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.

This was my first trip back to Rockaway Beach since before lockdown. I was meant to be going in 2022 but caught COVID. It was good to finally be back.

As a side note. All credit to Butlins. They refunded my break with no quibbles. One example of the many things Bultins gets right. How many festivals would have done the same?

With the on-going train strikes, I had to drive to the festival for the first time. I much prefer sitting on a train planning the festival ahead. But the strikes need to happen. Thankfully the sun was shinning and opting for A-roads, the drive took in some nice scenery and was all rather pleasant. I took this as a sign that this was going to be a good festival.

Arriving at Butlins for 1pm. The weather took an immediate turn for the worse. Literally the moment I stepped out of the car it started raining and that was it for pretty much that for the rest of the weekend. This is the first time I never left the site for the whole weekend to go for a coastal walk. Luckily, there was a packed weekend ahead and the site is so compact, you are never more than five minutes away from your accommodation. Butlins at Bognor is a great site for a January festival.

When the lineup was announced, it seemed like there was some bad planning. The first band was playing before Butlins were going to allow us into our accommodation. Thankfully, the rooms were ready at 1pm and this gave me time to unwind before heading to Reds for the first act, Panic Shack.

Panic Attack played the Horn last year and I was a bit frustrated by them. I felt they needed to decide if they want to be an edgy punk band or a fun pop punk band who get their message across less directly, but have a wider appeal. This time I was prepared for their split personality and found their set much more enjoyable. With songs like Jiu Jits You, and Mannequin Man (complete with dance moves), they have the DNA of an incredibly fun pop punk. They clearly don’t take themselves too seriously. They also have a cracker of a song in ‘I don’t Really Like It’ that reminds me of PINS. At the Horn, I found the switch to angsty songs a bit jarring. This time, I went with them. But I think their strength is when they are the fun version of themselves. I spoke to so many who thought Panic Shack were their highlight of the festival. So they are clearly doing something right.

I saw Deep Tan last year. However, they were on the same bill as Deadletter and Priestgate and frankly were forgettable when up against two stellar performances. In 2022 they released their ‘Diamond Horsetail’ EP. Every song comes in at under 3 1/2 minutes. They have a bit of New York art school post-punk about them. They are happy to throw in changes of direction into their songs and musically cover quite a bit of ground in 3 minutes. I do like them on record. But I think their live versions probably could do with loosening up a bit. Some of songs end too abruptly and they caught out the audience on two occasions who didn’t know it was time to clap. I think stretched them out a bit might leave the audience less confused.

I have been wanting to catch Hull’s Low Hummer since they released their very danceable ‘Modern Tricks for Living’ album. I wasn’t disappointing. Switching between male and female vocalists gives them a different dynamic to most bands out there. Think early 80s keyboard driven post-punk, crossed with Seattle 90s grunge guitars and throw in a touch of Alvvays. It all combines for a very listenable sound.

One of my complaints from earlier Rockaway festivals was how I perceived there to be a lack of music. Usually, there are no clashes with 30 minute gaps between bands. I like bouncing between venues on a constant binge of new music. I like an ‘eat as much as you can’ musical buffet of a festival. Rockaway is more of an expertly crafted tasting plater. Whereas at SXSW I see 30 bands a day. At Rockaway, we are talking about seeing 10 bands in a day. Initially, this left me wanting more. But over the years, I have come to see a place for both. Rockaway is a perfect way to ease me into the new year. It is January after all, best leave all that rushing around between venue nonsense for the later in the year when it is warmer.

However, this year, Rockaway had clashes. The Reds stage stayed open and it gave the organisers the opportunity for two alternative headliners in the form of Yard Act and Anna Meredith. I tend not to be too fused by the legacy acts they have as headliners, I think this was a good change as it gives the festival a chance to take a punt on a band who might not actually be ready to headline Centre stage. The only issue from a ‘Down at the Front’ perspective, as I had no photo pass, it meant I would have to accept crap photos once there were clashes as I wouldn’t be at the front (and I’m not going to push my way to the front when people have held their place on a barrier).

Given LIFE were playing the main stage. My initial choice was easy. I love LIFE so there was no chance I was going to miss them. It was the second time they had played Rockaway. The first time, they were the highlight for many and it wasn’t a surprise to see them moved to the big stage.

As usual, they were brilliant, energising the crowd for the evening ahead. It didn’t take Mez long to ride around the crowd on somebody’s shoulders and from that point the band had the crowd in the palm of their hands. I am surprised that the festival organisers haven’t taken a punt on them headlining the Sunday night. They would be a brilliant way to close the festival. Maybe next year?

