Scottish Music Festival

Belladrum Tartan Heart Festival 2019

Festivals, Live music, Music Review

Driving south on the A9 through heavy rain and roadworks, the euphoric sunshine of the past 3 days seems almost otherworldly. Through the misty grey comes a flood of memories; of music, dancing, food; friends, family and strangers – aliens – and did I see a polar bear? Only at Belladrum!!

In its 16th incarnation the Highlands’ biggest music event remains one of a kind, not just for the region but within the global festival community. Boasting an extensive yet eclectic line-up of domestic and international talent, Belladrum Tartan Heart Festival is renowned for being a festival for all ages and musical interests. Nearly every genre is represented across its programme and the festival site itself accommodates multi-generational entertainment through everything from puppet-making and zorbing, to extreme sports, slam poetry, yoga, stand-up comedy, even burlesque workshops. And all that is without mentioning any of the chart-toppers on the bill. Anyone who thinks there isn’t much going on north of the central belt needs to get out more!

It’s not possible to single-handedly give a fully comprehensive rundown of the magic that played out over the course of this year’s Belladrum so here instead is simply 10 of the best bits.

1. The Sunshine

If you’ve been to a muddy festival before then you can already appreciate what a difference a little sun can make. The absence of rain throughout the duration of Bella meant not only that the ground was pretty stable to get around on, but it was also blissfully comfortable above 19°C for most of the day. Perfect conditions for hanging out with friends and family, having a picnic or a wee gin cocktail (because when there’s a dedicated Gin Palace how could you not?) and listening to great music in the warm evening air. It’s not always like this, as the veterans hasten to point out, so top mention has to go to mother nature: she nailed it this weekend.

2. The Sci-Fi Theme

Each year Belladrum gives itself over to a specific theme, designing areas of the site to reflect a certain aesthetic or attitude and inspiring patrons to expand their knowledge base in a particular direction. The theme for 2019 being Science Fiction, fancy dress took in all sorts of creative endeavours with Trekkies and Wookies, and even more abstract creatures popping up around the site. I spied Marty and Doc heading into the Venus Flytrap Palais while I was queuing for risotto. In addition but on the flipside of that was the Bella Boffinarium, set up to showcase “Science Fact” with presentations on astronomy, technology, rewilding and modern environmentalism. There was even an interactive aviation drama roaming around. Belladrum is special for a lot of different reasons and its dedication to presenting a theme that is engaging on so many levels is definitely one of the things that sets it apart.

But then, some music.

3.  Fat Suit

This funk fusion ensemble brought the sunshine inside the Hothouse on Thursday afternoon with radiant sax and trumpet, glittering guitar and soulful keyboards. From the moment they walked on stage the crowd was down to boogie and the band delivered just the right grooves to keep them moving. If yoga wasn’t your thing, Fat Suit could do plenty to loosen you up.

4. Wildwood Kin

What more can genetically perfected harmonies bring to the British Americana scene that we haven’t seen before? Perhaps not a lot, even with gifted multi-instrumentalists Wildwood Kin. But there’s absolutely nothing more enjoyable than hearing brilliant songs performed well. With the audience hanging on their every gorgeous note you couldn’t help swooning for the Devon trio. Latest singles “Never Alone” and “Beauty In Your Brokenness” were both shimmering and powerful.

Wildwood Kin

5. Man of Moon

Still yet to release their debut LP, the Edinburgh two-piece are evolving from a mildly psychedelic grunge act into some glorious electro-rock outfit with heavy shoegaze undertones. Drawing comparisons to Depeche Mode and The Twilight Sad doesn’t quite do justice to what they deliver in the live setting. The dynamic between singer/guitarist Chris Bainbridge and drummer Michael Reid is in constant flux and, without being unsettling, songs like “I Run” and “Skin” play out with exciting twists and turns. Consistently one of the best live bands of the last few years, they proved their sound is ready for the big stages.

