Audio Addict #4 2010 by Audio Addict

ISSUE 4: November: 2010 Everything Everything! What Makes a Good Biopic!? Work at Your Fave Festivals! Latest Album Reviews! + MUCH MORE! WWW.AUDIO-ADDICT.CO.UK

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Hello,

Welcome to another issue of Audio Addict. It’s November, the summer is long dead and gone (get over it), but that’s not nearly enough to stop us from consuming, digesting, ingesting, understanding, caring, deconstructing and Heimlich maneuvering all the latest sounds, beats, pieces, echoes and distortions all for your curiosity (and maybe a little for ourselves). We’ve cooked up a veritable selection in our editorial meth lab including exclusive interviews with the self-proclaimed “quixotic” Everything Everything and eponymous electronic Radio 1 DJ Annie Mac. As if to rub it in we’ve included a sideways glance at some festivals I fear are fast fading into fond memories, however we’re not here to kick you whilst you’re down so we’ll take a look at the benefits of volunteering at Download. If you thought you’d heard the last of Phil Spector you would be wrong, Al Pacino is on hand to ensure his legacy isn’t quickly forgotten

leading us into the question what makes a successful biopic? As far as reviews go we’re covering the return of two distinctly different leading acts, the experimental ambience of Brian Eno and the jazz funk fusion of Jamiroquai. Alongside that we have Kings of Leon’s eagerly anticipated follow up to “only by the night” and another Weezer album comprising of unreleased material spanning their entire career. So tighten the belt around your arm, sterilize the syringe and prepare to take another hit all in the name of audio addiction.

Contents

Liam

The Team! Editor- Liam Martin Front Editor- Emily 'Grem' Sutherland Features editor- Danielle Brackenbury Design Editor: Jessie Rose Reviews Editor: Eliot Muharrem

p4. Whats on Your Ipod?! p5. Band Profile: Arp Attack p6-7 : What Makes a Good Biopic? p8-9. Front Cover Story: Annie Mac

The addicts for this issue were:

p10. Live Review: The Gaslight Anthem p11. Everything Everything

Tom Quickfall Rachel Anderson Tara Perera Ben Radcliffe

p12-13 Album Reviews p14-15 Behind the Scenes of the Festival of Your Dreams So what are you waiting for? Lets get audio addicted!

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What's on your ipod? Audio Addict asked 5 different people to turn their ipod on shuffle and see what the first 5 songs that came up were. There was a very interesting mixture of songs, including some

Band Addicts! Audio Addict wants to see pics of you with your favourite bands!

guilty pleasures! Eliot, 19 Getting Warm - Smokin Bert Cooper Get Off - The Dandy Warhols A slow Guess - Noah and the Whale Portions for foxes - Rilo Kiley Like o like h - Tegan and Sara Jessie, 20 Ziggy Stardust - David Bowie Ask the lonely - Journey Playing with fire - N Dubz The price we pay - A Day to Remember Tik Tok - Kesha

Danielle and Gustav, Young Guns

Danielle, 19 Signal Fire - Snow Patrol I’ve just seen a face - The Beatles Now or Never - Madina Lake Sax Man - The Lonely Island Living too fast - Black Cab Tom, 23 Why won’t you make up your mind - Tame Impala Honey - Matthe Dear Lady Daydream - Twin Sister Rumblin - Neil Young California - Mos Def

Keeley and Chris, Enter Shikari

Sarah, 20 White Horse - Taylor Swift Underdog - You Me at Six UFO - Sneaky Sound System Stepping Stone - Duffy Just Dance - Lady GaGa

Lisa and Dallas, Alexisonfire

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Under attacK Electro-rockers Arp Attack prove that the practice of messing around with synths is alive and well in the south east...

