Whilst reading the comments from many of our lovely AP.net users on a recent article written on Wondering Sound regarding the lack of women on the Warped Tour, I became quite surprised by the reactions that our user base was having. Responses varied from statements suggesting that it's reasonable for Warped Tour to be lacking in women as there aren't many women in the scene all the way to users stating their outright hatred of all things feminist. It was not surprising to see debate about the issue - feminism and women's rights are certainly a particularly divisive topic on the internet at the moment. However, what I found difficult to accept was that folks were more willing to attack and complain about the Warped Tour for featuring a band such as Falling In Reverse than they were about the fact that, according to the article, only 6% of the tour is female. In a scene which feeds off experimentation, open-mindedness and more than a little bit of feeling like an outsider, it's hard to comprehend how so many people could not care less about ensuring that women feel like they are accepted within our world.
An excuse used for the lack of women involved in the Warped Tour and other festivals is that female heavy bands do not make the bucks. It was suggested by users that Kevin Lyman is a businessman and he has no obligation to carry out anything that may hinder him from boarding the capitalist train to heaven. Firstly, as was rightly pointed out by the original article, just because one female orientated festival failed to bring in the dollars, it does not mean that a Warped Tour which has a suitable portion of women will lead to it being relegated to playing local bars. There's a whole host of reasons for why that festival may have failed - possibly because, y'know, punk rock isn't exactly a money maker. But also, because it's not a great idea. The way the alternative music godmakers have moulded the scene is that female bands are largely less successful because festivals and music press aren't interested in seeking them out, hosting an all female festival out of nowhere is not going to change years of bias against women. The complaint about the lack of female representation at the Tour is not a request to replace all male bands with female bands, it's not even a suggestion that 50% of the tour should be female - that would only be representative of a perfect world that lacks the sexism and negative attitudes that are somehow still prevalent in 2014. It's a complaint that only 6% of the tour are female. This is not representative of the musical landscape in any way. I've been writing about music for a few years now, I've run my own blog and contributed to five websites, as well as AP.net, all of which are highly tied in with the alternative music scene. From the musical submissions I receive every single day, I know that women make up a much greater portion of the music world than than promoters would have you believe. Of course, it is certainly nowhere near equal, however, the idea that there just isn't enough talented female musicians to be figureheads in our scene in absolutely rubbish. For some reason, be it a fear of change, apathy or actual tangible sexism, our scene is a boys' club and festival organizers and music media have no interest in changing that.
Furthermore, the concept that the Warped Tour, and festivals of its ilk, have no responsibility towards trying to make the scene a more equal, inclusive place is one that sits uncomfortably with me. Of course, it depends on whether or not you believe that capitalist ventures have any form of social responsibility to the world around. If you believe that gaining the maximum amount of money at all times is always justifiable, regardless of the negative impact it may have on society, then fair enough, however this situation equates with many others. Do you believe that a factory has the responsibility to dispose of waste in a way that does not destroy the environment despite the extra cost of it? If you do, then how exactly does this differ when we're dealing with a music festival?
Yes, I accept that there are less women involved in music and, therefore, it is more difficult to source bands with female members. However, it is the fault of the leaders of the scene that this is the state of affairs. Day after day, Warped Tour and all the various organisations that set the trends and create who becomes popular in our world choose to give the limelight to all male bands, rather than cultivate young female talent. They do this solely for money - all male bands are more likely to supported by men and are seen to look good on posters for teenage girls (precisely why bands like Falling In Reverse & Black Veil Brides are stupidly popular while an excellent emo band wearing flannels will probably go under the radar, but that's a rant for another day).
When we do have a breakthrough and a woman is actually successful - Hayley Williams being the obvious example - we are bombarded with articles about her love life, her looks, her hairstyles. We are taught not to view Hayley Williams as a musician, but as a woman. Even worse, the scene has managed to turn 'female fronted' or 'female featuring' bands as a fucking sub-genre. Apparently, every band that plays vaguely rock-y music and has a female singer is a Paramore rip off. Let us forget the ridiculous amount of male bands who have similar sounds, if we have one female fronted band in the scene per decade, that's more than enough, apparently. And, of course, the handful of bands who have female members and actually make it to the Warped Tour must play the same stage, far away from the real male musicians. The ShiraGirl Stage is a way of the scene patting itself on the back and feeling super progressive when, really, it's yet another way of suggesting that women do not have a role to play in the important parts of the festival. The ShiraGirl Stage will never, ever change the opinion of a young individual who believes that the touring circuit is something women should not participate in, as they won't look twice at the stage. How you change opinions is by giving females the chance to be in the same position as a men and by showing people that they are just as capable, if not better.
