This is the second part of my review of the weekend. The first part is here.
Saturday began with four-piece Derecho on the main stage. Singer and pianist Jo Ash’s punky attitude had shades of Holly from Crimson Sky, which meant the day’s bill opened with something lively enough to wake everyone up. She’s quite a remarkable singer with a voice that goes from Siouxie Sioux to Kate Bush. The music was a mix of singer-songwriter style piano numbers and rockier numbers with the occasional burst of space-rock guitar.
4th Labyrinth are one of those bands who are next to impossible to pigeonhole, highlighted by the way they’ve named their album “Quattro Staggioni”. They played an eclectic mix of styles from funk to organ-driven psychedelic rock, with a top-hatted keyboard-playing singer who bore more than a passing resemblance to Bigelf’s Damon Fox, and a bassist who dances as plays at the same time. Alongside their own material they threw in covers of Jethro Tull’s Locomotive Breath with a Hammond organ solo replacing the flute, and a bonkers version of Wings’ Live and Let Die
Pearl Handled Revolver have become festival regulars with their distinctive blend of blues and psychedelia evoking Uriah Heep and The Doors. Without a bassist they rely on keys for the basslines, and they combine flourishes of bluesy guitar with classic 70s keyboard sounds of Hammond organ, electric piano and at one point, Mellotron. While they had the same instrumental lineup as The Mentulls the day before, in this case it was the keyboard player who was the real star, ending the set with an epic Jon Lord style wig-out.
After the does-what-it-says-on-the-tin hard rock of Walkway came one of the highlights of the day, the epic prog-metal of Hekz. Like other bands before them Hekz rose to the big occasion and delivered one of the performances of their lives. More metal that anything else on this year’s bill yet also powerfully melodic, they delivered a razor-sharp and intense set, ending with the twelve-minute epic “The Black Hand”.
Hazel O’Connor seemed out of place, her 80s pop a long way from the classic rock and blues of the rest of the bill. But she’s played this festival several times before and has always gone down well. With a band including Claire Hirst on Sax and Sarah Fisher on piano they were one act on the main stage without a guitarist, and made a great change of pace, including a celtic-flavoured song with all three of them on bhodran. Unfortunately I only got to see the first half of the set and missed the big hits because there was no way a big fan could miss the overlapping act on Stage Three.
Anne-Marie Helder doesn’t do many solo acoustic gigs nowadays. There was a time between the dissolution of the first incarnation of Karnataka and the rise of Panic Room when Anne-Marie gigged very heavily as a solo act, playing 200 shows in a year at one point. Nowadays Panic Room and Luna Rossa are the focus of her songwriting, and solo shows are restricted to the occasional support spot, usually at very short notice at gigs which were sold out before her fans get to hear of them. She’s one of the few solo acts who can fill a room with sound using just one voice and an acoustic guitar. Her set included some decade-old favourites like “Hadditfeel” and “Dominoes” as well as Luna Rossa’s “Secrets and Lies”. There was one completely new song about messages to future generations, with partially-crowdsourced lyrics; though the like “Don’t eat the yellow snow” may well not survive in the final version. She ended with the first few lines of Panic Room’s “Promises” before switching to another oldie, “Wheels Within Wheels”. Despite the sound spillover from the other two stages, it was a beautiful set.
And then it was back to the main stage for the grand finale of Carl Palmer’s ELP Experience. On paper, instrumental shred-metal versions on ELP songs ought not to work as a festival headliner. In practice, the levels of virtuosity and showmanship said otherwise. The set covered ELP standards including Knife Edge, Fanfare for the Common Man and a lengthy Pictures of an Exhibition, and a bonkers take on Carl Orff’s Carmina Burana. It wasn’t all over the top bombast either; the guitarist’s tapped solo spot was a thing of delicate beauty. And the bassist playing Queen’s Bohemian Rhapsody in full on solo bass was something else entirely, and may have been the best-received bass solo ever. Naturally the set climaxed with an epic drum solo; there are only a handful of drummers who should be allowed to play long drum solos, and Carl Palmer is one of them. At the very end Carl dedicated the set to the late Keith Emerson, and asked the audience to film the final number on their phones and upload it in his memory, before launching into the encore, Nutrocker.