Over 50 performances, seminars and events at the Greenbelt Tree Of Life festival on 26th-29th August are put under the critical microscope by the Cross Rhythms reviews team.

CHUCKY NO STARS - Stage 2 - 2pm
Chucky No Stars' brand of vibrant face-paced pop punk kicks off in glorious style and hardly relents throughout. Full of energy, good intentions and positive vibes the band zip through their slick and well rehearsed routine. The band manage to put in some brilliant stop-start moments that they thankfully pull off with aplomb with excellent timing and coordination. Like many bands of their ilk the band lyrically focus a lot on life and the issues surrounding surviving adolescence. Each song though manages to reach a positive and uplifting conclusion; their faith clearly reflected in their songs - offering to chat to anyone who want to ask about it. However, whilst the vocalist's voice suits the style of music and sounds akin to x amount of pop-rock voices, it does come across a little whiny at times. But that is a rather unavoidable factor in this scene. A strong performance by a band in a genre that many are tipping for big things.
Greg Sammons

ELECTRALYTE - Stage 2 - 2.50pm
Kicking off the ICC Showcase, Electralyte appear from relative obscurity but that is soon to change. I'm happy to admit I'd never heard of these guys until a few weeks back - somehow they slipped under the radar. They slip comfortably into the Elevation Records fold - musically somewhere between Supervision and Kato. A brand of indie rock that always whets the appetite of our British Christian labels but sadly fails to please me personally. Maybe I've heard it too many times before or maybe I just find it a little too tame but it just doesn't push my buttons. A well performed set to a rather diminished crowd manages to go down fairly well under the circumstances. I myself sadly am rather sceptical and hope that a boost of originality will be in place before their CD release.
Greg Sammons

TITUS - Stage 2 - 3.35pm
Titus have a reputation for exuding fun and energy. Today they do not disappoint. Three-piece Chinese punk bands from Tyneside are not exactly common but this is no novelty act. All but one of their songs comes from the new album 'Point Of No Return'.They are delivered at full speed, driving us straight to chunky punk heaven. Matthew Ng pulls rock faces throughout, especially on his lead breaks. Drummer Paul Fung flails around like a demented Muppet. Before launching into "Beautiful One", bassist Pak Chum announces that whoever goes "maddest" during the next song will win his plectrum. Four lads down the front obligingly go mental. The pace eases a little on "Closer" which Matthew cheekily describes as a "romantic song." It is slower but not quieter with something of a dinosaur rock feel to it. The dinosaur of course has its tongue firmly in its cheek. "Fight Another Day" returns us to thrashing at pace complete with twiddly guitar solo and more faces. I love songs that stop abruptly and then start up again. "Made For God" does just this. I am so easily pleased. "Take Me Back" winds things up and the band fall around the stage signalling the end. They've had a great time and so have we.
Stuart Blackburn

BEN CHRISTOPHERS - Performance Café - 4.15pm
Anybody who titles his first album 'My Beautiful Demon' is not normally the kind of artist I'm likely to investigate. But this is Greenbelt, those renowned battlers against The Sacred/Secular Divide and here I am to give this highly regarded songsmith a listen. Certainly, he's determined to take the fusion of acoustic and electronic elements further than just about any other singer/songwriter I've seen. A hand held electronic gizmo produces a cascading backing track while his high, wistful voice draws the audience in until something goes wrong with the electronics and a string synth hits a discord. A mix of acoustic guitar and staccato keys accompanies the title track of Ben's latest album 'The Spaces In Between' while the fragments of lyrics I pick up, "all those funny dreams you give," "I'll know you hear me" and "I'm sure he knows my name" all sound like the words of a man making tentative connections with the Divine. Then there's a song about a girl who fears tomorrow and some more beautifully crafted, haunting music. Whatever his current spiritual state, Ben is a hugely impressive talent I for one am glad I've now encountered.
Tony Cummings

SUPERVISION - Stage 2 - 4.25pm
Supervision are next up on Stage 2 for the ICC showcase. They are going to play some new tunes from 'Day Of Small Beginnings' which is just out. A rousing "Rising Tide" gets things going and the sound is tight and professional. No wonder they have attracted much attention. "Breathe You In," Mark Doohan explains, is about how God can't use you until you get the "crap" out of your life. Mark's voice is an enigma. He often reminds you of someone else but can't think who. Supervision raise some other questions. Often their melodic rock songs change tempo mid-stream and resort to harder sections of riff. "Scream", "Alien" and their finale "All You Say" all do this. Ironically the stand out track today is "Here I Am". It's not a new song and it is definitely a crowd-pleaser. Perhaps the new material is going to need a few listens.
Stuart Blackburn