I decided to stick with the main stage for Billy Nomates. I am not completely convinced by her as a live act. She has an absolutely brilliant voice and despite having an amazing stage presence, it is still her and a laptop. While she managed to move around the stage and fill it with her performance, I still think she would benefit from a band. I really think she would thrive off the dynamics other musicians could bring. I feel like we are being denied her full talent. Saying that. She was still entertaining. But I would love to see her up-close on a smaller stage.

The next hour of so, there really wasn’t much to keep me entertained. The Primitives in Reds didn’t do much for me. Upstairs, Self Esteem were impressing the Rockaway crowd, but are not me. I feel like I’m not in on the joke. Ex-indie musician creates a pop band. Not sure where the punchline is. She is not for me. Downstairs, although not usually my thing, W.H.Lung impressed with their electro pop and the singer had high register vocals that reminded me a bit of Andy Bell.

Closing the evening was Peter Hook on Centre Stage and Anna Meredith in Reds. Fair play to the festival organisers for giving us a choice. Peter has headlined Rockaway before and upstairs was very busy. Yes, he has an amazing back catalogue with Joy Division and New Order. But he is still Peter Hook covering Joy Division. He is not Joy Division. Anna though is an amazing talent. Sitting somewhere between classical and dance. She composes pieces that work with her small group of talented musicians, but also scales to a full orchestra sound. For me it was an easy choice and I opted for the brilliant Anna. Her music was a joyful way to finish off their evening.

Day 2 was a strong on paper. Reds was full of great new acts, closing with Yard Act. Headlining the Centre Stage was OMD. So there as a lot to look forward to.

Winter Gardens impressed the midday crowd. Two female vocalists and a manic guitarist. They describe the sound as ‘dream punk’ and it does have the textured layering of shoegaze. But then their manic guitarist adds a layer of expressive guitar that changes the pace and keeps the whole thing interesting.

The next band were the festival highlight for many of us. Personal Trainer from the Netherlands are a seven piece who are all having a blast playing their music live. They come across as a bunch of mates who like mucking about with each other. They just happen to have also released a great album in 2022. I got the feeling they would play just as manically if there was no one there. Their lead singer Willern Smit had an infectious joyous charm. Definitely one to watch.

I had been hearing good things about VLURE. For some reason, I expected them to be an IDLES clone. But they play dark electro-punk with a sweary, ‘twelve pints of Glaswegian angst’ attitude. Highly enjoyable. I can imagine 11pm in a dark club would be the best time to catch them.

The sound engineers at the festival did a good job of getting a reasonable sound out of Butlins venues that were never designed for indie music. They had done a fantastic job earlier in the afternoon of handling the complexities of Personal Trainer. So it was surprising the sound for POZI was poor. Sadly the violin was drowned out in the mix. Given much of POZI’s charm is how they use the violin to replace angular guitars to create an alternative take on the post-punk sound. It was pretty important the mix was right. I think POZI realised things weren’t sounding great but they did their best anyway. Disappointing, but this was the only time were the sound was poor.

Sound improved for The Goa Express, who play jangly indie. As I have seen before, I watched half their set and then took the opportunity to take a break.

Melt Yourself Down were a big surprise. A perfect festival band. Mixing elements of jazz with North African influences, they have a very danceable sound. Lead singer Kushal Gaya does a great job of working the crowd. I think everyone was impressed by them.

At 8, the Centre Stage opened putting Big Joanie up against The Futureheads. I have seen Big Joanie many times so opted to for the Futureheads. Sadly, the performance was marred by lead singer, Barry Hyde suffering from vocal issues and other members of the band had to take up vocal duties. As their vocal harmonies are an important part of their sound, tonight didn’t quite work. After half their set I decided to head up to watch Big Joanie.

Sadly, I had a realisation seeing Big Joanie on the big stage, I don’t think I like them playing big stages. When they came on the scene. They supported everyone and their sound grew on my, but it was their performances that drew me in. Playing small tightly packed stages, with Chardine’s drums front and centre, their performances were very dynamic. Tonight on a big stage. It was clear their performance hasn’t developed for these larger venues. The three seemed isolated from each other and the deficiencies in their sound more obvious as the performance was static. Odd, because they have been a support act on big tours. I would have thought they would have gained more stage craft and realised they have to fill the stage with their performance, not by spreading themselves out. I am not sure I will bother watching them again on a big stage again. I will catch up with them when they play smaller stages.

Managing the clashes, I stayed upstairs to watch half of the Anchoresses set before catching Scalping with the hope of getting a space at the front for Yard Act.