So, to answer my own question (sorry if you spent time answering it, it was sort of rhetorical), the Warped Tour does not differ from a factory that should put in a little bit of effort to preserve the environment around it. As the Warped Tour and the big names in our scene have helped to create this narrative where women aren't respected as musicians because they are never witnessed as musicians, they have the responsibility to try to stop it, rather than make it worse. The vast amount of young girls who turn up to the Warped Tour are never going to translate their passion for music into creating a living out of it, if they are constantly shown by the biggest event on their calendar that they are to never be anything more than a groupie or a fangirl. There is simply no excuse for not having a greater amount of women on the tour. The Warped Tour is a chance for young bands to get to audiences that would be completely uninterested in them otherwise. Despite what Lyman seems to believe, nobody wants him to replace his headlining acts with local riotgrrrl bands that have six likes on Facebook. However, what we ask of him is, that when he picks promising, up and coming all male bands to pay his stages, that he actually goes out of his way to choose promising, up and coming bands with female members who just won't get a chance otherwise because they're not 'pretty enough' or because our scene dictates that women aren't good enough . We ask of him to help promote social change and equality and for him to do something that vaguely resembles what exactly it was that punk stood for in the first place.
Real Estate - "Talking Backwards" (taken from Atlas)
It's been far too long since Real estate last blessed the listening public with their melancholic, dreamy pop but, finally, the New Jersey band have released the first single, "Talking Backwards", from their upcoming album Atlas. Still among the best of the perpetual twee-pop movement which the indie rock world will never really leave behind, Real Estate have crafted yet another three minute pop song to guide us into the summer months and make us feel a little like we're all living on a 1960s beach.
Whilst the track deviates very little away from the sound that the four piece have established over the last few years, it does show everyone why not changing too much is a good idea when you've ot a winning formula. Whether its the track's simplistic sounding yet intricate guitars or its effortless but beautiful melodies, "Talking Backwards" is the sound of perfection minus the hard work that comes with it. Martin Courtney's honeyed, relaxed vocals lull the listener into Real Estate's chilled out world, before the lyrics establish that this is, indeed, a song about frustration, miscommunication and the enevitable demise of a relationship. Lines such as "And the only thing that realy matters / is the one thing I can seem to do" are all the more effective when comunicated through Courtney's laidback deliver, given that sometimes life isn't theatrical, sometimes situations just pass people by in the calmest way possible, and there's nothing that can really be done apart from listen to a sad pop song and get on with life. Real Estate's calm melancholy is one of the easiest feelings to relate to, and that's one of the major aspects that makes them special.
Real Estate may get their fair share of criticism for their almost formulaic approach to music, however, as long as summer evenings exist and as long as young adults live aimless, unfocused lives, they will always have an audience. Add on to that the fact that they're an efortlessly talented band who appear to just not give a fuck about what is happening in the rest of the musical world and we've still got one of the best indie rock bands on the planet. Welcome back, boys.
Growing up is bloody difficult. It's all lovely kids' tv and pop songs and then 'bam'!, you're 14 years old. But being 14 years old isn't just an age, it's a mandatory lifestyle choice. That acne on the side of your left cheek? The acne that resembles a black metal band logo? That exists because you've had the audacity to bless the Earth with your company for fourteen years. That feeling you get every time you talk to someone of the opposite sex? The feeling like someone has just discovered your secret stash of Spice Girls' singles and is waving them behind the back of that unsuspecting girl/boy? That's only present in you because you're 14 years old. For some people, 14 is the age that they retreat in to their basements for the rest of their lives to make an existence out of Mountain Dew and 4Chan. For others, 14 means finding new bands and discovering the beautiful world of the genres that Billboard doesn't cover. For me, 14 meant discovering The Get Up Kids. Something To Write Home About, to be precise.