6. Boy Division

Being moved from the Bella Bar Stage to the Seedlings Stage made this performance feel even more intimate and special for Divisionists (every great pop act has to have a name for their fan collective, right?) and the upgrade seemed to benefit Chris, Noah and Kieran as well, as they delivered note-perfect harmonies with seamless choreography throughout their brief but breathtaking performance. Pop music is streaming forward with unparalleled levels of self-awareness and these guys are already cresting the wave.

Boy Division

7. Ferris and Sylvester

Like every great song that finishes too soon, Ferris and Sylvester’s Grassroots stage set left their audience wanting. From the high energy blues-folk of “Burning River” to the aching sweetness of “Flying Visits” with one microphone between them, they commanded attention in the kindest possible way.

Ferris and Sylvester

8. Glasvegas

Given the honour of headlining the Hothouse Stage up against fellow Glaswegians Chvrches, Glasvegas were the perfect antithesis of their Garden Stage peers. Mere silhouettes against a wash of red and white lights, they allowed their songs to swell and cascade out over the enormous crowd that couldn’t be contained by the walls of the sweaty tent. Spontaneous singalongs erupted frequently and singer James Allen noted that the audience participation on acoustic track “Whitey” would go down as his highlight of the festival. It was spirited and emotional from start to end, and heartening to see the band still at the top of their live game.

9. Self Esteem

Probably the most impressive and enjoyable performance of the whole weekend, Rebecca Taylor as Self Esteem is everything pop music should be in 2019; witty, honest, fun. With her band dressed all in red and working through some sultry tongue-in-cheek dance routines, while singing poignant and catchy songs about sexuality, relationships and identity, she is the musical role model you wish mass media was championing instead of the next vapid internet fad. Emphasis on the fun.

Self Esteem

10. Lewis Capaldi’s Reception

With a genuine talent and charm like Capaldi’s there’s not much point discussing his performance. It was great, as expected. The atmosphere when he came onstage however, that was something else. It’s hard to say accurately how many of Belladrum’s 20,000 capacity crowd was actually in front of the Garden Stage at 8pm on Saturday night but it was a majority. Like a big majority. An unprecedented volume by all accounts. And the atmosphere was incomparable. I’ve been to plenty of festivals and stadium shows and I’ve heard some screams. Capaldi’s arrival was met with the kind of noise that makes you think defenders over your earplugs would have been a good shout. Tinnitus on command. It was equally the most terrifying and exciting moment I’ve experienced in the photo pit; I wouldn’t like to do it again but I’d recommend it to anyone. And what’s more it was sustained. It was as if the crowd had been sparing themselves all weekend waiting for this one set. Even if you didn’t like the guy’s music you couldn’t help but stand in awe of what he brought to the event.

Lewis Capaldi

All that said, there were a few weak spots; the overcrowding around the Garden Stage for Lewis Capaldi created tension as security had to restrict access while some folk tried to reserve spaces with hazardous camping chairs or blankets. Arguments on the periphery and discomfort in the middle felt very much like a catastrophe waiting to happen. At the same time Peat & Diesel were letting rip in the Hothouse and that too required added crowd-control measures that felt about as dangerous as the crowd crush itself with punters corralled inside the tent.

The impact of crowding was further demonstrated in traffic queues entering and, especially, leaving the site with some patrons reporting waits of 3 to 5 hours to vacate the carpark. A good service of shuttle buses from Inverness city centre helped to manage the flow of day visitors but delays could be further alleviated with the addition of a park and ride nearby to reduce the volume of cars accessing the property directly down the tiny roads. Density on site meant mobile functionality was reduced. It wasn’t the lack of Snapchat and Instagram so much that was frustrating, but trying to find friends or family to coordinate meals, transport and basic welfare was a bit of a nightmare. For the most part these were minor gripes and the overall feedback around the festival grounds was naturally very positive again this year.

