Blackbud showcase new songs at intimate Glastonbury gig

The Fluffy Rock café is a can't-miss, predominantly yellow tent on the walk between the JazzWorld stage and the Greenfields. It's big enough to have a small stage, seating for about 30, and a little standing room round the edges. It's not the John Peel tent.

Blackbud are a indie-blues-rock threesome who still look barely out of college but are in fact joint-winners of the Glastonbury Unsigned Bands competition of 2004 along with The Subways. Word was that they’d missed the usual booking system for Glastonbury whilst finishing their grower of a second album, and hence had to squeeze into the schedule of one of the smallest stages at the last minute. A real intimate gig in other words with hardly any advance advertising. Ideal for 2pm on the Friday, just after the rains had ceased and with maximum slippery-mud levels for what was otherwise such a sunny weekend overall.

One overly-brief soundcheck later, and we're off with 'Love Comes So Easy', one of the crackers off the new album. They hold it together despite further ongoing adjustments of instruments during the song. The rest of the half-hour set is then a pure joy, both for those in the know and those arriving mid-set just because of what they hear walking past. Neither do I really notice anyone leaving early. Even the café staff and proprietor don't seem bothered that no-one can order extra tea for the set's duration.

We are treated to only two tracks off the first album, mainly 'Barefoot Dancing' and a much-demanded 'Heartbeat'. It is simply an absolute pleasure to hear those tracks live again after Blackbud's two-to-three year absence pursuing individual projects. We whisper and bellow along to the old songs as appropriate. Similarly the opening two numbers off the new album, 'Left Your Arms Empty' and 'You Can Run', allow for a just a little audience participatory sing-along, given the new album's only been out a couple of weeks.

Lead guitarist Joe Taylor, when guitar-caressing, does a decent eyes-closed away-with-the-faeries look. Some astounding and seemingly-effortless guitar work takes place nonetheless, and it's a right treat to listen to the variations that the ends of songs take compared to what's on the albums. There's also a fair bit of bass-riffing from Adam Newton, who conversely to the efficiency of movement of the guitarist, just about has enough physical space to accommodate his flailing approach.

The encore that we all demand is duly provided. It is, strangely, 'I'll Be Here', a tune so deeply into the new album that it's only just recognisable. However it also shows that the band have great confidence in their new works. This one even has a drum solo, which may sound indulgent, but given that the two guitarists spend an enjoyably excessive amount of time freeforming, sometimes even at the same time, it seems only fair to give anchorman Sam Nadal his turn. And like Neil Young and his band headlining the main stage later on, the songs all remain nicely tight despite the straying of instruments all over the place.

So where next for these unpolished diamonds? Can they ever get back to the main stages, or do even smaller tents beckon? Popularity is alas very fickle and not dependant on ability or beauty. Best I can say is that this was my intimate gig of the festival. May their corner be just beyond the horizon.

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