I remember the first time I held a copy of Something To Write Home About in my hands. I was in a local charity shop, looking for second hand releases from The Offspring or New Found Glory when suddenly I was greeted by slightly dodgy looking purple robots and a price sticker that said €3. I had (to paraphrase Macklemore) €3 in my pocket, and had read a piece in Rocksound Magazine which mentioned Mark Hoppus' love of The Get Up Kids. So, I brought it home with me. And I fell madly in love. The sugary rush of "Holiday" and "Action & Action" fit perfectly into the pop punk that had taken over my life ever since witnessing Paramore's "Pressure" on a scout of recommended videos on Youtube. I swooned to "Valentine" and "I'll Catch You". I scribbled the lyrics of "Red Letter Day" and "Ten Minutes" all over any copybook or schoolbook that I tried to study for a more than a few minutes. I jumped around my room to "My Apology". For a year or so, Matt Pryor's soft vocals and earnest lyrics soundtracked my every moment.
Obviously, I delved into their back catalogue, but at the time Four Minute Mile was too raw for my tastes, and Guilt Show and On A Wire bored me. But then I found Saves The Day and the wonderful Stay What You Are and Brand New and Jimmy Eat World and The Promise Ring and Jawbreaker and Weezer and Braid and.. basically my life changed. I suddenly discovered my inner capacity for intense 'emo'-ing out and telling confused looking 13 year olds in black skinny jeans with hair that had consumed their eyes sometime ago, that My Chemical Romance was not really an emo band, became an active hobby of mine. I was a child that was incredibly proud of my ability to listen to bands that no one knew, and I wanted everyone to know about it. However, being an obsessed The Get Up Kids fan is a bit of a lonely pursuit when you live in Ireland, so I made a decision. I would be the most knowledgeable emo fan in the whole of Ireland (I was fourteen! Forgive the clumsiness of my intents.) And, y'know what? There's a possibility that, maybe, possibly, I achieved my aims.
While I write this, Empire! Empire! (I Am A Lonely Estate) is playing in the background. I have a pile of records to review including a release from Two Knights. I have Old Gray's recent LP coming in the post and the wallpaper on my laptop is the logo for Count Your Lucky Stars Records. If I were to compile my top 100 albums, Mineral, Sleepytime Trio, Christie Front Drive and Indian Summer would all have a place. I bloody love emo music. I love the way we have a genre which is so incredibly widespread, that's filled with camaraderie and passion and the way that, with the occasional exception, we all keep supporting bands who will eventually have to give up because being in an emo band will never be a sustainable career. I adore the fact that grown men and women can stand before a microphone and can sing, shout, scream every last emotion in their heart before hundreds of people. Hundreds of people who feel the exact same way. Aside from every thing else, every wave of emo embodies what it is to be the underdog. What it is to really feel misunderstood. What it is to be fourteen years old and have too much acne.
In my every day life, I know two people who listen to any of my favourite bands. Two. One of them is a hardcore Neutral Milk Hotel fan that, despite his prejudices against Jimmy Eat World, has taken Something To Write Home About into his heart. The other is someone I converse with solely because he knows who Glocca Morra is. Yet every night, I go on to the Internet and I can email Cameron Boucher of Old Gray and ask for an interview, or I can go on Reddit and discuss why I think I might prefer Merchant Ships' For Cameron over Pg 99's Document #5 (bear in mind, it changes regularly). The Internet is a place where, depending on where you're positioned, The Promise Ring are a legendary band and a new The World Is A Beautiful Place And I Am No Longer Afraid To Die release can create a shitstorm. And whilst I haven't turned into 'basement 4Chan dude' yet (note yet), it's amazing how suddenly, an interest that most people in my life, people who I truly care about, tend to ignore, can become a legitimate acceptable interest and I think that knowing someone else, somewhere else thinks Cap'n Jazz should be in the Rock And Roll Hall Of Fame, makes being obsessed with this genre feel so much more awesome.
This article isn't just me showing how many emo bands I can mention in a short period of time (however, if anyone wants to challenge me, great fun could be had). I wrote this for two reasons. First, to talk about how amazing and wonderful and brilliant and fantastic emo is as a genre, but secondly to discuss how everything anyone is interested in, is worth pursuing. Being a fourteen year old, female emo fan living in Ireland was a bit... awkward. My friends listened to Usher and Ne-Yo and all of those people and were convinced that I either I was obsessed with Fall Out Boy or I didn't know what emo was. So, I stopped talking about my musical tastes and got on with knowing everything there was to know about my musical tastes. And hey, look now! I got Tiny Moving Parts' album ahead of its release, I regularly deal with Keith Latinen, a modern emo mastermind, I get to review albums and sometimes (hopefully) people actually listen to my recommendations instead of just telling me to shut up and listen to Beyoncé.