The one major blight on Belladrum is still the masses of rubbish it generates in an otherwise pristine community. The use of disposables at a festival of this scale is unnecessary and does nothing to encourage respectful or resourceful behaviour. It’s 2019; dropping plastic cups anywhere is unacceptable.

Hopefully these are matters the new owners will look to address moving forward with the festival, to maintain the safety and sustainability of their wonderfully warm, family-friendly event. For now, with the many musical blessings of this year playing over in our minds, as the rain sets in to soothe and cleanse the grounds the countdown to Belladrum 2020 can begin.

Party At The Palace – Linlithgow Palace

Festivals, Live music, Music Review

Delivering on its name Party at the Palace brought the good times to Linlithgow on an otherwise dreary summer weekend.

Touted as Scotland’s premier family festival, now in its 5th year, the event offered something for everyone with a diverse and balanced musical line-up over the two days, as well as rides and entertainment for all ages. Saturday saw the best of the weather, staying dry for the duration, while Sunday threatened drizzle after some heavy showers in the morning but never lived up to the worst expectations. Fans were not deterred either as an estimated 15,000 attended over the weekend.

The compact site hosted 3 stages with music kicking off just after lunchtime. The cosy Purple & Orange Acoustic Stage was located within a marquee furnished with hay bales and stalls offering assorted delicious traybakes and hot drinks. Acts here ranged from straight up pop and folk singer-songwriters to country, blues and hip-hop bands, and all sets were well attended by relaxed, attentive audiences.

Located nearby, the Breakthrough Stage showcased some of the finest unsigned talent from across the region. The fact that sets were able to turn around so quickly after just a 20-25 minute performance really speaks for the professionalism of the artists and crew running this stage, and band after band provided exciting, fresh and original music with no filler.

Early sets on Saturday from Calum Frame and Splendid Suns got the crowd warmed up; the former with a cool Americana vibe (closer Shake Off Your Demons exemplifying the best of his sound) and the latter featuring some beautifully stirring guitars. By the time reggae and ska ensemble Aye n Aye came on people were really loosening up on the grassy dance floor. Rock duo Pyro showed promise with Cameron McLean’s heavy guitar providing a substantial platform for drummer Connor McCarthy’s raw vocals. With fiery passion and more than a touch of angst Stephanie Cheape moulded incredibly intimate lyrics and powerful melodies into visceral, hard-working pop songs. If was a particular standout. Wild Front played eloquent indie rock, made to soundtrack the final days of summer holidays, while Alloa outfit Vida headlined the stage with an inspired set of 90s-styled guitar rock. As if the full force of Richard Ashcroft was within them, the band’s energy was only matched by their fans enthusiasm and vigour, singing loudly and melodically and bouncing around like every song was their favourite.

The Main Stage line-up was equally varied and included a DJ set by former Spice Girl Melanie C. Cynics would think it a bit of a cop-out  having such a talented performer just spinning records from a big stage but the audience absolutely loved it. Not only was her tune choice – mainly 90s pop and dance music – on point but her mixing was precise, and the joy she clearly derived from being there rubbed off on the crowd, most of all when she threw in a bit of Who Do You Think You Are? complete with original Spice Girls choreography. It was a perfect party interlude after Colonel Mustard & The Dijon 5 had worked the crowd into such a state of exalted madness. Their uninhibited performance reached all corners of the park, bringing out everyone’s inner dancer, while preaching good natured social engagement, activism and tolerance. Peace Love & Mustard. Bouncy Ball lead into Dance Off which morphed into the friendliest mosh pit ever. The set was a positively jubilant and unifying experience.

Cast provided a no less buoyant set of hits in the early evening, engaging almost subconsciously with many early Britpop fans in the audience who found themselves singing along to Walk Away absent-mindedly while queuing for face painting and chips. Their set included a nostalgic mix of new and old songs that made you long for a time when rock bands all had acoustic guitars instead of drum synthesizers.