Arp Attack (l-r) Chris Smallwood, Kev Jones, Frankie Murdoch

ynth-pop’s roots may (arguably) be northern, but its revival is nationwide. Its recent storm on the charts, largely down to the breakthrough success of electroclash descendants such as La Roux and Little Boots, doesn’t appear to be focused around one particular area of the country, and the South east certainly has its fair share of knob-twiddlers. Loosely Southampton-based Arp Attack are one fine example. A band of calculated contradictions (refreshing, organic vocals combined with dirty beats and gritty synths), the concept of performance and audience interaction has not been sacrificed for electronic aloofness, separating Arp Attack from their contemporaries. A few years of concentrated gigging and honing their sound has created a deserved buzz around the band, receiving plaudits from Phil Jackson at BBC South Live and radio airtime from 6 Music’s Tom Robinson amongst others, and resulting in a number of enviable support slots, playing with the likes of Delphic and Two Door Cinema Club. This year saw them perform on the

BBC Introducing stage at T in the Park. The pair first joined forces in 2006. At first, going by the name Jazica, the sound was less electro. “We started off all acoustic,” remembers guitarist Smallwood, “like an acoustic-y surf-type band.” This then developed as funding was acquired (by way of student loans), and the band delved in to the world of drum machines and sequencers. A change of sound led to a flurry of name changes (“Pelican Disco, that was a good one!” giggles Murdoch), before Arp Attack was settled on. The moniker describes well the attack of arpeggiated synths prevalent throughout the band’s material. The pair also cut a good image together on stage; Murdoch selfassured and energetic, her face adorned with glitter and painted shapes, while Smallwood, lean and long-haired, furiously coaxes each sequenced melody or delayed guitar riff. On first impressions, it would be hard not to make comparisons to the likes of Ellie Goulding – female-fronted synth-pop with

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rock sensibilities etc. However, Murdoch’s unique vocal is closer in style to that of Icelandic demi-pixie Björk, and the band’s slightly dirty edge to their beats, supplemented by drummer Kev Jones, draw them further still from this association. Arp Attack carefully balance passion and commitment with a very intelligent and mature approach to the industry they are a part of. Skilfully produced EPs are sold at gigs only, resisting the temptation to officially release anything, physically or digitally, until sufficient financial backing is obtained. “I’ve had a lot of people say to me ‘don’t do digital distribution unless you’ve got the money and time to push it’” Murdoch explains. “Because if a record company sees it’s already on iTunes, it’s incredibly difficult to pull it off. They have to do battle against the original format.” With enthusiasm and industrysmarts this infectious, they should have no problems. WORDS: TOM QUICKFALL PHOTO: XAN PHILLIPS

Film Music I

Phil Spector to get the pacino treatment in upcoming film. but what makes a successful music biopic?

t was recently made public that Al Pacino is to portray legendary producer and equally legendary madman Phil Spector in an upcoming biopic. The announcement, made by the New York Times in early October, has been met with a mixture of anticipation and cautiousness by fans and critics alike. Pacino fans have their own concerns, but admirers of the wig-toting “wall of sound” creator will join the long line of die hard musician devotees subjected to a Hollywood depiction of their idols. While the same New York Times article noted that Pacino does share Spector’s “imposing stare”, the Godfather star turned 70 this year, which leads to questions regarding his ability to play the producer in his younger heyday. But what makes a successful music biopic? Could it be the approach an actor takes in representing their respective subject? Joaquin Phoenix famously learned to play guitar after being selected for the role of Johnny Cash, and put in such a convincing performance that many Cash aficionados believed he was lip-syncing to the original material. Val Kilmer showed similar commitment in his depiction of Jim Morrison in Oliver Stone’s 1991 film The Doors. The Top Gun star reportedly spent a year dressed as the leather-clad signer and hanging out on the Sunset Strip. Queen fans will be hoping that funny man Sacha Baron Cohen will be similarly successful in his depiction of Freddie Mercury, when production starts on a biopic of the band later this year.