Cathy Burton and Paul Field

DAN WHEELER, PAUL FIELD, CATHY BURTON - Performance Café - 7pm
Paul Field introduces himself, Dan Wheeler and Cathy Burton and welcomes this chance to sing each other's songs. They are very relaxed and the set proves to be a chilled 45 minutes as the trio joke with each other and play a couple of their songs each. Paul Field asks the audience to come up with a name for the three should they suddenly be signed up to do a world tour; a couple of suggestions were Mirror, Signal, Manoeuvre and The Good, The Bad And The Ugly! Dan Wheeler sings "If You Ask Me To" and my favourite of the set "Bringing You Round Again" - just love that one! Both of these songs are on his 'Long Road Round' album. Paul Field sings "It's Got To Make A Difference" and from his album 'In The Long Run' a gentle song with great lyrics called "God Of The Moon And Stars", with lines like "I come to you, God of all/God of the junky and the priest/God of my faith and unbelief." Cathy Burton treats us to "Leave Me With You", about falling and staying in love, from her latest album 'Speed Your Love' and concludes the performance with "Belongs To You" from 'Burn Out'. Cathy and Dan will be touring together this autumn, hope you can get to see them.
Ruth Saint

BEN OKAFOR - USPG Tent - 7pm
The audience, myself included, arrive early for this performance, filling the USPG tent to capacity. The mood in the tent is jovial with an air of expectation as the audience sits patiently through the various soundchecks. Ben Okafor launches his band into a session that includes the songs "Man Of Sorrow" and "Fillipino" from the album 'Shadows' and finishes the set with "Sanctify Yourself". The songs are sung with passion and conviction, the reggae/African roots music vibrant and energetic. I love the way a rock rhythm is played in between chorus and verse on the song "Fillipino" in what is essentially a reggae song - something I hadn't noticed so much on the album. The last song in the session "Sanctify Yourself" has the entire audience standing up, arms in the air, wanting and demanding more. And more is indeed what the audience get. After a short delay whilst one of the organisers chases after the bass player who has since left the tent, Ben plays "World Gone Crazy" which surely can be heard well beyond the confines of the USPG tent.
Paul Saint

FORCE 3 - Stage 2 - 7.25pm
When Bossman Cummings told me that a hair metal band from the 1980s had reformed and were playing at Greenbelt how could I not go and check them out?! I know little of the history of the band but suffice to say they are the epitome of the '80s hard rock/old school metal sound - although it is perhaps a little unoriginal with little variation between songs. Their performance does suggest at times that they hadn't rehearsed enough since reforming, with the vocals particularly being a problem - sounding strained at times. But still it is fun to see some good old-school rocking out and the audience (average age comfortably above 30) certainly seem to lap it up. Whilst you can hear the lyrics clearly, the band explain their songs and give a number of gospel messages. The smoke machines are well used during their set to add an extra dimension to the atmosphere created by a bunch of rockers that have all aged remarkably well!
Greg Sammons

BEN CASTLE - Stage 1 - 7.30pm
Five pieces in 40 minutes and it's jazz. To remind everyone what jazz does the first of these is textbook stuff. Ben plays a tune on his tenor sax, then each of the band members takes a turn to develop and explore as they demonstrate utter instrumental virtuosity. Then it's back to Ben for an astounding finish. Having proved to us that they can play, the real fun begins. "Pent Up House" presents Ben pushing a pun on the word "house" beyond its limits. With a bizarre nod to Kylie's "I Should Be So Lucky" Ben wrings out his beat up tenor over a driving dance bass-line. Mark Edwards abandons the Hammond and fills in the gaps on a Korg. Tim Harries' bass, along with the hearts of the crowd, soon abandons the concept of bpm and what follows is an eccentric, technically astonishing downward spiral into jazz chaos. To restore us, and in complete contrast, a Sinatra tune follows. Ben reminds us of loveliness. In the breaks Ben does creditable stand up, including a convincing impression of Alan Partridge. "The Stalker" is a self-penned story, the chapters of which are delivered by spoken word throughout the piece. The players take their solos and Ben concludes by squeezing notes from his sax that were formerly not known to exist. The penultimate piece incorporates a Dylan Howe drum solo that would make the average six year old kick the biscuit tins in despair. To crown it all is a customised version of Brubeck's "Take Five".To begin, Ben plays it straight, then in music box parody and then defiantly heavy. Once again the gradual descent into freer jazz begins. The fall is relentless as the deconstruction becomes absolute. Mark Edwards supplies apparently random sounds and samples from the keyboards. All form departs as brilliance makes its home. Ben Castle and friends confirm the thin line between genius and insanity. A challenge to ears, minds and hearts. Thanks guys.
Stuart Blackburn

Bell Jar

BELL JAR - Performance Café - 7.45pm
It's funny. Despite once being a big, big fan of that pioneering band of '90s folk rockers Eden Burning, I've never bothered to investigate Bell Jar, the band singer/songwriter Paul Northup formed when most of the group went their separate ways (guitarist Charlotte Ayrton of course stayed with Paul in the new line up). This set leaves me hugely impressed and scrambling around to locate Bell Jar's independent releases. From the opener with Paul wistfully reminding us that "grace is a many coloured thing" I am bowled over by music as catchy and uplifting as anything Eden Burning ever recorded. Paul has never sung better, his insightful lyrics are clearly audible while the crisp, punchy arrangements belie the fact that these days Bell Jar gigs are few and far between. Paul introduces one new song explaining that it is about "things that you love the most, you pour yourself into them and they eat you alive" while on its conclusion amusingly suggests that a "suicidal Virginia Wolf theme set to a stadium rock melody could be the start of a new musical trend." The jangling guitars and wistful harmonies continue and at the conclusion I'm adamant that, for me, Bell Jar are one of the highlights of Greenbelt '05.
Tony Cummings