With guest DJ Gok Wan lining up among her fandom, singer Gabrielle debuted songs from her forthcoming album Under My Skin as well as playing her best loved songs like Give Me A Little More Time and Out Of Reach. On the new songs the London singer insisted fans could sing along even if they didn’t know the words by simply making them up; “that’s what I do all the time” she declared. Closing with her huge hit Dreams required no ad-libbing and the audience was well in tune and in position by this point.

There was only one final set of the night and it, along with the assembled audience, belonged to James. The Manchester band have often spoken about their affinity with Scottish audiences and the feeling of homecoming when they play shows north of the border and Saturday showed how vibrant and abounding the Scottish audience’s love for the band remains. Never being the sort of act to just roll out their hit parade at a festival, James’ set drew on recent albums Living In Extraordinary Times  and 2016’s Girl At The End Of The World, throwing in a few fan favourites and deep cuts for variety. Out To Get You set off an immense singalong right at the beginning and was followed by some pretty adventurous crowd expeditions by singer Tim Booth. “Health and safety is important, make sure everyone is up standing” he added after being consumed by the crowd during Say Something. Midway through the set a couple of so-called competition winners, Scott and Kelly, were brought onto the stage and given a microphone. Excitement turned to pure joy as Scott got down and proposed, and Kelly accepted. The band wished them well before launching into a rather euphoric Nothing But Love. There was talk of the set having nearly been cancelled due to Tim losing his voice 24 hours earlier but he recovered enough a compromise was reached; a stunningly stripped down rendition of Coming Home (Pt. 2) that seemed exceptionally moving as the darkness of the cloudy night fully set in. Winding towards curfew they threw in more popular choices in Laid and Sometimes (Lester Piggott) before skipping the encore rigmarole and playing out the night with Top Of The World and Come Home. Their ability to deliver an engaging, gratifying and enjoyable performance without conforming to expectations is what has made James an enduring live band for almost 3 decades and on this occasion they achieved such a performance, received by thousands of devoted fans in a field by a loch, overlooking a castle. It’s every bit a fairytale ending, at least on this particular Saturday night.

After Saturday night’s revelry the second day of Party at the Palace started somewhat reluctantly, in part due to the weather. Early showers delayed many but for those who braved the conditions, the reward was another day of high class musical entertainment.

Highlights from the Breakthrough Stage included Glasgow 4-piece 100 Fables blending electro-pop and heavier elements into a dynamic set of catchy songs that had the crowd moving; an energetic singalong to Black Dove‘s Fake ID which saw the first arm-in-arm pogoing of the day; Be Like Pablo‘s sun-drenched post-punk sounds conjuring up fantasies of palm trees and teenage angst; and South River Blues Band bringing generations together through their lively interpretations of modern and classic blues numbers.

Playing an upbeat set of anthemic pop songs from her 2018-released debut album Game Face, Anna Sweeney brought so much sparkle and groove to the early evening. Drawing comparisons to the songwriting of Taylor Swift and sonic parallels with the likes of Haim, Sweeney is by far the most radio-friendly act to grace the Breakthrough Stage over the course of the weekend. That’s no bad thing. The infectious melodies of Jealous and Seventeen linger well after her set is done. Edinburgh outfit Retro Video Club delivered nothing short of their best high energy rock show. The growing buzz around this quartet as one of Scotland’s must-see live bands is fair justified as they turn on a particular sweaty charm, seemingly without doing much more than plugging in their guitars. It’s good honest fun in any weather. Heading up Sunday’s Breakthrough line-up is The Nickajack Men. No strangers to the festival circuit now, they know how to work their audience with a set of cleverly crafted indie rock songs. Hints of psychedelia and country bleed through ambling guitar solos that never quite outstay their welcome, and Lewis White’s impassioned vocal spits and crashes through the occasional wall of sound. If punters didn’t walk away with a new favourite band it could only be because they’ve seen these guys before.