“if it works he’ll almost certainly earn a best actor oscar nod”

The Borat actor certainly shares some facial likenesses with the former singer. “Obviously he’s going to have the moustache”, explains Dr Ruth Dockwray, author of Queen: Anthems and Complex Songs, “and maybe he’ll have prosthetic teeth, because actually his teeth were a part of how [Mercury] sang.” Freelance journalist Carl Loben, also a researcher on the film, points out the practicalities of casting a recognized actor in the role. “He’s a huge box office draw. His involvement has made it much easier to secure funding and distribution.” Loben agrees that physical resemblance is an important factor in a music biopic. “The whole biopic genre depends

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on convincing portrayals of real-life figures” he explains. “The viewer needs to be able to suspend belief enough, during the film, to believe that the person up there on the screen really is the musician concerned.” Having an actor endeavor to emulate an artist’s singing voice is another common obstacle of the music biopic. 2007’s La Vie En Rose saw its star Marion Cotillard receive an Oscar for her depiction of French chanteuse Édith Piaf, despite lip-syncing to other vocalists performing the original songs throughout.

“Summer Dreams reduces the beach boys to walking caricatures”

In an attempt to profit from his popularity at its peak, rap star Eminem played a character loosely based on himself in 2002’s 8 Mile, eliminating any need to find a performer of similar vocal style. At the other end of the scale, Jamie Foxx put his classical piano training and experience as professional vocalist to good use in becoming the late, great Ray Charles. As well as the plaudits, these films have also received criticism for the glorification of their subjects, something that constantly irks music fans. “There is a need to balance the inevitable histrionics with quieter moments that emphasise the icon’s basic humanity” explains Sam Ashurst, features editor at Total Film magazine. He goes on to explain that this is key to the success of a music biopic. “It’s why Walk The Line works, but Summer Dreams definitely doesn’t - it reduces The Beach Boys to walking caricatures.” But perhaps that’s the point? The subjects of The Doors and the upcoming Queen film are larger-than-life characters, suited to Hollywood’s exaggerations. “With Baron Cohen it’s doubly risky as it’ll be his first serious role,” points out Ashurst, “It’s a massive risk, but if it works he’ll almost certainly earn a Best Actor Oscar nod.” Perhaps American TV sitcom 30 Rock has the right approach. A recent episode spoofed the making of a Janis Joplin biopic that hits a number of copyright issues, goes through a series of ludicrous plot changes, and is eventually renamed Jackie JormpJomp. If that’s how it works in reality, we can expect to see Pacino starring as Bill Fletcher anytime now… Words By Tom Quickfall

The Queen of Dance Music Renowned to most as a Radio 1 favourite, but to the rest Annie Mac is a strong icon, sweeping through the dance scene like a crazed beat-freak. Whether you like your dub-step, drum and base or just a beat to dance to, it’s certain that Ms. Mac will be ready to provide you with the goodies.

nnie Mac is one of the biggest names in the world of dance music today. She is most famous for her Friday night show on Radio 1 known as ‘the official start to the weekend’ as well as her self-titled club night ‘Annie Mac Presents’ which she has taken throughout the UK and further afield. Born in Dublin, Annie studied at Queen’s University in Belfast where she went onto working for the Student Union’s club ‘Shine’ in promotions and marketing. Deciding to move to London, she worked for a few small radio stations ahead of landing a job at BBC Radio 1, working as a broadcast assistant and producer for the likes of Colin Murray and Zane Lowe before being offered her own show in July 2004. Starting off on Thursday evenings ‘Annie Mac’s Mash Up’ brought together daytime and evening creating a show for dance music fans before taking over Pete Tong’s iconic Friday night slot in autumn 2009 known as ‘the official start to the weekend’. Annie also co hosts ‘Switch’ with Nick Grimshaw on Sunday evenings a music and chat show based at teenagers which was in television form as ‘Sound’ on BBC 2 for a while. Branching out from her Friday night Radio 1 show, Annie curated ‘Annie Mac Presents’ a club night that has built up to be a successful clubbing brand. She regularly hosts nights in UK cities as well as other countries

