud that Carwood’s magnificent choir is his lasting legacy.

At the whispered opening it seemed the CBSO Chorus might be in danger of being overwhelmed, but when Spence rose to sing the first Owen setting, What Passing-Bells For These Who Die As Cattle?, we knew we were about to witness an extraordinary evening, more an act of remembrance than a mere concert. His admirable diction sent those haunting words out under the great dome like a clarion call across a battlefield. Back came the chorus with a wonderfully controlled, unaccompanied pianissimo Kyrie, before terrifying us in the explosive Dies Irae, the thrilling brass and percussion of the CBSO reminding us that this was their own piece – their 1960s counterparts played at the Coventry premiere.

Braun was equally intense in Be Slowly Lifted Up, while Dobraceva found her feet in the Lacrimosa, floating angel-like over the chorus before Spence shattered our hearts with Move Him Into the Sun, which brilliantly injects the senseless brutality of war directly into the comforting balm of the Latin mass. Gardner whipped up the Libera Me into a frenzy with Dobraceva fighting to be heard above a thundering bombardment of percussion, brass and chorus that gives way to the ultimate Owen poem, It Seemed That Out of Battle I Escaped. A dead British Tommy (Spence) meets a dead German soldier (Braun) who tells him: «I am the enemy you killed, my friend.»

Braun and Spence caressed the senseless pity of it all, lullabied to endless sleep by the In Paradisum of the chorus and boys’ choir. No wonder there was total silence at the end. Tears were never far away.

There was more poetry at Kings Place the following evening. Isobel Dixon read passages from her collection Dark Matters, an elegant supplement to an invigorating evening of new music exploring the concepts of space and time, presented by the Austrian contemporary music group Klangforum Wien.

If, like me, you struggle with particle physics, you should hear Roberto Rusconi’s De materia nigro et obscura, written to mark the confirmation of the Higgs boson in our understanding of the fundamental structure of matter. Rusconi takes a single block of sound (a particle) and spins from it a set of variations for piano quintet. Each has its own special character, stretching and extending the possibility of sound. There are moments of hesitation, of suggestion, of approach and withdrawal, making tremendous demands on the players. Gradually, Rusconi’s original block of sound reassembles itself after being subjected to his forensic dissection.

There was more ferocious playing in Bernhard Gander’s Khul, a simple anagram of Hulk, the Marvel Comics character, the alter ego of genius scientist Bruce Banner. Gander’s Hulk thrashes around in a tumult of double-stopped strings, screeching and wailing in a highly disciplined, carefully structured torment.

Fierce discipline is key to this music. Beat Furrer’s Spur sounds totally random but it requires the virtuosic talents of Klangforum Wien to make it work. Jagged fragments of sound gradually coalesce into patterns that suggest traces of 19th-century chamber music, but reinvented and reformed to offer a totally new experience. Let’s hope Klangforum Wien return to London soon and continue to open our ears to the future.

Source Article from http://www.guardian.co.uk/music/2013/jun/30/britten-war-requiem-music-space-time-continuum

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