Over at the Main Stage devoted fans enjoyed a brilliant performance from former Joy Division and New Order member Peter Hook & The Light, whose vibrant set tapped into that back catalogue with earnest zeal. Angular guitars carved shapes over smooth, pulsing synth and bass lines and relentless drums. The energy from the stage could have easily filled a headline slot but it was equally nice to get an early dance session in before dinner.

Placed in the same timeslot as Cast played the day before, post-Britpop 5-piece Embrace served up a similarly nostalgic collection of songs spanning their twenty-something year career. Curiously, dropping their first big single All You Good Good People almost at the beginning of the set seemed to take a weight of anticipation off both band and crowd and lifted the atmosphere to something akin to light-hearted whimsy. The triumphant Ashes elevated the experience further as the crowd raised their hands in voluntary bliss.

Irish singer Imelda May changed things up yet again, mixing blues, soul and jazz influences into her unique style of pop music. Demonstrating immense restraint and power in her vocals she entertained and enchanted the crowd with songs including Human and Big Bad Handsome Man. She held the audience captivated as the daylight gradually dimmed.

As the darkness set in for good and the threat of rain prevailed anticipation reached its peak as the stage was set for the final act. Cheers erupted as the members of Texas took to the stage. Further rapturous applause greeted frontwoman Sharleen Spiteri and the Scottish singer showed pure delight at the reception. Her endearing smile radiated throughout as she engaged with her audience as near and far as she could see. Opening with I Don’t Want A Lover and Summer Son, the band clearly had energy to burn. The set was heavy on big hits, not because it needed to be but because Texas just have so many great songs to choose from, it’s hard to find a weak one in the mix. Let’s Work It Out and Tell That Girl from 2017’s Jump On Board were received with as much vigour as So-called Friend and Everyday Now. Spiteri’s allure as an entertainer is irresistible. She is honest, direct and humorous in a most natural way and between songs she connects with fans in memorable encounters that make every performance unique. If there was a script she’d be off it 99% of the time. Observing that Glen’s sponsored the festival she publicly noted a lack of vodka on the stage and the situation was resolved promptly. Later she singled out a man in the crowd wearing a bright yellow poncho and inevitably pulled him up on stage for a casual chat. It’s refreshing to see that kind of flexibility in an otherwise polished performance, bringing so much life and humanity to the concert experience. Introducing a stripped down In Demand as a love song after joking about her daughter’s posh London accent seemed almost too intimate, too familiar, but it was welcome on both sides of the barrier. Charging down the stage at one point during Inner Smile it looked like Spiteri might actually launch into the crowd, despite making several references to a recent back injury. Prefacing Say What You Want with the potential promise of one more song the band delivered a knockout extended singalong rendition of their 1997 hit single before retiring from the stage. They ultimately returned to finish off with a cover of Suspicious Minds, leaving the festival crowd on a resounding high. Did anyone notice the rain? What rain?

Belladrum Tartan Heart Festival 2018

Festivals, Live music, Music Review

Those who have travelled here before know already; there’s no place quite like the Scottish Highlands in summer. The cool freshness of verdant woodlands abuts richly golden fields of barley, beneath the vivid blue and white of a sunny afternoon. Even when the misty grey rolls in from the north the atmosphere is evocative. It comes as no surprise then that the musical highlight of the Highlands’ calendar, Belladrum Tartan Heart Festival, is quite unlike any other festival in Scotland, or indeed the UK. While it has a reputation for being the annual “anything goes” blowout for young people in these parts the festival prides itself on its consistent programme of family-oriented music, entertainment and activities, and its coming-together spirit of communal celebration.

With around 20 stages running throughout the weekend Belladrum is the kind of festival you could easily get lost in. This year’s line-up represents a “something for everyone” approach to booking, with nearly all genres and styles of performance on display. From old favourites to up-and-comers, laidback listeners to dance floor bangers, artists from just down the road and around the world all add to the truly unique experience of this festival. Of course, it’s also the kind of festival you can just chill out at, if you prefer; there’s yoga, massage, kids crafts, whisky tastings, film screenings, storytelling, poetry, workshops, comedy, a gin “palace”. There’s even wrestling. The wrestling is very popular! And there’s a designated Chill-out Tent for when you just need a good long moment to collect yourself. New for this year is Club Clan Bella – an exclusive VIP section of the festival with fancy loos, private bar and a giant teddy bear named Bella.