inviting along famous names in the called LED in London. I’ve got like world of dance as well as up and Annie Mac Presents arenas, I’ve coming DJ’s to play alongside her. kind of curated the whole line ups I caught up with Annie after her from massive tents, so that’s really show in Brighton where Dj’s Seiji exciting”. Annie will also feature and Jakwob played alongside her in Glastonbury’s 40th Anniversary for the ‘Annie Mac Presents’ night. line up this summer “ I can’t tell you She is no stranger to Digital, playing how yet but I’m definitely there for there a number of times in the a big secret gig, which you will hear past.” I love Digital, it’s one of my about if you keep listening to my favourite places to play cos it’s one show on Radio 1.” Annie promotes of those clubs that’s got no frills, the BBC’s In New Music We Trust’s it’s just like a big black box with shows and campaigns by playing an amazing sound system and an the very best in new music from the amazing lighting system”. Annie’s latest bands and DJ’s. Delorean, a ‘Presents’ nights have seen her play Spanish four piece from Barcelona all types of different venues from are her latest recommendation, the London Koko to “vibey and they combine dance and indie intimate” places like Fabric Room 3 pop, creating a distinctive sound.“ and The Arches in Glasgow, which Delorean are like a cross between are among her favourites to play. Crystal Castle and Stone Roses, like “I like the little places to be honest a weird amalgamation of those two, with you and even though there kind of really electronic but baggy still quite big it feels little so that’s like euphoric indie dance music, it’s why I like it”. beautiful really beautiful.” Annie has broken the boundaries Bringing her new concept to the with her Radio 1 slot and live festival scene this summer with shows, playing a diverse mix of her ‘Presents’ tents, Annie Mac new musical genres and cutting – continues to keep music fresh edge dance music, her influences and exciting for the world of being 3 people in particular and dance music and further. With they’re not necessarily women. “ rising listener figures and her Erol Alkan’s a big inspiration as a DJ clubbing brand continuing to as is Fake Blood, as is a guy called grow, this is just the beginning Stuart Price who is a producer, he for Annie Mac. produced the new Scissor Sisters album”.This year she is taking her ‘Presents’ brand to the UK festival scene in a very different way “I’m Words by Rachael Anderson gonna be at Bestival, Rockness, Creamfields and a new festival Audio Addict

'I love Digital, it's one of my favourite places to play'

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Live Review

The Gaslight Anthem with Chuck Ragan & Sharks Southampton Guildhall

t’s half past seven, and with the doors already having been open for half an hour, it’s clear to see how diverse an audience we have on our hands here (think parents, their kids and their buddies.) Sharks are first up, ready and raring to go, desperate to leave an impression on this crowd. These boys are wasting no time in showing exactly what it is that they’ve got as they burst into a perfect rendition of ‘Train’, but it’s the vocals from frontman James Mattock that really draws you in. Think The Clash with an added melodic edge- brill! The crowd are slowly filing in as Chuck Ragan begins his spotlight performance. Hard hitting folk accompanied by violin, harmonica and ‘kickass’ vocals. ‘For Broken Ears’ and ‘The Boat’ are ear pleasing enough to shut the Guildhall into silence, as you are able to explore every emotion chosen to create such a powerful atmosphere. The evening is extremely satisfying so far, and it is crystal clear that the audience

are now preparing themselves for The Gaslight Anthem. It isn’t a long wait until the boys hit the fully lit stage with a unfaultable performance of ‘Great Expectations’. Alex Rosamilia is on top form with the Gaslight’s trademark clean guitar picking throughout ‘We Came To Dance’ and ‘Stay Lucky’. So far everyone is a bit quiet for my liking, and it isn’t until ‘Boxer’ that the feet begin to tap. Front man Brian Fallon is hardly phased by this at all, as he is continues to give it his all throughout the catchy anthems, ‘Casanova, Baby!’ and ‘Film Noir. Proud in plaid, the audience are finally showing some appreciation. ‘We Did It When We Were Young’ is the ultimate come down from such an intense high, the atmosphere becomes almost surreal as the silence returns. Fallon is taking time between tracks to tell stories and interact with the audience- you couldn’t imagine a more interesting frontman to watch. With his mannerisms floating all over the shop during

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‘59 Sound’, it is truly clear that this is a gig to remember. Anxiously the crowd chant for their ‘well earned’ encore, and what an encore they are treated to. ‘She Loves You’ is an epic sing-a-long track and it’s obvious that Fallon is giving everything he has to make sure it is etched into your ears. There is a 5 track encore, but every Gaslight fan knows that there is no better way to end a gig than with a flawless performance of ‘Backseat’, And that is exactly what we are given. Classic, driven and full of heart. Just like rock and roll should be.