Attack your dreams and interests and pursuits and tastes with all of the vigor of an emo band playing their last ever show. No interest is silly or obtuse or stupid. If something makes you happy, it doesn't matter what other people think of it, let it make you happy. Let yourself be 'that teenager' – it's a million times better than being one of 'those teenagers'. My passion in life is listening to sad boys with crappy guitars. And it's the best thing in the world. Your passion is too.
Last day of the festival and I have mixed feelings going in. Mainly because today was the day that Modest Mouse’s live set was meant to enter my life before they decided to focus on their album for the first time in seven years, but also the fact that Japandroids are so low on the bill irks me slightly. However, putting that aside, I opt for a taxi cab rather than a bus as nothing less than the apocalypse is going to make me miss a minute of Japandroids opening set and, by jove, the price of a taxi was worth it. Despite having roughly four fans at the festival, Japandroids manage to fill their forty minutes of the Main Stage with the most exhilarating, exciting set of the weekend. Brian King and David Prowse rage their way through a fine mix of Celebration Rock and Post-Nothing with more stage presence than the majority of bands here who are twice their size.
Constantly grinning at their tiny audience, King dryly introduces the mighty “The House That Heaven Built” as their ‘hit single’ before ripping into what may be the loudest song of the weekend. “Younger Us” is absolutely thrilling and manages to pull a singalong from the curious crowd who start to gather around the stage and by the set’s closer “Evil’s Sway” the band have certainly earned themselves a new fanbase. It’s with a satisfied smile that I notice many festival go-ers leaving the merchandise stand with crisp, new Japandroids t-shirts throughout the rest of the day and it’s apparent than Japandroids will be a lot higher on the bill the next time they set their sights on Ireland.
I caught only a little bit of Frightened Rabbit’s set, however based on crowd reaction, they certainly should not have been billed below Mark Lanegan whose position was apparently based solely on his reputation. His grunge-y alt rock neither engages the audience of a summer music festival nor sounds particularly interesting. His set is boring and plodding and makes me yearn even more for Modest Mouse to change their mind at the last minute and push him off the stage.
Whilst the crowds congregate for Hot Chip to hit the Main Stage, I look for any alternative possible and find myself at the Woodlands’ stage in front of Tom Watson’s favourite band Drenge. The British duo are a little in the vein of Japandroids but all the more aggressive and scuzzy. With a starting audience of two (me included), the band have a hard time playing whilst Hot Chip take the main stage, but they make the most of it. Probably the heaviest band of the festival, they play a high pace, blistering set and manage to draw one or two more spectators, however it’s technical difficulties that get the best of the young duo. Eoin Loveless’ (perfect name for the singer of this particular band) manages to break not one, but two strings at different stages of the set and with a lack of tech people at the ready, a few vital minutes of the set are lost at a time when people were just starting to filter in. Other problems include the guitar just being a bit shit really and Loveless’ vocals being way too far down in the mix, however the band do manage to close out memorably with Loveless throwing himself on the ground in front of the audience whilst playing the last song and a fun filled few rounds of high fives for every member of the audience. Although today wasn’t their day, Drenge are a truly exciting prospect.
Yeah Yeah Yeahs take to the stage in a storm of glory. Karen O and her men are met with complete hysteria and Karen O holds an unbelievable amount of power over the audience before her. Although Kraftwerk are headlining, it would be easy to think that the entire audience are there to see the New York indie icons. And iconic is the perfect word. Costume changes, giant eyeballs, a happy birthday singalong and “that” jacket make Yeah Yeah Yeahs one of the most memorable sets of the weekend. They provide the best possible festival set with crowd pleasers such as “Maps”, “Zero” and “Gold Lion” all getting a run around and there’s a wonderful moment where Ms O hands out the microphone in order to get audience members to sing along. The band prove that you don’t have to be a dance band to make people dance and it’s hard to understand why they aren’t headlining the festival.
Kraftwerk have a lot to follow and, sadly, they don’t quite reach the heights of the other headliners of the weekend. Despite a stellar back catalogue, the fact that they’re, y’know, Kraftwerk, and their 3D set, the band receive one of the most subdued reactions of the weekend. Being in the front row meant that I am fully able to becoming immersed in their 3D effects, however the effects are merely a gimmick and after a while the 3D glasses started to itch and the effects lost their impact. Kraftwerk do little to draw the audience in themselves, with the band just standing behind their desks for the whole set. Whilst it was a crowd pleasing set, “The Model”, “Trans Europe Express” and “We Are The Robots” all get plays, those who aren’t massive fans are left a little bored , especially considering the excitement of Yeah Yeah Yeahs and all the bands that have preceded them.