The theme for Belladrum this year is Bollywood – that specific strand of Indian cinema – and to go along with that there is the dedicated Bollydrum Bhangra Stage, featuring Bhangra DJs and live performances. Elephants are ubiquitous within the site, in artworks and costumes and street theatre, and the Bollywood Bar takes pride of place at the top of the main Garden Stage area. The festival is a sell-out this year, at a capacity of 20,000 each day, and with the local climate defying the forecast for showers and temperatures in the mid-teens, revellers can enjoy the extensive grounds in relative summery comfort, whether they’re camping on site or just day-tripping from nearby Inverness and surrounds.

Thursday

The opening night of the festival saw no fewer than 40 acts take to the various stages from the moment the main gates opened. With lengthy queues to get through security and into the campsite (some punters reported waiting in line for 2 hours or more) it was positive to still see such a good turn out early on. Entrance to the Garden Stage required an additional ticket on Thursday and some folk didn’t bother. The main arena was lively enough with the Grassroots Stage offering up a fine array of folk and trad music. Belladrum regulars Hoodja were one act to get the crowd buzzing, eliciting all the usual whoops and hollers with each change of phrase. Over at the Ice-House Bar the emphasis was heavily on brass. Jazz, blues and swing ensembles played upbeat covers of classic and modern pop songs while the crowds boogied on and off the earthen dance floor.

Those who had paid the extra for Garden Stage access were treated to 4 acts as diverse as the entire festival line-up. Brass Gumbo kicked things off with their own funky take on the brass ensemble concept, followed up by UK country darlings Ward Thomas. The twin sisters put as much energy into connecting with their audience between songs as they did into performing for them, at one point sparking up a chat with a pair of twins spotted in the front row. Their set featured many new songs from their forthcoming album Restless Minds as well as earlier hits like Guilty Flowers and Cartwheels. In stark contrast New York 3-piece Fun Lovin’ Criminals took to the stage oozing charm and swagger. Singer and guitarist Huey Morgan was affable and appeared to be enjoying the performance immensely, complimenting the band on how tight they were sounding. It was justified; the drums were cracking with precision and the bass was rolling. From the opening of The Fun Lovin’ Criminal through Smoke ‘Em and Scooby Snacks the atmosphere was coolly electric.

Closing out the Garden Stage on Thursday night with a steady stream of hits was Amy Macdonald. As ever she delighted in playing to a home crowd, and was suitably nostalgic about her past Belladrum experiences, having first played the festival in 2007 before her debut album was released. Mr Rock& Roll lets rip with streamer cannons early on and the musical trajectory is set skywards from there. Run, This Is The Life and Life In A Beautiful Light lead to a naturally euphoric close to the first night’s proceedings with an encore of Down By The Water and Start A Band launching an almighty cloud of paper confetti over the mildly damp crowd. A light but persistent drizzle couldn’t dampen spirits and many carried on drinking, dancing and especially singing well into the wee hours. Back at the Grassroots Stage Rhythm N Reel served up a hefty mix of trad covers and dance tunes that bled into the campsite, so even the weary could squeeze every last ounce of music out of the night.

Friday

For many in the campsite, their nocturnal activities rendered them somewhat incapacitated well into the late morning/early afternoon. For the early birds however, mainly those with effervescent young children, there were tasty morsels on offer. Musical highlights of the afternoon included Aberdeen quartet The Little Kicks getting sweaty at the Hothouse Stage, Stirling songwriter Norrie McCulloch playing first on the Trailer Trash stage and later at the Potting Shed, and Zoe Graham flying solo on the Seedlings Stage. The always impressive Miracle Glass Company produced an ambitiously suave but all too brief psychedelic jam for an awed gathering at the Hothouse. Showcasing new songs from their as yet unreleased second LP, MGC showed exactly why they’ve grown a reputation as one of the best live bands in the country; a must-see on any festival line-up.

