This year’s headliner, Deadletter were a great signing, having already sold out venues like Koko. It is great for an established band to revisit venues and help shift tickets. It is a while since I last saw Deadletter play, as I jumped off when they started to play larger venues. With the recent release of their second album, it was an opportunity to see how far they have progressed since I saw them all those years ago playing the Social on a ‘one to watch’ bill (I had also seen Deadletter when they were Mice on Mars). Their new material adds depth to their set, showing the growth they have made as song writers. Tonight, featured many new tracks along with many of our favourites and was a fine way to end a great day.

On the undercard were several bands who might be playing similar size venues in the next year or two.

As always, not all music was to my taste. Arguably the band most likely to be playing bigger venues by the end of the year, Little Grandad, did very little for me. I found them bland, part of that trend of playing alt-country tinged tracks. After two songs I had seen little of interest and bailed to get some food. While, Little Grandad weren’t for me, other bands did stand out.

I had been hearing good things about Makeshift Art Bar, and their set left me wanting to see more. Their post-punk featured a slide guitar, that they attacked with screwdriver. Slide guitar is a much underused instrument, and perfect for building up waves of feedback expertly crafted by the band.

I managed to catch snippets of Leminsuckr at the Great Escape. It was great to see a fuller set. I can see why they are making waves. They are definitely a band I would go and catch at a festival. I’m not sure I would travel into London to catch them. For me, they sit in the Fat Dog adjacent space, with driving, dancy beats, and energetic performances.

Bugbear, have something. Mixing grungy guitars, electronics and textured vocals. I’m not sure all the pieces are in place yet. But they were doing things that peaked my interest. Hopefully, I will catch them on a bill at some point, to see how they have progressed.

Likewise, the awfully named indie pop band, Canned Pineapple, are a band I will keep an eye on. In their singer, an Elvis Costello look-alike, they have a fun presence that made watching them, a joyfully experience.

Sound in the main room down at the front near the speakers, was at times poor. With bass overpowering the rest of the mix. Tanzana’s goth-tinged textures suffered the most. The lead singer’s vocals were really good, but the mix near the speakers lost all the guitars. It was just screeching vocal (in a good way) and drums. However, there was enough about their performance to make me want to see more.

Most of the rest of bands didn’t really do much for me. But that’s music for you. You can’t like everything.

Special mention goes to the always ‘Enjoyable Listens’ who played a full band show and opened the day. They are a staple of this festival and I for one, always love catching up with them. A perfect way to open a festival.

Esquires do a great job putting these all-day lineups together. If you haven’t been to one. They are well worth giving up some of your time.

Other bands playing were Home Counties, Vehicle, Disgusting Sisters and Your Mate’s Ex

(I didn’t take normal camera gear for this. It is easy for this festival to be overpowered by photographers.All shot with a 35mm pocket camera. It was quite nice to not have to drag gear around all day. Unfortunately, I kept out of the way near the speakers. It kind of limited what I could do)

It was obvious we weren’t going to see a normal Hamish show, as the stage at the Bloomsbury theatre had been turned into a living room, with a cozy settee taking pride of place. 

I assumed this was going to be a one man show. However, Hamish entered the stage, accompanied by two musicians who throughout the evening provided an atmospheric ambient soundtrack to Hamish’s performance. One was even playing Ivor Cutler’s own harmonium. 

Hamish explained that he would be telling stories and singing Ivor’s songs alongside stories of his own childhood, in a Scottish sitting room. To differentiate, whenever he wore his red hat, those bits were Ivor’s words and music. The conceit worked well. 

Of course, all the singing parts were glorious. Hamish has such warm vocals. I suspect Ivor’s songs have never sounded so good. 

Stories of his own childhood, acted as introductions to Ivor’s songs. Hamish would move between sitting on the floor and the settee telling warm stories of a childhood he clearly remembered with fondness. These were small warm stories helped by Hamish’s charm and it did feel like you had been invited into his sitting room. The stories worked so well for me, because they reminded me of my own positive feelings about my childhood.

From his sullen older teenager sister, picking the decoration for the top of the Christmas tree and for a brief moment allowing her sullen teenage veneer to crack. To stories of the local mobile fishmonger upselling fish and each week leaving a lingering smell of fish after he would always ingratiate his way into the house to use the family’s facilities.. Each story was warm and familiar.

Playing members of his family, and clearly revelling playing the big characters he remembered from his childhood. Hamish occasionally cracked into laughter. Especially when playing Ivor.  

It was all very wholesome and I left with a with a wistful nostalgia.

This was a special evening. Introducing me to the world of Ivor Cutler, and opening the door to Hamish’s own childhood.

(No performance photos as we were under theatre rules)

The full lineup

The Charlatans, Getdown Services, SPRINTS, The Twilight Sad, Cockney Rejects, Madra Salach, Alien Chicks, Bis, Congratulations, Cowboy Hunters, Lemonsuckr, Makeshift Art Bar, Katie Malco, Modern Woman, Mouth Ulcers, Nightbus, Pigeon, SILVERWINGKILLER, Vona Vella along with DJs, Chris Hawkins and Steve Lamacq

See http://www.rockawaybeach.co.uk for more details