Wickerman Day 2

As ever, Wickerman is the champion of all things Scottish – and with three out of the four SAY award winners on this year’s bill this is emphasied by the appearance of RM Hubbert on the main Summerisle stage.

It’s a festival that doesn’t do things in the traditional way, showcasing an act which seems unlikely to raise the spirits of the growing throng. ‘Bolt’ and ‘Buckstacy’ are minor concessions to the occasion where an entire set of post-flamenco guitar instrumentals might be pushing things a little, even if Hubby doesn’t draw on any of the guest appearances that might have been expected.

The Scooter Tent is one constant in the Wicker way of things. Last year, the Cockney Rejects; this time it’s Steve Ignorant, and despite being just about diametrically opposite (within the punk universe) the former Crass frontman draws pretty much the same crowd. Clad in a T shirt spoofing his old band, I only catch a few tunes and am honestly not sure if he references his past life in any way. Certainly the delivery of all tunes including newie ‘Slice of Life is not in the traditional style, piano and acoustic guitars replacing screaming and thrashing.

Ok, casual sexism alert. The Van T’s are three girls (or is it women?) – anyway, there, I’ve said it. Even with one bloke on drums there’s nothing remarkable going on here, but on grasping for comparisons they DO sound a bit like The Breeders, or Veruca Salt (one track even seems to have the same chords as ‘Seether’). There’s another tune which is broadly ‘Shot By Both Sides’ – or ‘Lipstick’ perhaps. Apologies. Hole or Babes in Toyland are less obvious touchstones, but to be honest, this first visit to what was previously the GoNorth tent (now sponsored by Drownedinsound.com) was actually a pleasant surprise – plenty of original hooks and a very decent racket. What more could you want?

The legendary Solus Tent, despite now being under new management (Xfm) is in its usual location. There’s less of focus on Scottish bands this year and to be honest I’ve blotted out Zyna Hel – let’s say it was a fleeting visit for some forgettable electronic pop.

The Scottish feel is restored mid-afternoon with a three-way clash of some of our finest talents at various stages in their careers. First, Withered Hand, oddly ‘promoted’ to the Scooter Tent. A full band show from Dan Willson means that the disappointing production on ‘New Gods’ is replaced live with a punchier sound and ‘Confusion Is Sex’ can shine through as the great pop songwriting it is.

The Solus Tent meanwhile hosts Ultras – for the uninitiated, Gav Prentice, previously of ’Burnistoun’ theme tune trio Over The Wall. Very much Prentice’s baby – he has been known to perform with guitar and tapes – the three-man band offer an almost raging sound which complements some angry polemic in ‘There Stood Napoleon’ which before some cracking angular guitar, starts with a sample stating “During the strike Churchill converted to journalism” – hmm, what could he be getting at?

A skim through the itm? archive shows that two years ago, almost to the day, Admiral Fallow played the Summerisle stage here. Their reappearance may suggest that neither Ultras or Withered Hand are quite ‘ready’ to take their place, but this band may be poised for greater success with a new album on the way. Launching into ‘Subbuteo’, Louis quips: “That ends the prog rock portion of the show, it’s all pop from now on”. This is true to an extent, the new material sounding more chart-ready compared to a rousing ‘Guest Of The Government’, but the closing newie has hints of ‘Return of the Giant Hogweed’, so…

Another returning act… well, I’m sure that Sluts of Trust must have played Dundrennan in their heyday, but it’s seven or eight years since they disappeared from the musical map. They’re back now, older and perhaps worldly-wise but ready for another tilt at rock greatness. However, with singer John McFarlane’s close-cropped look with theatrical makeup it’s hard to see the join. There is the small matter of a bassist joining what was one of the first rock duos in the wake of the White Stripes. However, he keeps to the side almost as if the duo aren’t quite used to this development. The trio’s new material is less, well, ‘obvious’ than before, though maybe the hooks will stick, given time.

I’m advised that the Sluts do play some oldies, but as ever I’m off, to catch Esperanza. An act who will be keen to shake off the tag of “last band to play the Clutha”, now that the venue decimated in the helicopter disaster almost two years ago has reopened. Truth be told it’s not that difficult – they’re maybe the top ska band in Scotland alongside the Amphetameanies, and the packed Scooter Tent is a great place to make new friends.

Emma Pollock is a chameleon-like figure, who easily adapts to acoustic sets when not in elaborate and fully-arranged mode, or, as in the Phoenix Tent this year, with a loud and rocky band. Performing material from her next album, we can’t be sure what direction this will take but the fact this small taster sounds as good as closer ‘Acid Test’ bodes well.

Having flirted with casual sexist stereotyping, we move on to an ensemble in the traditional dress of Niger. Oddly, Tal National‘s album ‘Kaani’ had more of an indie rock bent to it, as befits a band which counts The Twilight Sad as Fat Cat labelmates. However, live the ensemble are surprisingly rhythm based, and lead the crowd in dancing aplenty including tush-shaking, though mercifully not from the mountainous guitarist who confines himself to extravagant guitar work that could just possibly be described as showboating in front of a very welcoming crowd. Distinctly ‘African’ in sound, they dispel obvious comparisons like the Bhundu Boys or Salif Keita, showing the diversity of their home continent.