On the matter of new music Folda released their beautiful debut EP Lust on July 23rd and played only their first ever headline show within the week. Their dreamy electro pop songs perfectly matched the dark warmth of the Seedlings Stage and could have done justice to a later-than-5pm slot, perhaps nearer dusk. Equally so Pumarosa, across at the Hothouse, drew the crowd so deeply into their ambient rock universe that the outside world seemed to dissolve for a period.

The Grassroots Stage continued to deliver some of the finest songwriting and musicianship on the bill. Adam Holmes and the Embers‘ latest album Midnight Milk was recently longlisted for Scottish Album of the Year – his third nomination from as many releases. Surprisingly his set primarily focused on songs from his first two albums, though this may have been due to the constraints of a festival setup or availability of his usual band members. Musically it all flows together nicely and Adam is welcomed like the prodigal son. His dry humour is endearing and razor sharp, as he dedicates a song about day drinking to his 6-month old daughter. Is he joking? Is he serious? It’s impossible to know for sure, so deadpan is his delivery.

Way over yonder at the Free Range Folk Stage another local favourite plucked a devoted crowd out of the masses. Moteh Parrott‘s distinctive guitar playing and vocal came as a breath of fresh air in an otherwise steamy evening’s hectic schedule. The gifted songwriter has a natural easiness in front of an audience that belies his youthfulness.

For anyone parked at the Garden Stage for the duration, Friday’s was a delectable selection of musical treats; Edinburgh’s funk and soul ensemble The Katet brought their hugely successful Stevie Wonder show out into the open air. There was abundant dancing and singing along in the early afternoon sunshine. The spirited folk-pop of Tide Lines resonated deeply from the foot of Belladrum’s giant amphitheatre and their irresistible stomping beat consumed the crowd. As anthemic as all their songs are, their cover of Walk the Moon’s Shut Up And Dance proves a brilliantly buoyant festival favourite every time.

The feel-good vibes carried over for The Charlatans‘ set, not that they couldn’t generate enough of their own buzz. Tim Burgess’ smile, bleached mop and boundless stage energy somehow absorbed every joy from the crowd, amplified it tenfold and projected right back over the audience. The band looked to be having a good time too. Things proved not so easy for Paloma Faith who had ongoing technical issues that resulted in her vocal fading out early in the set and, at least for the diehard fans at the front, it remained absent from the mix for almost 3 full songs before sort of being resolved. To her credit Faith carried on and never missed a note despite suffering early cold symptoms. If anything she worked extra hard to recover her hard-earned headliner title.

Meanwhile, at the Grassroots Stage, Boston’s Darlingside were making America great again (or at least reminding people what’s so great about America). Their immaculately crafted folk songs delivered with impeccable 4-part harmonies in the mould of CSNY, huddled around a single microphone, were the purest sounds heard all weekend. Having set an impossibly high standard to follow, the challenge then fell on English alt-folk singer songwriter Beth Orton to follow with something equally magical. With a vast catalogue of music to draw on Orton captivated her audience early on with just voice and acoustic guitar. It was a more subdued headline set than anywhere else on Friday night and that made it extra special.

One more “best bit” from Friday, possibly THE best bit of the entire festival, came out of the Venus Flytrap Palais; Tragedy: All Metal Tribute to The Bee Gees & Beyond was uproarious, shocking, sweaty, and so much fun! A truly unexpected delight and definitely deserving of a long lie in on Saturday morning.

Saturday

If Belladrum had sold out its 20,000 tickets then Saturday was definitely the day all 20,000 came through the gate; the site was heaving! Many fresh-faced daytrippers embraced the Bollywood theme, arriving in beautifully colourful saris. It was another day of contrasts and variety in the musical offerings to please the vast demographics of the Belladrum audience. Everything from good old-fashioned rock & roll, country, bluegrass, jazz and blues, indie, rap, pop and folk, to whatever you call Colonel Mustard & the Dijon 5.

