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Everything posted by grayfitz

  1. Back home now. Overall I thought it was an excellent day, only criticism I’d have is the sound bleed between stages. Dry Cleaning were impossible to hear against the sound from the Bad Vibrations stage. Otherwise no real complaints. Highlights were Porridge Radio, Lynks and Self Esteem.
  2. We've had them for a few days now. https://clashfinder.com/s/waf21/
  3. If you’re going back into Central London, go to Bethnal Green. The walk is about the same time as to Mile End but you avoid all of the traffic control/queues outside the station. You can walk straight into the station at Bethnal Green.
  4. Tiña > IDLES > Porridge Radio > Squid > PVA > Lynks > BC,NR > The Murder Capital > Self Esteem > Shame What a day.
  5. Absolutely made up seeing those additions. This has slowly been building into one of the best line-ups in London all summer. I saw Self Esteem and Lynks in Sheffield the other weekend and both were amazing.
  6. There was a BBC article on what would have been Glasto weekend in 2019 saying Mumfords were due to play a lunchtime Pyramid set no? Could see that being carried over to 2022 with Foo's instead.
  7. Got ya! Sound like they're ones to keep an eye on then!
  8. Can I ask something about Wet Leg? How are they on the bill of a fairly big festival when they've got one released song? What was the rest of their set?
  9. Drop 2 today was a lot easier for me, I was only after 3 things that a smaller store in Camden had in stock compared to Drop 1 where I had to go to Rough Trade East at the crack of dawn for everything I was after. Arrived at 7.15 for a 8am open, 5th in the queue. Was in and out in 10 minutes and home by 8.45!
  10. grayfitz

    Big Red Machine

    Obviously depends on BI/National tour dates, but Big Red Machine did a show at Primavera Sound 2019 and for the Bon Iver 2020 EU Tour the support was 'Aaron Dessner's 37d07d Machine' which I think would have been a re-jigged version of BRM. Certainly possible.
  11. Lime Kiln/Hitchin Hill corner of the site has been my go-to for years and I think it's criminally underrated. Very manageable walk to all of the main stages for start of the day, close enough to Pyramid to do a tactical stop-off before the headliners and even though the walk back from SE Corner is probably as long it can be, it helps you get back to a good level before going to bed.
  12. grayfitz


    She's just added a show at Ally Pally for the Tuesday after Glasto.
  13. grayfitz


    Got 2x for Friday at Roundhouse with no issues. I saw she was trending on Twitter the other day when the presale went live because it sold out in seconds, so was expecting much worse. Looking at the Roundhouse website again now and they're still available, so not sure what all the stress was about.
  14. Had a text this morning saying I could move my second Pfizer jab forward, managed to book it for this Sunday. Originally it was set for mid-August, then it was rebooked for mid-July once they reduced the waiting time the other week. Now it would have been just over 30 days between the first and second jab for me, which feels like some kind of record amongst people I know.
  15. Swear he's had Glasto weekend off for the last 3-4 years..
  16. https://www.bbc.co.uk/iplayer/episode/p09lgk75/glastonbury-britpop-at-glastonbury?seriesId=b007r6vx-50-guitars
  17. BBC Studios were credited at the end of the show as being part of the team who made it, so I imagine the performances are gonna be cut up and shown next month on BBC.
  18. Saw a report on BBC Breakfast this morning about tonight and they had footage of crew setting up inside of the Beam structure in the Greenpeace Field so presumably that’s where they’re playing.
  19. The Weeknd looks like he's prepped for a muddy Glasto with that outfit
  20. The news of the milestone earlier reminded me of when the USA hit it back in May and the New York Times published the names and small facts about those lost. I doubt we'll get anything similar over here as others have said. https://www.tampabay.com/news/nation-world/2020/05/23/the-new-york-times-dedicates-sunday-front-page-to-names-of-1000-coronavirus-victims/
  21. grayfitz