Overall, Longitude was one of the best line-ups (and weathers) Ireland has seen. Despite a few problems with how the promoters billed the bands and the incredible lack of vegetarian options (I ate pie for three days straight), the festival was a success and hopefully, there’ll be many more to come.
Yet again buses foil my plans and, sadly, I arrive late to witness Dublin folk-pop duo Hudson Taylor closing out their set. Despite their atypically sparse live band, the band certainly hold their own on the Main Stage and, after encountering a smaller acoustic performance of theirs, later in the festival, it’s safe to say Hudson Taylor won’t be so low down on the bill in future. Their catchy folk-pop is unbelievably easy to like and judging by the screams of various girls every time one of them moves, they’ve got everything going for them.
Whilst people slowly mill in for what is the only sold out day of the weekend, Funeral Suits take to a tiny crowd on the Woodlands Stage. Looking a little bit like they’ve been living in the woodlands, the band take to their brief 30 minute slot with the vigor of any main stage band. Whilst the epicness and electronic touches of their debut “Lily Of The Valley are slightly lost in such a small venue, tracks like “Colours Fade” and “All Those Friendly People” are enough to engage an audience who don’t really seem to know who they are. Also, in probably one of the coolest moments of the festival, the somewhat.. intoxicated singer releases his guitar from his own charge and hangs it round the neck of a speechless young lady before the band exit the stage.
After Funeral Suits, I race towards the Main Stage to catch the second half of Kodaline’s set. Providing an explanation for why Funeral Suits’ audience was so small, Kodaline seem to have drawn one of the biggest crowds of the weekend, despite their lowness on the bill. The band certainly earn singalongs it seems a little more based on the fact their debut has just gone number one in the Irish charts rather than any effort from them on stage. “All I Want” is beautiful however the Dublin foursome do very little to differentiate hearing them on record from seeing them on stage and their being clad in black sunglasses and outfits screams that seeming cool is a lot more important to them than actually having an engaging, memorable set. Not bad, but not great either.
Local Natives have no such issues. Local Natives certainly succeed where Kodaline fail. Despite losing their instruments to the terror that is Irish airlines, the band put on a perfect festival set comprised mostly of tracks from recent release Hummingbird, but with a few old hits thrown in for good measure. Looking completely at home on the sun soaked stage, the band engage their fans with absolute knockout tracks such as “Breakers” and “You & I” and they win over a waning crowd battling through queues to get beer before the big guns hit the stage, with their easy banter and general cheeriness on stage.
It seems like every festival goer has packed themselves into the Main Stage area before the wonderful Villagers take to the stage. As we’ve come to expect from Ireland’s best indie-folk band, their set is completely stellar. Two albums in and the band are already at the top of their game and their even mix of tracks from their more popular Becoming A Jackal and the more experimental Awayland would be perfect for any audience of Villagers fans. However, that proves to be a problem on this particular day, as the vast majority of the people packed together in front of Mr O’Brien and his friends are there for Vampire Weekend and Vampire Weekend only. Much of the band’s set is greeted with an overwhelming ‘meh’ and a sunny afternoon before one of the world’s happiest bands isn’t quite suited to their ‘winter nights and whiskey’ brand of folk. After Conor O’Brien ponders ‘“What the fuck is up with the sun?”, the band throw themselves into a few crowd pleasers but it’s not enough to calm down the Vampire Weekenders and the band leave the stage apologising for ‘the boring bit in the middle’. It’s a sad end to one of my most anticipated acts of the weekend but it reflects very little on the band, but the audience they had to please.