The Sea Atlas aka Calum Buchanan, from the Isle of Lewis, writes angsty guitar-driven psychedelic folk songs. Often playing with a full band he struck out on his own for a set on the Seedlings Stage just after lunch. The power in his voice, coarse like Eddie Vedder, can sometimes overwhelm even the fuzziest guitar but it’s so effective at delivering emotion that you don’t mind being slightly knocked sideways by it. At the opposite end of the sonic spectrum sits Siobhan Wilson, another Scottish Album of the Year contender for her work There Are No Saints. Accompanied by cello and guitar, and occasionally taking to the piano herself, you’d be hard pressed to find a purer voice in all the highlands, yet her grungy side comes out too on set closer Whatever Helps.

Proving that live music can be both laidback and engaging, technical, personable, and still thoroughly entertaining, Martin Harley‘s soulful blues songs pulled punters in from every side of the Grassroots Stage. He talked calmly about songwriting and storytelling and, having opened the floor up to questions, described in detail the origins of his particular guitar (a Weissenborn made of Hawaiian koa). If anyone was still seeking a place to relax into Saturday afternoon, this was it. Facing down the frenetic pop rock of Edinburgh’s Retro Video Club at the Seedlings Stage was not the place to be. However if you were seeking some upbeat danceable songs to sing along to with your mates all summer long you would have been in good company here.

Away at the Ice-House Bar were Mezcla, a highly recommended jazz outfit who did not disappoint on the promise of highly skilled players and talented composers. While they amazed and inspired awe on one of the smallest stages at the site the largest crowd of the festival had assembled before the Garden Stage for acoustic popster Gerry Cinnamon and at the Grassroots Stage The Wandering Hearts lulled the crowd with their unique strain of English-tinged Americana and folk. Beyond this, Austin 5-piece Whiskey Shivers delivered a rousing set of high-energy bluegrass and folk-punk tunes, leading very nicely into You Me At Six‘s Garden Stage slot. Similar to Paloma Faith the night before, YMAS suffered a briefly catastrophic power failure that resulted in nothing but live drums echoing across the arena for a good 15 to 20 seconds. They had no idea and played through it, apologising after the fact despite the situation being beyond their control.

Back over at the Hothouse things were really warming up. Malian outfit Songhoy Blues provided one of the most exciting performances of the festival, elevating blues rock fusion to an all time high. On the groovy Sahara from last year’s Résistance  they had the crowd singing along and bouncing with total abandon. When the set reached its climax on Soubour the highland audience was completely under the spell of the desert music and the band, feeling all the love, came straight out to meet their new friends and fans face to face.

Rosanne Cash may be the only Grammy winner on this year’s line-up but you wouldn’t know it from the reserved manner in which she performs. Accompanied by John Leventhal on guitar and harmonies, she weaves stories and songs seamlessly into her narrative and builds a cool rapport with her audience along the way, so that everyone becomes fully invested in her performance. It’s magic to witness.

Legendary Scottish rockers Primal Scream filled the final slot at the Garden Stage on Saturday night, setting the mood to party right from the off with Movin’ On Up. They didn’t deviate much from the classic rock line and the audience seemed to appreciate it, at the end of a long 3 days of partying where they just wanted to have a good time. Loaded, Country Girl and Rocks accelerate the night towards oblivion. What could be a more appropriate end to the festivities? Oh yeah, fireworks!

It wasn’t actually over at this point; Broken Records had the honour of playing out the Seedlings Stage with bold and anthemic indie rock, layered with affluent guitars and essential fiddle, and Jamie Sutherland’s potent melodies and lyrics. While the festival is still hours away from silent planning is well and truly underway to make next year another wholly unique festival experience in the highlands.