This was the Anchoress’ first gig since before COVID. Before Christmas she put up a crowdfunded to help her purchase some air purifiers. She is clinically vulnerable and the air purifiers have been designed to clean the air around her when she performs to give her the confidence to play again. I still wear masks at the front as I don’t want to be responsible for passing on something to an artist causing them to cancel a tour (and for me to avoid missing more gigs). It was really good to see her back playing again giving us the opportunity to enjoy her beautifully crafted music.

Downstairs Scalping brought industrial rave to Rockaway Beach. Dark grungy guitars played over rave music accompanied by 3D visuals. All combined, it reminded me of the Amiga demo scene. It was all a bit intense for me. I was never a raver but found myself dancing. But after about 30 minutes, it all started to blend into one and also I was a bit knackered!

Taking the opportunity to creep a little bit more centrally after Scalping finished. I was all set for what turned out to be the biggest disappointment of the whole festival.

Bands like IDLES have created a blueprint for being successful. It involves a lot of hard work and nonstop touring. Something that breaks most bands, as they can’t cope with all the negatives touring brings with it. Since seeing Yard Act last January, the band seem to have followed the IDLES playbook and they have said yes to every booking. Looking at Songkick. It says they played well over 100 gigs last year, including North America and European tours. They are about to head off to Australia. That is a lot of gigs, a lot of travelling with the poor lifestyle that comes with it.

Even before their Rockaway set, they travelled down from Leeds via Kingston where they played a gig, before heading to Butlins for a Q&A and headline set. After all that effort, playing a gig at 2315 might not have been the best idea.

I have to admit, I was a bit shocked by their appearance when they walked on stage. James and Ryan looked frazzled. The spark James had last year wasn’t there. Instead his witticism seemed like barbed comments. Was he joking about the late stage time and the fact that they had said yes to playing a January gig? I’m not sure he was. I felt like I was watching somebody who could be heading for a breakdown. I really hope people around him are looking after him.

I found the whole set very uncomfortable. It didn’t help that some pissed girls had pushed their way to the front and talked loudly during the songs. I am not sure if James was aware of them. But he gave one of them the microphone and said they should sing the next song. The girl was then annoyed and told him she was the paying audience. After that, he seemed to lose interest. Instead of playing their 75 minute slot, he decided 45 minutes was enough and that was them them done.

If people around the band are reading this. Give the guys a break. They look like they need it.

With Yard Act finishing early I headed upstairs to catch OMD play their ear worm ‘Enola Gay’. It sounded really good. Maybe I picked the wrong stage?

Steve Lamacq closed the evening with his usual DJ set. But I headed back to my room to edit photos.

The final day started with a break in the rain and clouds. I probably should have taken the opportunity to go for a walk, but I was still editing photos. Sadly it didn’t hold and the rain came back.

First up was one of my favourite artists. John J Presley with his grungy blues. He was a nice late addition to the festival. I suspect he was added as he was playing guitar for the Anchoress.

Pagans SOH played Rockaway in 2019 and impressed back then. It was a no brainer for the organisers to invite them back. Sadly, they still had an early slot. I would like to see them given a later slot so they play to a fuller room. They mix funk, hip hop, rock, well anything really. Kind of like a chilled out Rage Against the Machine. That is not to say they don’t take their music or topics seriously. Marcus, their singer is so personable that is hard not to like him and the band.

Dream Nails appear to have changed their lineup. The time I saw them as a support act, they didn’t stand out. In fairness to them, I had rushed from another gig and only caught the last few songs of their set. But I don’t remember a particularly animated performance. With their new singer, that has changed, jumping into the audience trying to start a mosh pit amongst us oldies. A definite improvement over my memory.

Another new band for me was Rats on Rafts. Hailing from the Netherlands with probably the coolest name of the festival. A clever name that seems to sum up the political situation since the banking crisis. They make an incredibly good sound. Driving post-punk baselines are used to anchor often psychy fuzzy guitars meaning they sound fresh amongst the wash of post-punk bands around at the moment. I will definitely be catching these again.

Sadly, I missed much of Modern Woman’s set. The bits I heard, intrigued me because I couldn’t work out what I was meant to be hearing. The singer has a great voice but one that seemed at odds at times with the music. There were elements of folk scales with the singer’s vocals regularly shifting registers and a violin adding folk accents. Other times the music followed a more traditional post-punk structure. The bit of the set I heard left me intrigued and that is not a bad thing.

