Earlier in the year, SXSW was hit by an artist boycott over SXSW Interactive featuring talks by arms manufacturers and SXSW’s sponsorship by the US Army. Given that for the last few years we have seen many more bands engage with politics, it is not surprising some bands see it as important that they are consistent with their principles.

In April, feminist punk band, Menstrual Cramps highlighted Barclay’s sponsorship of The Great Escape. Barclays and especially Barclaycard have a long connection with festival sponsorship and to be honest, I don’t think many of us have ever given them a second thought. However, Barclays, like many international banks, are tied up with many non-ethical investments including arms manufacturers and some of these companies supply arms to Israel.

Whatever your position on Gaza is, I would hope you have enough humanity to agree that some of Israel’s actions are leading to the avoidable death of civilians in Gaza and even if you are pro-Israel, maybe you should reflect on how unconditional your support is? For many, Israel’s long history of ignoring international law meant sympathy for the October attack quickly dissipated when their reaction lead to deaths of civilians and see their actions as collective punishment and therefore a war crime. By extension, anyone supporting these actions are complicit in these war crimes putting Barclays in their target. Understandably, a political band like Menstrual Cramps, felt it was important to lead a call for artists to boycott the festival and show their support for the killing of innocent people. Their call picked up steam in the last two weeks, with over 150 artists pulling out of the festival.

The Great Escape’s response…… silence

Their PR team’s approach appears to have been to stick their head in the sand and thereby showing utter contempt to their customers. In advance of the festival, there had been no communications from the festival regarding the boycott. A few extra bands were quietly drafted in, but it was clear with a few days to go, the lineup was looking depleted. During the festival, there were no communications about last minute drop-outs, except one, headliner Soft Play, which appeared as a notification in the app, but with no actual statement. Bands just disappeared from the schedule. Apparently TGE even deleted negative comments on their social media posts. When a quarter of bands pull-out of the festival and there are big gaps in the schedule, there should not be total silence.

The lack of challenge from the music press was equally unacceptable. While most had published something about the pull-out. I didn’t see any of them challenge the festival organisers over the lack of comms to fans. I guess they didn’t want to lose their press passes and their freebie ticket.

The poor comms wasn’t helped by artists finding their principles very late. I guess many lost them down the back of the sofa and only discovered them at the last minute, deciding to pull out during the festival leaving fans not sure if they were going to find an empty venue. I spent most of the festival checking bands’ social accounts to make sure they hadn’t pulled out before walking to a distant venue. At times the TGE app felt like ‘Schrödinger’s cat’. If I didn’t open the app, at least there was a chance the event was taking place.

I know it is really difficult being a young band. TGE is really important during their early career. Good press or generating a ‘word of mouth’ buzz can make a band. Putting principles first, potentially suffocates their career before it has started. Bands like Menstrual Cramps, building a career out of being a political band, it is understandable why they want to pull out. For bands who don’t have any political songs, pulling out of TGE is a really difficult decision. Weirdly, many of the bands who found it unacceptable to play TGE early in the campaign, somehow managed to find alternative ‘not TGE’ events to play during TGE and were quick to tell everyone where they could be found. Personally, I think there’s some double standards at play. Some bands happy to play both sides. Leach off the TGE brand by using their crowd, but presenting the front that they were boycotting the festival. The bands who got most respect were those who played, pulled out completely or only played the protest events.

It will be interesting to see how the festival season plays out. Hopefully other festivals will be looking closely at their sponsors. Several festivals are sponsored by Barclaycard. Will the ‘Boycott Barclays’ campaign hit them too? Festivals are one of the main incomes for many bands. Will ethics be as strong when an artist could lose a large slab of their income and in fairness, should bands be forced to give up their income over something that ultimately won’t make any difference to the war?

Luckily for The Great Escape, I think many people stayed away or were resigned to experiencing a very different festival. Many like me, hit alternative events and ironically, it was all the ‘principled’ bands who found alternative shows that probably staved off a more vocal backlash towards The Great Escape. If anything, I saw less queues than at previous festivals because I used the side events more than usual.