Of course, Vampire Weekend’s set is a storm from the word go. Playing in front of a floral backdrop, the band exude confidence and have every fan in the palm of their hands. It’s easy to forget just how many amazing singles Vampire Weekend have created but after the blistering opener of “Cousins”, the mass singalongs just keep coming. “A-Punk” leaves the whole park shaking with the sheer hysteria of fans, “Giving Up The Gun” sounds beautiful, “Ya Hey”, with it’s apparently theological focus, gets the biggest singalong of the weekend. Ezra Koenig’s vocals are perfect and the band are just so incredibly tight that they sound more impressive live than on record. Rather than allow their professionalism to suffocate them, their encouraged singalongs, their impromptu encore and the fabulous dancing of the bassist makes sure that by the time closer “Hannah Hunt” comes around, every single person in Marlay Park is grinning from ear to ear. As the band make their way from the stage, the sound of Frank Sinatra’s “New York, New York” emanates over the crowd resulting in a beautiful scene of mass ballroom dancing from the audience and the ending to another perfect night.
Spread over three of the twelve sunny days ever recorded in Irish history, Longitude Festival's inaugural run even had the weather out to support its stellar line-up. The little sister to Britain's Latitude Festival, the line up of over 100 of the best indie, pop and dance bands around today, making their way to congregate and perform in the beautifully set-up Marlay Park of Dublin, was always going to be at least a little bit awesome. However nothing could have prepared me for just how amazing the three days turned out to be.
As a whole, aside from the music, the festival was beautiful. Despite previous trouble with this particular music venue, Longitude pulled out all the stops to make a perfectly family friendly festival. Set up like a woodland, the area was crowed with delicate decoration, quirky touches and a great variety of foods, things that are quite undervalued by many concert organizers. Spread across five stages, as well as an interviews tent, there was something for everyone and the atmosphere was both safe and enthusiastic.
But enough with the aesthetics. Longitude managed to pull in one of the best line ups seen on our not-as-green-as-you-probably-think island so let's jump into the music.
Thanks to a late running bus service, regrettably I witness around half of Dublin natives' The Cast Of Cheers' opening the festival as a whole on the Main Stage. Sounding like Two Door Cinema Club having a fight with Abedisi Shank, their quirky indie rock make for perfect festival fodder with its frantic angles and oddly catchy choruses winning over more than a few casual spectators.
With excitement and bags of anticipation, I push myself through crowds of floppy haired, skinny jeaned hipfolk in order to get prime position for young English artist, Tom Odell. Despite his brief 45 minute spell on the main stage, Odell more than impresses with renditions of most of the tracks from his recent debut Long Way Down. Although Odell's piano led pop isn't entirely fitted to intense heat and hazily drunk festival goers, he comes into his own racing through insanely catchy tracks such as "Can't Pretend", "Hold Me" and the beautiful opener "Grow Old With Me". Hit single "Another Love" is placed midway and somehow manages to get an absolute storm of a singalong from a still sparse crowd. Despite coming under harsh critiscisms from media outlets who don't believe words with fewer than five syllables should be utilised in song lyrics, Odell's sheer charisma and constant smile make him one of the most enjoyable acts of the weekend.
Whilst Jake Bugg takes the Main Stage, I head out to explore the festival. After witnessing the mighty Foals be interviewed, I catch some of Mmoths' eeriy indie dance on the Heineken Live Project Stage. Although Mmoths seem to have all the right ingredients, the set feels a little boring and doesn't quite manage to whip the excitable audience into a frenzy. Back on the Main Stage, second headliners Foals have no such problems. Looking every bit a rockstar, Yannis and his merry men storm their way through bombastic arena filler after arena filler. Whilst they devote a good portion of the set to classics such as "Spanish Sahara", it's when the band focus on their recent release, Holy Fire, that they really come into their own. Highlights include the absolutely massive singalongs of "Inhaler" and "My Number" and, of course, Yannis' unbelievably cool invasion of the audience. It seems like Foals' days as an indie rock band are numbered, as the set displays all the confidence and musical nuances of a band heading for stadiums.
Headliners of Friday night, Phoenix, certainly have a battle on their hands in following up Foals' fabulous set but they more than manage to establish themselves as a, surprising, highlight of the festival. Their set is relentlessly upbeat and vocalist Mars never stops moving. It's one of the few points of the festival where the band on stage manages to make every member of the (ultra cool) audience jump up and down, singing like an idiot and when they zip through their back catalogue, it's easy to see why. Hits like "Lisztomania", "1901" and "If I Ever Get Better" sound so fresh and catchy that it feels like a shame that people seem to forget about Phoenix when thinking of the big guns of indie. When Mars propels himself into the heart of the audiences and performs not one, but two tracks on the shoulders of his adoring fans, their position as headliners on this bill is fully consolidated. A perfect close to the evening, Phoenix leave everyone smiling as they make their way home.