Words By Jessie Rose Side

Album Reviews Jamiroquai Rock, Dust, Light, Star It has been five years since pop-funk band Jamiroquai released their last album, ‘Dynamite,’ but now the London based group return with their seventh studio album, ‘Rock, Dust, Light, Star.’ The album opens with ‘Rock, Dust, Light, Star,’ a cosmic infusion of classic funk and dance around, sing-along pop, a simple yet effective start. It’s followed by perhaps the stand out song of the album, ‘White Knuckle Ride.’ A slick dance tune with soulful rhythms and smooth vocals, reminiscent of nineties hit ‘Cosmic Girl,’ in that this too appears more then capable to stand the test of time. Low points on the album include ‘She’s a pretender,’ a fast paced electronica number, with an unsystematic inclusion of what appears to be cowbells. ‘Lifeline’ is disappointing

as is ‘Two Completely Different Things.’ The sweetly sung and intimate ‘Blueskies,’ however, is a surprising hit on the album combining acoustic measure with a jazzy undertone and intricate melody, establishing a daydream like feel within a harmonious ballad. Ultimately an appropriately named record, this offering is all about getting back to basics for Jamiroquai, a funky and soulful yet disappointingly mediocre repertoire. Liam Martin

Warpaint

The Fool

Pre-release hype can be a terrible burden on a debut album, its weight all too often enough to cripple its promising creators. Those that can successfully ride the accolade wave should be revered, celebrated, and then allowed to produce the telling follow-up out of the glaring headlights of the music press. Hopefully this will be the fate of LA’s Warpaint, who, two years after the release of the Exquisite Corpse EP, finally delivered their debut long player this October amid a frenzy of blog praise and broadsheet admiration. Opener Set Your Arms Down is a slow burner; hypnotic bass chords and stop/start drums punctuate Emily Kokal’s swaying vocal, a hint of mid-‘90s desert rock, atmospheric and ominous. The stoner grooves continue into the album’s title track, before the heavily previewed Undertow announces the girls’ position as masters of languid dream-pop, a beautiful melody tied to carefully interposed guitar chords, with an exhausted sigh “why you wanna blame me for your troubles?” Ever on the lookout for interesting ways of supplementing the band’s ethereal harmonies and the melodic guitar work of its twin six-stringers Kokal and Theresa Wayman, contrasting sections and ever-changing arrangements are combined with subtle effects, such as the modulated,

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wobbling acoustic in Shadows. A subtle reference to Talking Heads’ Warning Sign can be found in the drummed intro to Bees, while the slow-paced opening section of standout track Composure sees delayed chords underpin a shouted-from-a-distance refrain from the whole band. The band’s talent lies in their ability to conjure a unique ambience from seemingly simple building blocks. Kokal successfully manages to turn quite an asinine lyric in to a touching, weary plea in Baby, while even the allconquering Undertow could easily fall flat in the wrong hands. Warpaint deliver on the growing reputation that precedes them. Definitely believe the hype; just don’t be blinded by it. Liam Martin

Kings of Leon

Come Around Sundown

In the beginning, a preacher man by the name of Ivan ‘Leon’ Followill had three sons by the name of Nathan, Caleb and Jared. Twenty –four years after their own conception, and joined by cousin, Matthew; The Kings of Leon were born. After releasing the eponymous Youth & Young Manhood in 2003, they had won a place in the hearts of many, setting them up for the whirlwind career they were about to embark on. Two years later, the Kings then brought out Aha-shake Heartbreak, showing that they can write more than just two and a half minute rock and roll songs. Then, only a mere one year later, third album Because of the Times was released. Similarly to their second release, this album showed a progression of the bands abilities, in both song-writing and performing. Then, out of nowhere, the seminal Only by the Night hit CD shelves across the UK; the most mature sounding record to date. Now, seven years on, the Nashville Kings of Leon have finally peaked. On the October 18th 2010, the heavily anticipated fifth studio album was at last released; the thankfully redeeming, Come around Sundown. Fusing elements from all four of its predecessors, it keeps a vice like grip on their roots of Country and Rock n’ Roll, as well as using the more experimental techniques found on the previous two releases. This album continues with their original lyrics, telling tales of drink, drugs, sex and nostalgia on songs like ‘The End’. They have also added the odd love