The protests weren’t too visible during the festival. I was expecting to see protesters every day, but it seemed to be confined to the first evening. On the Wednesday evening a large crowd of pro-Palestinian supporters gathered outside of Jubilee square with police present. They named the bands that pulled out, called people scabs who were playing or attending. Given that one of the songs they sung seemed to suggest there should be a Palestine ‘from the river to the sea’ I’m not exactly sure some of these people should be confident they have the moral high ground. A two state solution is the only solution. We need the Hamas terrorists and the terrorist state of Israel, to talk to each other. But as it stands both Hamas and right-wing Israelis want the irradiation of the other. Israel will continue to arm itself against terrorist and Western governments will continue to support Israel while Hama’s state aim is the irradiation of Israel.

Until the Hamas attack, I was pretty much 100% pro-Palestine, but nothing justifies an attack on civilians and given we were at a musical festival I reflected how lucky we were to only be dealing with protestors and not a genocidal murderous act. While Hamas are around, I’ve reflected my support for Palestine has to be more conditional.

I’ve said for the last few years how great it is to see more political bands. While, the actions of a small minority of bands like the Menstrual Cramps, in some ways spoilt my annual holiday, music needs these bands and the disruption was probably a good thing for music. It shows music can still be to voice of rebellion and have the power to shape ideas.

Sometimes we have to recognise we are getting older and the next generation will take up causes that we may have abandoned as unwinnable. The TGE crowd is generally older than many festivals. From chats over the weekend, it seems many have gradually accepted the world is a messy compromise. The Barclays sponsorship really didn’t bother them and the very best the protestors will achieve is that music festivals might check their sponsors activities. It also meant that we accepted TGE were in an unenviable position and there was very little they could do other than proceed with the reduced schedule and we would have to make the best of it.

It was evident from the first minute that this festival was going to be different. Collecting my wristband on the Wednesday evening, there were a lot police and security keeping an eye on a sizeable protest. One aggressive guy was pulled away from the protestors, but there was no threat from them. When I returned to see the opening act, Baba Ali, the protest had moved on and this was the last time I saw any sizeable protest. I was expecting pockets of protestors outside some of the venues. But throughout the festival, other than pro-Palestinian flags at some of music venues, the only sign on the protest was the tumbleweed blowing across the schedule.

The opening act at Jubilee Square were Baba Ali, a duo using guitars and samples to create a grimy 80s post-punk disco sound. I always imagine their music playing in a sweaty 80s New York art-house club. This is partially the music, but also the way singer Baba Doherty dances in a style very reminiscent of the 1980s, slightly robotic but also very sensual. I believe they are making a TV show of Neuromancer. Baba Ali’s should be asked to do the soundtrack. Worth catching in a small space.

Usually I head to the Green Door Store for their warmup evening. There was an evening for Gaza with the first 150 being allowed into the venue space and as I didn’t expect I would get in, I headed off to the Pipeline. Highlight, was Van Zon, another ‘Guildhall’ noodly, doodly band of the BCNR ilk with textured songs that gradually built up into a cacophony of instruments. They do it well. But I’m not sure we need any more noodly doodly bands.

Heavy rain greeted us the next morning, dampening my will to traipse between venues and to queue in the rain. First up was Canadian band, La Securite playing Patterns Upstairs, with their dancy art-punk. A great way to warm the crowd up for the day ahead.

Dropping in on the Mesmerist’s off-festival event, I ended up staying for a few acts as there was a late pull-out at the Prince Albert. But the impressive vocals of Nèome made the stay worthwhile.

At the Sidewinder, Teesside’s, Avalanche Party, stormed through their set. I haven’t seen them since before lockdown and thankfully they haven’t lost any of their energy or presence. These guys always put on a great show. If they were based in London, I suspect they would be far bigger than they are. Hopefully, with a new album coming out later in the year, they will finally see the traction they deserve.

Huw Stephens over at Jubilee Square, failed to mention anything about the issues around TGE as he interviewed Wunderhorse and Fabiana Palladino. Surely, if anyone is in a position to question TGE, it’s the BBC?

