Photo Credit: @midlandstomanchester
Words: Kathleen O’Sullivan
I winced slightly as the mud squelched beneath my feet, watching as the poor yellow stitching of my Doc Martens took on a coating of brown sludge. I dug my heels in, determined not to fall foul (quite literally) of the grime and water sliding across the floor of an increasingly treacherous Don Valley Bowl.
That being said, you couldn’t help but smile: the rain pouring down, the circus tent standing bold and red against the clouding sky, and most importantly, rock music darting around every inch of the place. It was the epitome of a muddy English music festival – overpriced ponchos and all. The crowd was a lively melting pot – all age groups and styles, with many clad in Wunderhorse t-shirts, anticipation for the headline set obvious. Gurriers, the Irish post-punk band, burst onto the stage – assured and energised. McCarthy launched into the crowd – a brilliant blur of black eyeliner and bass guitar. Meanwhile, Hoff spoke of the new album, animatedly delivering tracks like the crowd pleaser, Top of the Bill, and new numbers including Crybaby. However, my position in the audience left me wanting more, with their explosive sound softening towards the back. It was a set better appreciated in the crowded, jostling mosh pit, but then perhaps this can be said of many gigs – a nod to smaller music venues being often preferred. Although, this didn’t dim what was a fierce set from the group.
A great aspect of the event was the lack of clashes: two stages, and only one band on at any given time, with the sound audible from all areas of the circus. This meant that I found myself weaving through the crowd, spilling over to stage 1 from stage 2 and vice versa throughout the day. Back at stage 1, the next act was due. After a recent change to the schedule, it had been revealed that Westside Cowboy would be playing as opposed to English Teacher. So, while it was sad to set the world’s biggest paving slab down, I’ll admit, having stones now at the ready was a perfect consolation.
Squashed against the barrier and surrounded by shouts of “Westside Cowboy”, I could feel the crowd’s anticipation peak as Pulp began to play, and the quartet stepped foot on stage. Murmurings of positive opinions throughout the audience emphasised the group’s fascinating trajectory – their popularity is very clearly, and deservedly, exponentially growing. Their gigs leave you in no doubt of the reason; the skill and genuine love for their musical craft is evident wherever you look. There is powerful conviction in Murphy’s punching, distinctive percussion, and such genuine emotion in Anson O’Connell’s vocals, it could almost be classed as an instrument itself. Her self-proclaimed “shouting” on Pin Up Boys was gleefully echoed by the crowd, framed by the impassioned guitar playing of Bradbury and Haycocks. With their genre most superficially described as a fusion of country and rock, perhaps if they were a drink they might be whisky on the rocks (or in customary unpretentiousness, maybe the group would more likely prefer to opt for a pint…). But, no need to complicate descriptions; whether instruments at full force or stripped back, they just always give it their all – perfervid music delivered by perfervid musicians.
The lineup, best described as alternative/rock, was startlingly strong, each musician bringing something different but equally well received. Baxter Dury, flamboyant as ever and illuminated by the bright lights, strutted across the stage as the beat to Allbarone reverberated throughout the chest of each person in the crowd. His trademark physical theatre is something I’ve observed at all of his gigs; and love every time. Old favourites such as Almond Milk and Miami were performed with the crowd dancing, swearing and smiling. Dury’s profanity punctuated verses were skilfully complemented by the softer vocals of Laing-McEvoy. A real success of a set as the Allbarone tour draws to a close.
By this point, I’d accepted the rain seeping into my skin, happily meandering around the various stalls. Everyone else was also soaked through, but testament to the crowd’s attitude, bands present and event organisation, I hardly saw an unhappy face. Over on stage 2, Bleech 9:3 had the crowd in the palm of their hand – pouring themselves and their infectious rock into the audience. Other acts throughout the day had included the up-and-coming Basht who drew in the crowd with their post punk grit. The Limerick group, Theatre, also featured, offering a shoegaze element and showcasing O’Shea’s dreamy vocals. The Molotovs delivered a roaring, mod rock set in the rain on stage two – their raw anthems receiving audience applause.
As The Molotovs set drew to a close, I found myself plunged into the darkness of the stage one tent. The wires above, where acrobats (yes, acrobats – it is Rock n Roll Circus after all) had earlier balanced were no longer visible, and the fire from earlier circus performances had been firmly distinguished. Wunderhorse had the tent packed. The mud on the floor had dried, and the rain seemed to have held up, not wanting to interrupt the headliner. The flashing horse appeared and with it, the group themselves. Launching in with Midas, they had a gleeful reception, with the audience shouting back at Slater’s effortlessly raw vocals. Quietly confident, and aware of the eager audience spilling about before him, Slater threw himself into the performance, creating a set where the band and fans really were all in it together.
The group’s confidence increases each time I see them, and Rock n Roll Circus proved to showcase them in the best possible way. Girl was beautifully played and it felt slightly nostalgic for me, a song I’d often had on repeat. Fowler shines on guitar, pushing and pulling with Slater, while Byford provided the rich bass undertone, and Staples’ drums drove along, deepening the instrumentation – their clear cohesiveness as a group being integral to their live gigs. Soon came Butterflies, Teal and July, which were, as you’d probably guess, a very welcome addition to the set list, with lyrics cheered along by the crowd; I reckon you’re mentally shouting “But what if it did Katie?!”. The quartet also gifted us some new tracks including Kerosene and an experimental cover of Born Under a Bad Sign, both teasing the audience with the exciting prospect of a new album soon.
Wet through, side by side and fuelled by all the excellent gigs throughout the day, the crowd was buzzing as we tripped along home to the tram station. A prime example of live music, Wunderhorse’ s performance at Rock n Roll Circus solidified their status as an established powerhouse of a band. Whatever t-shirts were amongst the crowd at the concert’s beginning, the number is sure to double as word of the gig spreads.
Taped Magazine 