It is now just a few weeks until the 2024 Leeds/ Reading Festivals and it must be time for a preview from me, so here goes. Are we back to one main stage again? The poster of the line-up suggests we are, which is wonderful news. Although there is still the silly joint headliner thing going on. But how do the acts on the main stage shape up? Personally, I will be sticking to the bands and artists appearing earlier in that part of the arena. On Friday 23rd August my tips for the best acts on the Main Stage are Pendulum and Crawlers. Who will I not be rushing to see? Well Liam Gallagher obviously, who needs an Oasis tribute act headlining a major festival? On Saturday I think headliners Blink 182 could be fun, even though watching middle-aged blokes with low-slung cargo shorts is a bit creepy sometimes, but I believe the band will rise to the occasion. I am optimistic for Two Door Cinema Club. Sunday’s Main Stage line-up is good with Bleachers, Fontaines D.C., Raye, and Lana del Ray likely to be highlights. The Last Dinner Party might pull it off if they can continue to live with the hype, but Fred Again.. as a headliner? Seriously? I know this festival has often been good at moving with the times, but I am not sure about this one.
The new and futuristic Chevron stage looks great for EDM and generic dance fans. Skrillex headlines on Friday and I find them quite a Marmite act, the Prodigy headline on Saturday, and even without the sadly departed Keith Flint I reckon they will smash it. The BBC Radio 1 Stage looks good, especially on Friday with Beabadoobee headlining and immediately preceded by Ashnikko. Confidence Man will be good on Saturday and the Sunday headliners are the Wombats, a real blast from the past. I imagine that I will be spending a lot of time at the Festival Republic Stage, particularly for the Japanese House, Rachel Chinouriri and Matt Maltese on Friday, Neck Deep, Bad Nerves and the Lambrini Girls on Saturday, and Kid Kapichi and Dream Wife on the final night. The BBC Introducing Stage is a favourite of mine and is a place where I have discovered some great artists. I am familiar with some playing the introducing stage this year, notably Sun King and Welly on Sunday. But shaping up to be the best act of the weekend is the magnificent Delilah Bon who headlines the BBC Introducing Stage on Friday. I predict that she will move to the main stage in 2025 or 2026. Who are you most looking forward to?
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I am sure you know that Rage Against The Machine have cancelled all their current European dates, including the Reading and Leeds Festivals. The bad press that their replacement as headliners, the 1975, are getting is a little OTT and unfair in my opinion. However, this change does present me with a dilemma. If Rage Against The Machine were still on the bill it would be no contest. But one of my most favourite bands, a band that I have seen more times than any other act, Avalanche Party will be playing a headline set at the Crescent in York on Friday 26th August, which is the night the 1975 will be headlining the Leeds Festival. I am not camping at the Festival site, so I will be driving home to York each night. Also, I don’t have a press pass, I am a paying punter, so therefore beholden to no one. My problem is do I drive back to York for the Avalanche Party experience? I have already bought my ticket, which was just a quid in advance, how good a deal is that? If I do drive back I will definitely miss Beabadoobee and possibly Pale Waves, two of the bands I mentioned in my Leeds Festival preview a few days ago. Weighing it all up I have decided to drive back to York to see Avalanche Party on Friday night. It won’t change my mind, but I would love to know what you would do. On the same night, Ginger Wildheart is playing the Fulford Arms in York. So in fact York has a better set of headline acts on the Friday than the Leeds Festival does. So apologies to Beabadoobee and Pale Waves but there ain’t no party like an Avalanche Party, right?
Here is what you could have had
Here is what you have
Here is what you want, and what you will get!
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When I first approached With Just a Hint of Mayhem and was accepted into the fold, I knew I would be expected to review a whole spectrum of musical styles. In the past, I would never have listened to Beabadoobee’s style of music until now – and what a treat it has been. Born in the Philippines and raised in London, Bea Kristi began recording music back in 2017. At 21 years old, she already has a debut album and five EPs to her name, while also receiving a BRIT Award and BBS Sound Of nominations. Her second studio album, ‘Beatopia’, boasts 14 tracks, richly diverse in style and all are a remarkable tonic for the ears. The album takes you on a musical rollercoaster of alternative rock, psychedelia, folk, singer-songwriter, emo, and full-on pop. Whilst enjoying this thrilling ride you also get a peek into her mind and soul, ‘Beatopia’ is so much more than a collection of tracks. Collaboration on this album has been integral and Bea remarks that “It was the first time I really appreciated everyone around me instead of despising everything…I thought I should utilise the hell out of the fact that I have so many good people in my life”. Working closely with guitarist Jacob Bugden, who Bea describes as her “best mate” and with co-production from Iain Berryman (Wolf Alice, Florence & The Machine, Arcade Fire) ‘Beatopia’ makes its debut after 12 months of production.