I meant to catch Sailor Honeymoon, a Korean pop-punk band, in London before TGE, but decided to have a relatively early night before travelling down to Brighton. According to the drummer’s t-shirt, ‘Korean girls invented punk rock not England.’. Maybe not. But their performance was fun nevertheless.

An example of how you can ‘do the right thing’ while doing the wrong thing, Brighton-based The New Eves ‘pulled out of TGE’ fairly early on but managed to ‘not play the Great Escape’ across five different venues. That said, they were my highlight of this year’s Great Escape. The New Eves are four talented multi-instrumentalists who I admit, I had thought were a Last Dinner Party adjacent band, as all images seemed to have them dressed in similar vintage clothing. But that’s where the comparisons end. Featuring cello, flute, violin, accordion, drums and guitars, they create an eclectic blend of sounds, routed in folk but with also a sprinkling of post-punk to add an edge to their crafted sound. I found them completely captivating.

Starting Day 2, the sun was out and things felt more positive. I started the day with the venue nearest to my hotel were Welsh band MELLT sand in their native language – I have to admit, I don’t find Welsh the most musical language – it can all sound all a bit phlegmy.

Off-festival, Norwich psychedelic band Floral Image playing at the Mesmerist, did everything you want from a psychedelic band. Full of energy, wandering rhythms and fun.

Gothy Venus Grrrls brought their enchantments to Fabrica. Indie-rock with supernatural themes. I’m afraid their hexes didn’t quite work on me but they are worth catching, especially in a darkened venue at the end of the evening.

More enchanting was Rachael Lavelle (who pulled out of the main festival during the festival) playing her off-festival gig at the Folkroom. Her singing is more like poetry. The rise and fall of the words are like incantations and spellbinding. The set seemed to be over too quickly.

The evening was a mixture of bands I had seen before, like Avalanche Party and another enjoyable, Enjoyable Listens performances. Both playing in a venue that is usually full of stag parties. Both did well to hold a drinking crowd’s attention, especially as they were showing football on the main screen.

On-festival, there really was very little that was interesting me in the schedule that I knew wasn’t going to have massive queues. So I just stuck to venues that usually don’t require queuing or had and an off-festival venue close by. Liz Lawrence was my only real highlight.

Traditionally, I find the Saturday slim pickings. Artists that have created a buzz will have queues and there are generally more people around, so I end up sticking to the quieter venues. This year, I seemed to be pretty much all off-festival for the whole day. Looking Glass Alice and Ellis-D both entertained at Daltons. On festival, Dog Race were interesting and favourites John J Presley were a great way to close my festival. During the day I came to the conclusion that the best way to tackle the Saturday is to pick one of the stronger off-festival lineups and stay there for the whole day and maybe in future I don’t need a TGE ticket.

Going back to the issue I have highlighted in every review of TGE, the sprawl of venues has to be improved. This year, with fluid schedules, I stuck to venues were there was an alternative near by incase the band pulled out. However, even the off-festival venues were full by mid-afternoon, leaving few alternatives. But there was music to be found. It just took more effort than usual.

As the off-festival events pretty much saved the festival and given next year TGE is going to have the threat of the new SXSW London, they have to stop discouraging off-festival activity and instead encourage more of Brighton’s pubs and arts venues to get involved and to put their own lineups together. My view is that the weakness of TGE is how little bands play. More off-festival activity means the bands who down for TGE play more and the buzz increases around them. Let’s face it, everyone sees the off-festival activity as part of ‘The Great Escape’ anyway. So embrace it.

This was actually my 10th anniversary since my first TGE. But I’ve never quite felt the love for this festival. I had done two SXSW before this and it has always seemed to be a pale imitator. As it tried harder and harder to be SXSW, the shortcomings became more obvious. With the increase in queues, priority for delegates and stupidly expensive hotels, previous years I have been close to not buying a ticket. Then ‘just in case I change my mind’, I end up buying a Super Early Bird ticket. However, given the way TGE have shown contempt towards us, plus the perennial issue of queuing, I have not taken them up on the offer of buying a Super Early Bird ticket. If they had shown some acknowledgement, say by offering a discount to this year’s ticket holders, I probably would have bought a ticket. However, with the festival organisers showing us contempt. I will not support them next year. I hope many others vote with their feet and The Great Escape use the next 12 months to reflect on more ethical sponsorship and how they deal with fans when things don’t go smoothly. Until then, I am going to keep my eyes open for an alternative escape and I’m sure SXSW London will tempt me too. Sadly, I’m afraid this year was definitely not a Great Escape.