The Phoenix Tent is a strange addition to Wicker’s selection of stages. Packed out earlier, the large arena is also, well, ‘quieter’ at times. Poor Anna B. Savage is alone in there, perhaps unsurprisingly as no-one has heard of her. Even former Delgado and uber-producer Paul Savage, present for his wife’s earlier set, doesn’t hang around which at least suggests that she isn’t part of that enormously talented family. (For the record she displays some singer-songwriter chops to the meagre audience).

John Cooper Clarke deserves the term ‘veteran’, although – and I’m not sure we are entitled to complain – seems to be getting a bit less politically correct all the time. That said, having come through 40 years of punk and alt.comedy it may well be that this has always been the case. His sets however have changed to more like standup interspersed with verse than the other way round. Although, we do get an academic analysis of poetry, what with him being a Professor now – including the haiku “To-con-vey one’s mood. In sev-en-teen syll-able-s. Is ve-ry dif-fic.” He also updates ‘Beasley Street’ to ‘Beasley Boulevard’ with bedsits replaced by Starbucks – though the mention of Laurence Llewellyn-Bowen is maybe a bit rich given JCC’s new hairdo…

Stuart Braithwaite is the victim of a guitar strap malfunctions – this never happens when he’s making noise with Mogwai but here he’s acoustic and exposed. However, versions of ‘Devil Rides’ and a Spaceman 3 cover see him through a well-received set. Aptly, this year’s Wicker effigy is surely a tribute to the ‘The Hawk Is Howling’ sleeve.

It’s the easiest thing in the world to mess up your timings with so much music on show. Thus, I will later miss The Amphetameanies and Reverieme, though with only a passing regret given that both are regulars around Scotland’s live scene. However, I also manage to inadvertently avoid The Saints, veteran Aussie punks seldom seen on these shores since their 1970s heyday. Instead, I’m watching a way-too 80s Kids On Bridges before realising we’re 15 minutes into Chris Bailey & pals’ set – and then finding that, sadly, someone else has messed up stage times and their short appearance is is already done. Further horror ensues when I learn that Esperanza were playing horns with them, presumably on ‘Know Your Product‘. Gah.

So it’s down to the main stage to save the day with its string of ‘must see’ sets (as reparation for Tom Odell and Example later on) and next act to check off is Neneh Cherry. Working with production duo Rocketnumbernine, it’s all very 21st century, and given what great voice she’s in it’s hard to believe that she is a swearing “granny” – apologising to the kids in the post-watershed audience – before newie ‘Out of The Black’ which works pretty well, though piano-based closer ‘Buffalo Stance’ is a bit too wilfully ‘modern’ for these ears.

One of the great coming of age moments of the weekend is surely for Hector Bizerk – in a rammed Scooter Tent, Louis is the consummate frontman of a troupe augmented to fine effect with a small brass section, and their performance fully justifies the trademark flags being waved, heralding the birth of another force in Scottish music.

If there’s a constant factor at Wickerman it’s the appearance of a true legend. Chic and Candi Staton are joined by Jimmy Cliff, and the Jamaican reggae superstar lives up to this billing. Delving into his back catalogue brings us ‘Miss Jamaica’ as well as slightly cheesy takes on ‘Rivers of Babylon’ and ‘I Can See Clearly Now’. Despite the silver tracksuited singer leading his crew in much on-stage running Cliff is in remarkably good voice for ‘You Can Get It If You Really Want’ and (of course) ‘The Harder They Come’ before a moving festival highlight in ‘Many Rivers to Cross’.

Speaking of highlights – it’s something of a contrast, but Bill Wells and Aidan Moffat can do ‘moving’ just as well. In a perhaps surprisingly jazz-tinged set in a smoky Phoenix Tent, Moffat brings his drums stage front while some new colleagues provide tuba and flute to augment Robert Henderson and Stevie Jones on trumpet and bass. Wells as ever provides the atmosphere and Moffat the sardonic narrative that makes ‘The Copper Top’ as poignant as ever.

Another legend is available for the checklist, so to the Scooter Tent for The Sonics. They perform with great vigour particularly given their advanced years, but to be honest it’s just the blues. So instead to C Duncan. In a way the Aberdonian singer-songwriter relives a bygone era, with psychedelic 60s sounds which might better suit an afternoon slot on a (sunny) main stage. Maybe next year, as the harmonious feelgood sounds of album ‘Architect’ are showcased brilliantly with his well-rehearsed band.

Another veteran performer perhaps but Duglas T Stewart may be a perpetual teenager – either that or the BMX Bandits frontman always seemed worldly-wise even in his younger years. He is the Bandits, after all – despite important contributions from his band(it) mates – centre-stage and commanding the audience’s attention as, for some reason, he’s eating fruit – did his mother never tell him about singing with his mouth full? It emerges that it’s a ludicrously convoluted prop for ‘The Road Of Love Is Paved With Banana Skins’ – an itm? cover CD choice back in the day and a nice way to round off our 14th review of Wickerman…

Images by David P Scott: http://davidpscott.com

Slideshow music ‘Orchestrate’ by Hector Bizerk: http://www.hectorbizerk.com