Another artist who could easily play the main stage was Hamish Hawk. Effortlessly charming with a dry sense of humour. ‘I think Bognor is the best of the Regis. Sorry Lyme’ is an example of the little nuggets of humour he sprinkles through his set with. It helps that the band play great indie pop music too. I think everyone in Reds had a smile on their face. That is the effect he has on the audience. I think it is impossible to dislike Hamish. Seek him out if you see him on a festival bill.

After Hamish, I wasn’t too fused about the rest of the evening. Figuring it would get busy for the Undertones I dropped off most my camera gear in my room and decided I would dip in and out of the rest of the evening. Most of the evening was legacy bands that I knew I wouldn’t be too bothered about

On returning, Reds was absolutely rammed for the Beats. Upstairs, Fake Turins were pleasant. I decided to leave the Undertones after a few songs. The Undertones music is such youthful music, in my mind, the band are always young, locked in a time capsule. However, I felt the capsule cracking as I watched these old men playing songs that they no longer represented. Closing the evening was Panda Bear and Sonic Boom who played a soundscape of a warm summer on the cold winter evening. It was all pleasant but I decided to take it easy and grab a few beers in the bar.

Overall, the festival did everything I needed it to. It recharged my batteries and killed the early January blues. Musically, I think the festival team did a great job of balancing the legacy acts with new blood. Usually on Sunday, the numbers drop away as people head home for work on Monday. The choice of putting The Undertones and The Beat on Sunday meant this was the busiest Sunday I can remember. Introducing the second stage gives bands the opportunity to headline without the risk to the festival by them on the big stage before they are ready. And yet again, the organisers seem to have found lots of interesting bands to fill up the afternoon slots to connect us to new artists.

One plea to artists who play next year. Be aware the audience is full of older people. A few bands asked the audience to get down on the floor. I think they heard the creaking of all our knees as far away as Brighton. Please save my knees next year.

If the idea of going to Butlins for a festival puts you off. Don’t be. Bultins staff are the friendliest around. The rooms are reasonable and clean. Butlins isn’t too expensive and there’s a range of other things to do. Butlins really do care about making your festival experience a good one. And the Rockaway festival isn’t a standard Butlins music weekender, full of groups of people in fancy dress. This is a music festival for 6Music listeners. What better way to ease yourself into the New Year than listening to new and old music. Despite my initial reservations in 2015, I think I have found my antidote to January Blues. Next year is already booked.

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.

Although a full-on performance by James Leg. I wasn’t overly keen on either his voice or his songs.

So who did I manage to see?

Ella vs Mountain – sounded nice. But hard to tell as she was playing the tent in the hub and there was a lot of noise

Black City Lights – DJ and singer. Not my cup of tea

The Darlingtons – energetic midday set from these guys

French for Rabbits – nice kick-back with a beer on a sunny day type music

John J Presley – excellent set from one of my current favourites

September Girls – only caught the last two songs. But sounded excellent

Baby Strange – didn’t work for me.

Telegram – seen these guys before and again I was impressed by them

Esben and the Witch – listened to most their set from the street but managed to catch two songs. Sounded really good. Have to catch them again

Wytches – despite sound issues, another great set

Deathcrush – didn’t ‘get’ these girls. Lots of noise and shouting but nothing that grabbed me

Theo Verney – enjoyable set

Scott and Charlene’s wedding – don’t take themselves too seriously and seemed to be having a good time, as were the crowd

Barbarossa – not my cup of tea

Gavin James – hard to judge. Quiet music, but people were talking near me so I left

Femme – Seemed to be three girls dancing to a backing tape. I quickly moved on to the next venue

Serfina Steer – multi instruments uncluding a harp. Quiet nice laid back music

Syd Arthur – was looking forward to seeing these guys as I’d heard they were good. Just didn’t grab me at all

Public Acess TV – enjoyable set

Brawlers – energetic set that seemed to go down well.

Gnarlwolves – punk sound but nothing particularly interesting

Black Feathers

Feldspar

JohnJ Presley

First up was Blonde Bunny, a band I saw support Wytches before Christmas and just like before Christmas, I wasn’t too enthused by their performance. The audience however were and their set was very well received.

After Blonde Bunny, the crowd seemed to thin out for John J Presley and his band. Which is a pity as there’s something unique about his blend of dirty blues rock. John has a voice that seems to be the voice of a man 30 years older and who has many tall story to tell. The nearest comparison I can think of is Josh T Pearson, somebody John lists as one of his influences. It’s hard to believe that this guy hails from the UK. You’d expect him to be playing in some backstreet joint in the deep South. His set was as excellent as I remember his Band of Skull support being. I’ll definitely be catching him again.

Band of Skulls