Artists:

Baba Ali, Mickey Callisto, Swan Deep, Van Zon, La Sécurité, LLSN, Grace Moore, Nèome, Avalanche Party (2), Daisy Chute, Wunderhorse, Fabiana Palladino, Sailor Honeymoon, The New Eves, MELLT, Velvet Moon, Floral Image, Venus Grrrls, Bon Enfant, Rachael Levelle, Fraülein, Bouys, Eve Owen, Safari Inn, Enjoyable Listens, Ellie Bleach, Holly Macve, Liz Lawrence, Chum?, Ruby, Jopy, Marnie Marie, Dog Race, Kovak, Owners Club, Harmony Bo, Generation, Looking Glass Alice, Ellis-D, Laurie Wright, Sock Drawer, BIRD, John J Presley.

For the last few years, singer song writers have featured heavily but this year they have taken a back seat. This probably reflects who I’ve saw this year. It is also the first time a Jazz record has been on my list, with Jamie Branch. And for probably the only time, the list features a snooker player!

As usual, deciding on the order has been difficult. I’ve spent the last week re-listening to all my favourite albums to work out my top 20. The top three were especially difficult as they all were my favourite album at some point of the year.

Top 20 Albums of 2019

1. Fontaines D.C. – Dogrel
2. The Murder Capital – When I Have Fears
3. Black Midi – Schalagenheim
4. Dry Cleaning – Sweet Princess EP
5. LIFE – A Picture of Good Health
6. Drahla – Useless Coordinates
7. Richard Dawson – 2020
8. Erland Cooper – Sule Skerry
9. Warmduscher – Tainted Lunch
10. Avalanche Party – 24 Carat Diamond Trephine
11. Girl Band – The Talkies
12. Aldous Harding – Designer
13. RAKTA – Falha Comum
14. Jamie Branch – FLY or DIE II: bird dogs of paradise
15. Lewsberg – Lewsberg
16. Automatic – Signal
17. Ezra Furman – Twelve Nudes
18. Snapped Ankles – Stunning Luxury
19. The Utopia Strong – The Utopia Strong
20. French Vanilla – How Am I Not Myself

This year, Slaves were headlining the Saturday night, so I decided to take a punt. I’m so glad I did. Wilkestock is a gem of a small festival.

One great thing about Wilkestock is that it is a charity event with profits going to selected charities. Everything about this festival just felt right.

I don’t think I’ve ever been to a festival in a field where it is so easy to move around between stages – not that many people did. The site is compact and but the stage times staggered so there is very little overlap. There’s lots of little spaces to chill out in and people found a comfortable chair and seemed to stay there. Yes, I did say comfortable chairs. This is a different type of festival.

The lineup wasn’t necessarily top names. Instead the lineup was full of top quality up and coming bands. The main stage featured bands that are just knocking on the door. The second stage featured a some of the best local bands during the day and in the evening some bands that will hopefully feature on the main stage in the next year or so, such as one of my favourites, Avalanche Party.

The mix of national and local acts is a good combination for a festival line this, using the big names to make people aware of bands who play locally to help the increase their audience. Music on all stages was programmed by Juicebox Live who programme the Horn, so I’d seen many of the local acts already.

As with any stage showing local music, it will always be a bit hit and miss. Most of the bands I had seen previously at the Horn. But it’s always worth giving a local band a second listen. They often aren’t fully formed yet and their performances can quickly transform from something terrible into something great

Highlights were Carretta, a band I’ve seen a few times with a great front man and new band for me, Wink. I believe they are from St Albans but all studying in Leeds.