THE PLYMOUTHS - Performance Café - 8.30pm
Getting a rock band to do an acoustic set is always a risky business particularly when these Bournemouth-based rockers have, by their own admission, never done an acoustic set before. Considering that, the two guys on acoustics and a barely heard synth player do okay, thanks entirely to the talent of an excellent singer/songwriter, Nick. His voice is strong, flexible and gutsy and holds everything together. The standout song by a mile shows that he's also a believer. "Draw me to your Son/And draw me to your side," it goes while the lines "I know sometimes I've disgraced you/But I'm so sorry" hit home with stark sincerity. Sadly the effect is immediately dissipated with the quip "that's the last of our music-to-slash-your-wrists-to songs" and by the time of the last, a ragged and under-rehearsed rocker, Nick's excellent voice seems shot. But they did leave us with that one golden moment/song.
Tony Cummings

Note For A Child

NOTE FOR A CHILD - Stage 2 - 8.35pm
Note For A Child had impressed the Greenbelting hoards at the Performance Café earlier today. The band have beefed up for Stage 2 with a full drum kit and access to electric guitar. Word has got around and there is a good crowd. Susie Beattie extends an invitation to chill out and everyone sits on the carpet. It isn't rock and roll. She's a bit croaky tonight but we are very glad that they haven't cancelled. Oriental guitar sounds lead us gently in and the refrigeration begins. Their second number, album title track "Impossibly Beautiful" is exactly that. We are reassured: "Here in my brokenness everything changes but you." The melancholy persists as we meditate "The Day Of Your Return" and then a change of subject but not mood as Susie whispers the love song "Sky In Your Eyes." Kathie Brown, whose many talents this evening have included an intro on a tambura, provides dreamy backing vocals. "Take Me In" and "Always" are more upbeat. Soothing harmonies and weaving guitars brighten our spirits. Daniel Goodman explains the final song. Everyone is so well-spoken. This could be the poshest band ever to play Greenbelt. "Vermeer's Astronomer" marvels at the wonders of God. Note For A Child are fitting heralds of impossible beauty.
Stuart Blackburn

CARLEEN ANDERSON - Stage 1 - 8.40pm
Carleen Anderson, soul sister extraordinaire, who came to the UK with the James Brown Revue and kind of stayed, is fantastic - at least the half of her gig I see is. Fortunately for me, I catch the part where she does all my favourite songs of hers - "Mama Said", "Nervous Breakdown" and her big hit with the Young Disciples, "Apparently Nothin'". On one song, she gives us the full black church treatment, and a stunning performance from backing singer Tracey Riggan.

DUKE SPECIAL - Performance Café - 9.15pm
Judging from the number of people trying to shoehorn themselves into the ludicrously overcrowded Performance Café, that Irish musical phenomenon that was born Peter Wilson, became Booley and has now metamorphosed again as Duke Special is already a GB favourite. If you've yet to encounter Duke Special you're in for an almost unclassifiable musical treat - a kind of mutant Badly Drawn Boy which one moment sounds like a piano accompanied Damien Rice, the next the performer of a long forgotten Kurt Weil musical, the next some eccentric professor demonstrating the delights of vaudevillian music hall and the next a singer of an unreleased Beach Boys song. Yet despite a surreal stage act, Duke Special never allows the listeners' attention to wander from his allegoric, poetic, and sometimes obscure lyrics. Having set up two ancient gramophones on stage and draping his keyboards with a piece of crushed velvet, Peter is resplendent in dreadlocks and eyeliner and his percussion accompanist Chip Bailey is a shambolic figure in a bad suit. Right from the off it's obvious that for all the studied theatrics, Peter/Duke has lost none of his vocal abilities, his voice full of aching poignancy while Chip's antics, playing a cheese grater with an egg whisk, is a real crowd pleaser. Lyrically Duke's lyrics are layered in metaphor, yet still resonate with hope as on "Sometimes Things Make Your Soul Feel Clean", sometimes they're starkly confessional ("I could go to church on Sunday/Maybe I'd be alright Monday/Amazing how this grace makes me rebound/I've let you down"). But then mixed in with the eloquence and insight come lines that are both profane and unnecessary ("The shit I walk on comes in with me" or "F--- those guys"). Such an unhealthy choice of imagery doesn't seem to worry the crowd so that when Duke ends the set in a manic flourish of random notes, the crowd howl their approval. Yet I'm left perplexed.
Tony Cummings