ballad like, ‘Mi Amigo’, and of course the stratospheric anthems like ‘Pickup Truck’. One thing we can say is we won’t have to put up with hordes of pissed up idiots, drunkenly chanting ‘Sex on Fire’. Taking its place, thank God, is single worthy ‘Back Down South’. Opening with a wet sounding slide guitar, followed by the lyrics, ‘Come on out and dance, if you get the chance. We’re gonna spit on the rivals’. This maybe aimed at the ‘fans’ that only see KOL as, ‘that band that did that sex on fire song’. The ‘fans’ seen at 2009’s Reading Festival who after booing the band nonstop until they played that cursed song then left after it was played. It’s not really surprising that singer Caleb gave the finger to the crowd as he left the stage. Luckily now, the Kings have returned to their original sounds like the first album, and as with all the other KOL albums, Come around Sundown will keep you warm through those winter months, and set the scene for the summer to come. But will this be the final sundown for the Kings of Leon? Ben Radcliffe

Brian Eno Small Craft on a Milk Sea. The father of breezy ambience is back with new album Small Craft on a Milk Sea, his first on highly influential British imprint Warp. Fitting for the label, as the home of some of the most forwardthinking electronic music of the last twenty years owes a huge debt to Eno’s legacy. The producer kicks off his Warp career with the floating piano of album opener Emerald and Lime, immediately switching off the brain and drifting harmlessly along in the manner of previous work such as the eponymous Apollo: Atmospheres and Soundtracks from 1983. This spacious ambience continues through the album’s title track, before proceedings take a more sinister tone. The frantic electronics of Flint March and Horse pave the way for 2 Forms of Anger, a much more insightful look in to Eno’s psyche. Pounding electronic rhythms and menacing effects explode midway

into a vitriolic pseudo-punk finale. Roxy Music this is not. However, it’s here that the album peaks. Bone Jump sounds like a bizarre GCSE computer game music project, all cheap MIDI and over complex, nonsensical melodies. By Palaesonic, the rattle of digital drums begins to grate but before you know it the album creeps away as quietly as it arrived on closer Invisible. This is a collection to please Eno fans; not straying too far from his groundbreaking ‘80s sound and concept, but not turning many heads either. Tom Quickfall

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BEHIND THE SCENES AT THE FESTIVAL OF YOUR DREAMS

hether you can afford it or not, festivals are usually a homing ground for young music lovers all over the world. There’s a variety of different festivals for different genres, that get outstanding amounts of attention and revenue, regardless of how expensive they are. But what if you are part of the small percentage that really can’t justify spending x amount on a weekend away camping, in the 9 times out of 10, water logged fields of Derby, Leeds, Reading or Knebworth? Sit at home and trawl Facebook for your mates’ updates on “what an awesome time!” they’re having, or glue yourself to your television set and watch all your favourite

"the fact you could have got a better nights sleep in the river thames escapes bands play your favourite songs, and feel your heart sink low into your stomach, because you know it would have been worth it? Not anymore! There are a number of organisations that work at majority of the main festivals now, whether it’s litter picking, or working behind the bar, but in every case, you get to go to the festival of your choice, for free! But what if you don’t want to pick up the used condom wrappers and baggies off the floor of people’s campsites? What if you don’t want to serve the inebriated bastards who actually paid, and who you’re horribly Audio Addict