On the main stage the Pearl Harts impressed again. I’ve seen them many tines playing the Horn and in London. This was the first time I had seen them play a big stage and although the crowd was still pretty small when they played, they went down well.

First highlight of the day was Lady Bird from Kent. Signed to the Slaves own label and sharing some of the same DNA, this three piece, showed the same high energy pop punk sensibility as the Slaves raising the energy of the audience to the point where some people actually got out of their chairs to form a mini mosh pit.

Next, one of my favourite bands of the moment, Life. Mixing songs from the first album and upcoming album. Previously, I had only ever seen them play small venues like the Old Blue Last. But Life proved they have what it takes to play big stages

The Slaves closed the main stage to a swelling crowd. It’s sad that many only arrived to watch the Slaves as they’d missed some great bands. As you would expect the Slaves set was energetic and frantic and lapped up by the excited crowd. They are pretty much the perfect festival band. Pop punk with tongue firmly in cheek, it’s hard not to like them.

Sadly, after Slaves finished, the late comers all started to disappear off back home. With was a pity, as on the Bella stage, music continued into the small hours with excellent sets from the Dunts, the very impressive Strangebones, and personal favourites Avalanche Party.

For the last few years I’ve started my TGE on the Wednesday. It means I can start at midday on the Thursday and there’s usually some music on in Brighton the night before anyway. This year as no different. Well I say no different, I actually mean sadly, was different.

Just before Christmas, one of my favourite Brighton venues, Sticky Mike’s announced it was closing. This is my usual Wednesday night and end of festival hang-out. There was some good news, when they announced that they would be using the East Street Tap as their new venue, one of my favourite pubs in Brighton. It turned out to be bad news as the regular student crowd who seemed to occupy upstairs at Sticky Mike’s have migrated to the much smaller East Street Tap and throughout the weekend I struggled to get in. The nearest was stranding on the stairs to the upstairs venue/

Losing Sticky Mike’s is a sad loss.

Despite its closure. There was still some things happening on the Wednesday with some bands playing the main festival hub, some free events at the Green Door Store and the Prince Albert

Unlike last year. I didn’t have a photo pass. Okay, I’m not shooting for a magazine or online website. But I’m the sort of person they should be giving a pass to. I’m not overly bothered by the big acts. I’m happy to photograph the next generation and throughout the weekend, the venues I was in, were devoid of official photographers unless there was ‘hype’ behind the band. What’s the point of having the same acts photographed by a few dozen photographers? Because of this, I left most of my kit at home and just took a few primes and a fallback camera in case security were being sniffy.

The festival itself kicked off in fine style with Cousin Tony’s Brand New Firebird. An Aussie band who played a nice slice of infectious pop-indie. They even made a ‘keytar’ sound good.

Deciding on getting in an early banker and positioning myself for the walk up to Horatios, I headed down to see the amazing playing of Gwenifer Raymond. If you haven’t seen there. She’s pretty amazing on the guitar and banjo.

The Russians had invaded Horatios on the pier and I headed up to hear Lucidvox, a band that had played London earlier in the week with positive reviews. Sadly, there were sound issues that effected the two bands I saw.  

After a few misses, I decided to see one of my favourite live bands, Avalanche Party. Playing the tiny Black Lion pub as part of the Alternative Escape, they still managed to put on an excellent show that was appreciated by the packed pub.

Bumping into some friends, they had mentioned that Giungla had impressed in the afternoon. So I headed into the sea wall to catch her. I have to say I was really disappointed.

Venues seemed to be busier this year. By the middle of the first day it was already proving to be difficult to move around. Venues, I usually found easy to get into were often full, so I headed to see the Murder Capital early and had caught, Jockstrap. They are members of Black Country New Road but this offshoot band, really didn’t work for me.

There was a lot of hype around the Murder Capital. They had been heavily supported by Steve Lamacq and were coming through on the tails of the Idles and Fontaines D.C. What surprised me the most though, was how different the band are to those two bands. Fontaines have the poetry. Idles have the politics. The Murder Capital are your dark emotions. Every song brooded with an intense emotional centre and was something I was completely unprepared for. Easily the highlight of the festival.