The album opens with the track, “Beatopia Cultsong”, and has been likened to The 1975’s opening track on their 2013 album, ‘The 1975’. It has a dreamy psychedelic feel and hints at Elizabeth Fraser from the Cocteau Twins as it builds layers of sounds, friends chatter, and clinking bottles. Gradually building in crescendo with cleverly crafted guitar picking, synth strings, and Bea’s voice crashing in. “Is it me or recently, time is moving slowly” fills the piece accompanied by tuneful bongos and shakers. It reaches its peak and starts to fade to where it started. It is followed by “10:36”, bursting through the speakers. It has shades of pop rock, skater music, and Cerys Matthews all rolled into one. It couldn’t be more different from the opening track and that’s what makes this album so special. Bea says of the track “It was called “10:36” because that was the time I finished writing it. It’s basically about how I have this weird dependency on human contact to sleep.” Listen out for the unexpected guitar break about halfway through. “Sunny Day” is a track inspired by her love of pop artists such as Nelly Furtado and Corinne Bailey Rae. The video sees her take a trip into a mystical woodland, falling into its magical curiosities and making friends with its unusual inhabitants. Musically, I thought I heard the opening line to Weezer’s “Buddy Holly”, the melodic acoustic guitar, but that’s as far as the comparison goes. Talking about the single, Bea says: ““Sunny Day” is a song that I’ve always wanted to make but something that I’ve never done before”. Her sweet, dulcet voice beautifully carries the track along, its dreamy composition swirls around the verses, while the chorus delivers a catchy and downbeat interlude.
“See You Soon” seems to flow seamlessly from the last track – a trippy number that ebbs and flows, a little like some 90’s shoegazing tracks. Think of an acoustic Lush and that’s the sound we get. What follows is “Ripples”. Described as having Baroque orchestral flourishes “Ripples” is a folk-inspired song with the benefit of some songwriting help from lead singer Matthew Healy of The 1975. Bea oozes versatility and originality and you never quite know what’s going to come next. And that’s why ‘Beatopia’ is such a brilliant and powerful album. Up next, is “The Perfect Pair”, a Bossa Nova accompanied by some very tasteful orchestral strings. Bea executes this Latin style with true panache, retaining her silky sweet and melodic vocals. The musical style may be different from everything else on the album, but it’s still Beabadoobee, no doubt. “Broken CD” treats us to some subtle acoustic guitar, wind chimes, and drum echoes. It gradually builds to a delicious crescendo and all the while Bea’s soft and whispering vocals are the backbone of the track, ending with some shiny shimmering synths. “Talk” brings us back to earth with a bump, with distorted guitars – it’s upbeat, bounces, and gives you a sense of making the most of life while you can; a polished piece of pop music is what you get. “Lovesong” was written about Bea’s long-term boyfriend, which she passes off as “just another love song“. Far from it, you instantly become immersed in a blissful and sweet melody being reminded all the time of Bea’s angelic voice. “Pictures Of Us” follows up with a tuneful hit of indie and meandering guitar noodling. Co-written with and featuring vocals from Matt Healy from The 1975, the song has a cinematic and wholesome feel to it.
“Fairy Song” is bouncy, happy, and chilled all at once. The middle of the track makes way for a bit of a psychedelic interlude using effects pedals to their max, often sounding like something from Sgt. Pepper. Next up is “Don’t Get The Deal”. Punchy drums and gentle acoustic guitar picking are peppered with Bea’s airy vocals and distorted guitars; the track ebbs and flows, in true indie style. “Tinkerbell Is Overrated”, features PinkPantheress of TikTok fame, delivers a familiar country style, Telecaster sounding guitar, Bea’s sweet and youthful sounding vocals; backed by a distinct electronic beat. Bringing what could be described as the Beatopia trip to an end is “You’re Here, That’s The Thing”. The song skips along, unmistakable sweet and airy vocals sitting perfectly on top of some silky smooth accompaniment. This album is unpredictable, thoroughly enjoyable, lyrically clever, and musically diverse, and I can’t wait to hear what she does next.
Bea has toured across the world, supporting the likes of The 1975 and Clairo, and to celebrate the release of the album, Bea embarks on a headline tour of the UK this October. Tickets are on sale now from: www.beabadoobee.com
OCTOBER Tue 04 DUBLIN Olympia Theatre Wed 05 BELFAST Ulster Hall Fri 07 BRISTOL Academy Sat 08 NORWICH UEA Mon 10 NOTTINGHAM Rock City Tue 11 NEWCASTLE NX Thu 13 MANCHESTER Academy Fri 14 SHEFFIELD Foundry Sat 15 GLASGOW Barrowland Mon 17 BRIGHTON Chalk Tue 18 SOUTHAMPTON Engine Rooms Wed 19 LONDON Brixton Academy
Written by Juan Brooks
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With Just A Hint Of Mayhem 