jealous of? That’s right, there is ANOTHER solution, and it’s not jumping the fence. Organisations such as Festaff and Oxfam have made dealings with festivals such as Download, Sonisphere and Bestival, where they bring a large amount of staff with them to patrol the festival, or keep an eye out on the campsites, or even sit behind a desk and put wristbands on the punters. In some cases, you even get paid, but in most cases, you really are just working off your ticket to be there, but still get majority of the festival off to enjoy yourself. Sounds like a sweet deal, right? Tara Perera from Audio Addict investigates exactly what the deal is with Festaff at Donnington’s Download Festival. You turn up to Download, in the pissing down rain, expecting to see bright lights, rock stars, and a backstage pass sitting there waiting for you. Don’t be too upset when you don’t find this though, that’s not part of the deal. You’re welcomed by a spotty teenager, and showed which way to trek, and trek you will! Your campsite is as far away as humanly possible, and waterlogged. That’s fine, you probably won’t be spending too much time there anyways, after all, you’re here to work, as your unbelievably Scottish manager tells you, although as a Southerner, you think that’s what he said. He lays down the law, warns you off on drugs, tells you a story about how he’s already kicked a couple out for going racing round the Donnigton track and basically just gets through all the formalities. Now, by this time, you should know EXACTLY what bands you want to see, when they will be on, and how much begging you want to go through to see them, after all, you did travel all this way for

free, it’s clearly your God given right to see them? No. If you’re pencilled in for a shift, which are picked at random, you are doing that shift, unless you can find some simple minded person to cover you. He lays down the law, warns you off on drugs, tells you a story about how he’s already kicked a couple out for going racing round the Donnigton track and basically just gets through all the formalities. Now, by this time, you should know EXACTLY what bands you want to see, when they will be on, and how much begging you want to go through to see them, after all, you did travel all this way for free, it’s clearly your God given right to see them? No. If you’re pencilled in for a shift, which are picked at random, you are doing that shift, unless you can find some simple minded person to cover you. For arguments sake, lets say you got the cover. Score. Now you’re being told to go back to your soggy tent, sit around with a bunch of strangers, in the rain, make small talk then try to get some sleep. After all, you need to be in ‘The Village’, which looks more like a gypsy site at the moment, at 9am. Brilliant. Thankfully, majority of the people who do work for Festaff are really great people! There are some true characters that go for this kind of work during the summer, so the fact you could have got a better nights sleep in the river Thames slowly escapes your mind. Finally, you’re on your feet, trudging through the muddy waters of metal world, being given the grand tour of Download. Grand tour?! In all honestly, before a festival opens it’s doors, it looks like that really rubbish carnival that comes to your town every bank holiday, with the dodgy pikeys that you reckon would knick your wallet if you gave them the chance. Still, must keep your spirits high. You’re at the festival, chin up, a little bit of rain never killed anybody. And luckily, all your

shifts commence in heated little porta-cabins, with unlimited amounts of tea and Download FM. The deal is definitely getting sweeter and sweeter. You’re expected to do a grand total of 3 shifts over the 3 days, each one lasting 8 hours. It sounds like a long time, but if you’ve got the right company, and you love tea as much as the next person, you’re perfectly happy! Not to mention the abundance of humour you will undoubtedly witness from excruciatingly drunk punters. Now your shifts done, and it’s roughly 4pm, you’re astounded by how much the place looks like a refugee camp, but forget about that. It’s band time! You trek on over to the arena, but what’s this? A queue? You didn’t sign up for any queue’s?! Well you don’t have to! With your special ‘Front of House’ wristband, you can get to the arena through the fencing or any gaps you might find, and basically cut all kinds of lines, because you’re a workie! Fantastic. You’re also allowed in the arena up to 2 hours before anyone else, so if you’re a die hard fan of a certain band, and want to be at the barrier for their performance, it’s 100% possible to do, without waking up ridiculously early and queuing for about an hour.

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So your last day is here, you’ve seen all the bands you wanted to see, you’ve witnessed lots of drama, your food has been paid for and it’s all been for free. Sure you’ve slept in unbearable conditions, and you’re pretty knackered from going straight from partying to working, but lets face it, it was 100% worth it. No one fell on your tent because they were drunk, no one’s stolen your stuff, and no one would, you’re camping in a secure place, with security guards left right and center. You even found a sneaky little bathroom that had hot water in, what more could you want?! You definitely don’t need money to go to a festival and have a good time, so if you’re strapped for cash next summer, sign up on http:// www.festaff.co.uk/ for the greatest free weekend you’ll probably ever have. Words: Tara Perera Photos: Cara Wiseman

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