After the emotion of the Murder Capital I decided to take it easy and find a seated venue and caught a band called MarthaGunn. They were okay. Almost an Americana twinge to their indie.

Day 2 started with a highlight. Dry Cleaning are one of my favourite bands at the moment. They mix interesting stories with some brilliant windy guitars.

After a few okay bands, one of the great things about TGE happened. I stumbled upon a band I didn’t know were playing. Walking past the Hope and Ruin, I could hear the brilliant sound of Snapped Ankles. It was one in one out, but the windows were open so I stood and watched and they came over to see me!

I had heard good things about the Petrol Girls. A punk band focused on feminist issues. Not sure I’m the core market but the post punk word at the moment seems to be missing female bands. However, while they put on a good performance, it was all too shouty shouty, rather than shouty singing, or shouty talking, as is the norm with post-punk. They are definitely more of a punk band and they didn’t work for me.

The other thing I like with TGE (when the weather is good) is how they give busking spaces to local artists if you have time, it’s always worth stopping and listening.

Often at this year’s TGE, I went for safe bands who I’d seen before. Saint Agnes are one of those safe bands. They always put in a brilliant performance. They were playing in the alt-Escape and as expected they were great.

Venues were getting busy and I decided to opt out of queuing and headed down see another set from Gwenifer Raymond in a seated venue. (I must be getting old).

As I was chatting to a friend, I stayed on for the next band, Ferris and Sylvester who played blues rock. At times it was a bit saccharine but I enjoyed the set.

It was getting late and Black Honey were playing a very late set at the Haunt after most places had closed. I thought it would probably be a complete waste queuing. Luckily I got in to catch the last few songs and them having a complete ball playing their home town.

Day 3 started with another banker. I’m a big fan of John J Presley’s blues. He’s got such an expressive voice and distinctive guitar. It was also good to see him reverting back to having a band as they add an extra depth to his music.

Queuing was much more an issue this year. You had to get there early for the hyped bands and there was no bigger hyped band this year than Black Midi. As The Ninth Wave were playing before hand, I queued up and caught both bands play good sets.

Wanting to take it easier, I headed back to the alt-Escape and grabbed a pint and the opportunity to catch Dutch Mustard who I’ve caught in London a few times

After heading out and finding all the nearby venues full, I returned to the Black Lion and was fortunate to catch another enjoyable performance from the Pagans SOH. They mixed rap, funk and rock in a very enjoyable way with a charismatic lead singer.

After the Pagans I bounced around with no one in particular standing out.

I have to admit. I was a bit more knackered at this festival than usual. I was also getting sick of queuing. As I’d hit SXSW in a big way and seen lots of new music. I decided to take it easy and stick to a venue. The Green Door Store seemed to have the best lineup with Big Joannie, Porridge Radio, and Peggy Sue, all of whom I’ve seen before. They were all good and Porridge Radio, played the best set I’ve seen from them. But it was Stonefield, a group of sisters who I assume grew up in a house with only Paranoid by Black Sabbath to listen to, who really impressed.

Sadly after the Green Door Store finished their programme, it wasn’t possible for my traditional trip to Sticky Mikes to catch their late-night off-festival bands and it was time to grab a few pints before calling it a relatively early night. Losing Sticky Mikes is definitely a loss to Brighton.

All in all. Another good TGE. It’s disappointing that the venues continue to spread out with what seemed like an increase queue time at each and the risk of walking half way across town to find TGE’s app’s busy status hadn’t been updated. Sadly, the ability to move around is reducing. Hopefully, next year they can rebalance the mix of venues. But I will be back again next year.

The evening started with Avalanche Party. I wasn’t initially sure as the first song didn’t do anything for me. But as the songs flew by. I found I was really enjoying their set.

James Brute followed, playing grungie blues songs. Great voice and great guitars. What more do you want.

Closing the evening was Kingsley Chapman and his new band the Murder, a talented bunch of musicians playing doom-laden ballads. There’s really not many bands around like them. Tonight they were on top form with intense, brooding songs of love, life, and politics. It makes a change to see somebody sing with passion and things that mater.