    Block 9

    "It was the news every 2020 ticket-holder was dreading: after Covid killed off Glastonbury Festival last summer, it won’t be returning in 2021 either. Depending on your social-media feeds, this either means cries of schadenfreudic glee or an excuse to whip out the favourite mud-splattered selfies from Pyramid Stages of yesteryear. But those bracing themselves for another limp June weekend of archive material – and, worse, endless photos of gold leggings, captioned with hashtags such as #BigDanceEnergy – can be reassured: the prospect of a virtual Glastonbury will have been on the cards at Worthy Farm for over a year now, and the team behind the festival may have the perfect people to make it happen right on site. While Glastonbury may have a reputation for blocked long-drops and throwaway tents, the festival has been pulling off technological marvels for decades, frequently sharpening the cutting edge of live performance every year. This is no more the case than down in the festival’s bacchanalian south-east corner, where the night owls go after the main stages close. The so-called “naughty corner” was born of compromise: when founder Michael Eavis introduced the infamous fence in 2002, to prevent mass gatecrashing and the subsequent violence that ensued, a more lawless area was created to recreate the revelry some believed had been lost. At its heart, at the end of the old railway track that acts as Glastonbury’s artery, sits Block 9. What emerged from a £2,000 budget a decade ago as a grubby stage-set inspired by the gay clubs of 1970s Manhattan has evolved into a juggernaut of live performance. Founded by set designers Stephen Gallagher and Gideon Berger, who also go by the name Block 9, in 2019 the duo presented IICON, a 15,000-capacity venue that strived to re-invent the outdoor arena. “It’ll be part-gig, part-club,” Gallagher said at the time. “It’s a music venue, which is like being inside an artwork. Nothing is what it seems.” To experience IICON was to stand in front of a gargantuan anonymous head, its eyes glazed over by a visor-like cube in which internationally renowned DJs performed, and be drenched in lasers and bass-lines before the sun came up. “The whole thing is video-mapped,” Berger explained, “so we’re able to animate the surface of the head.” Kanye West may have floated above the Pyramid Stage in a cherry-picker designed by Es Devlin, but IICON was one of the greatest new additions Glastonbury had seen in years. But while the festival is a beast of moving parts, all raised and lowered in a matter of weeks around the Summer Solstice, IICON had a future beyond Glastonbury. In 2020, it had been booked in for ambitious events in London, New York, Shanghai, Los Angeles and Sydney. Obviously, the pandemic put an end to that. But Block 9’s founders have adapted to our newly Zoom-based lives and delivered something genuinely surprising: a virtual gig experience that gets near to the thing itself. The set designers have long worked with Gorillaz, Damon Albarn’s “virtual” band who have been stretching the realms of performance and animation since the late Nineties. In December, the collaboration became truly virtual with Song Machine Live, three concerts performed over two nights in a smattering of timezones. Blending animation with Albarn and his band’s live performance, the gig raised the bar of what could be anticipated from virtual entertainment. But Block 9’s arguably bigger triumph happened a few weeks earlier, when pop star Dua Lipa – herself something of a pandemic heroine, after the release of her kitchen-dancing album Future Nostalgia – lured in five million viewers to Studio 2054, a virtual gig that proved such things could be invigorating, rather than simply second-best. Kylie, Miley Cyrus and FKA Twigs all appeared. Dancers defied the socially-distanced times by grinding up against one another. Elton John was beamed in. Rolling Stone magazine called it “the future of livestreaming”. Could it be the future of Glastonbury, too? Lipa’s set was created entirely in Printworks, a club- and sound-stage complex in London’s Docklands. Surely, Glastonbury could create headline-worthy sets there for livestreamed performances in lieu of the real thing or, worse, another year of tired archive material. The communality will be different in 2021. Rather than flags cutting the sky into rainbows, or the hiss of a flare, we will be all sat watching a live show on our sofas – or maybe projected onto a garden wall. But at least a virtual Glastonbury could offer something current and novel, something that does what the festival has long been famed for: pushing boundaries and making musical history. That would be genuinely be something to look forward to."
  22. Gonna share the obvious Georgia Glastonbury video before anyone else beats me to it...
  23. Big fan of how quickly Emily is jumping on these cancellation rumours at the minute.
  24. Lovely start to Christmas week that..
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