Our annual music review of the GREENBELT festival held at Cheltenham Racecourse.

Communion Service (Greenbelt '10, pic by Andy Stonehouse)

COMMUNION SERVICE - Mainstage - 10:00am
Once again Greenbelt Arts Festival has held its (almost legendary) Communion Service. To be honest this year's service had potentially a lot to live up to, and perhaps even repair in terms of damage limitation, as the previous year's service had attracted considerable negative feedback over its content and the worship which a lot of people had found confusing and disheartening. The subject matter of the Palestinian conflict had also aired some controversy with parts of the service read out in Arabic. However this year it seemed that Greenbelt had indeed listened to the feedback and provided a totally different 'offering' this year. The whole ceremony had much more of a 'family' and 'community' feel to it though, in truth, the whole service was a "bit Anglican". Not only was there an Anglican vicar presiding, but the hymns were more traditional and the layout of the service seemed to follow a more CofE feel. Having said that, there was plenty of interaction during the service for the mass-assembled congregation (which probably numbered 15,000) including a rather cleverly designed order of service sheet, which came in three different designs that, when placed together, spelt out GOD in a poster. This of course meant you had to link up with others around you to make the whole picture. (Good idea!) Also during the 'reading' the congregation were encouraged not only to provide sound effects of the blowing of a rushing wind, the pounding of an earthquake, but also the blazing of a fire - by waving red napkins in the air, and then finally whispering the name of God in the 'still small voice' (which actually sounded really good with thousands doing it). There was a powerful rendition of "How Great Thou Art", including at one point a ticker-tape cannon firing off thousands of small pieces of white paper amongst the gathered throng, during the chorus, in a 'World Cup Champions' celebration style (don't worry, the paper was soluble, so no mass littering!) - all to help enhance the sense of celebration and praise. Some might have found that cheesy, but it was actually a nice touch. The communion also offered a sense of community as people gathered in groups of about 20, to share bread and wine (yes actually wine, and not just grape juice!), and the 'Peace' was also shared in pretty much anyway you wanted to, a handshake, a hug, a holy kiss, with even a few having fun by remembering the 'Elbow Bump of Peace' from last year (while the 'flu epidemic was threatening). In all, the whole ceremony just felt good.
Simon Akehurst

THE SOCIAL SERVICES - Performance Café -12:30pm
Saying "I'm going to see The Social Services" may have provided a few laughs in the Greenbelt press office but, in truth, I had little idea what to expect from this part Swedish, part Glaswegian group. I'd heard rumours of strange processions in animal masks, nose flutes and songs about potatoes so, if nothing else, there was no chance of boredom. As the band began their set with "The Scared Disease" I felt relieved - this was jaunty female-fronted piano-led pop with great harmonies. A few songs into the set and I was really enjoying the band's fine blend of unusual instrumentation - accordion, horns, clarinet, the aforementioned nose flute backed by a great mix of percussion. The Scot-Swede aggregation have a quirky approach to songwriting; the atmospheric "Mermaid's Love Story" tells the story of a love affair at the bottom of the sea and their track about Sweden "The Baltic Sea" was hilariously uncomplimentary ("You design great furniture and storage solutions. . . but no one smiles back at me/You're as cold as the Baltic Sea"). Musically the songs were like little journeys twisting and turning keeping the busy Performance Café enthralled with unusual time changes, band members switching instruments part way through a number and even instruments being thrown from the stage for audience members to join in. An unexpected Sunday afternoon treat.
Peter Timmis

BLAKE - Underground - 1:30pm
Blake is the artist name of Julian Pugsley whose previous band Karmatruffle played at Greenbelt in 2004 (which I sadly missed). I wandered into the Underground venue having read up about Blake in the programme and when they took to the stage they apologised that they aren't "four men in suits singing Jerusalem" (referring to the popular classical vocal quartet of the same name). This set up the band's between-song banter nicely as they set about entertaining the crowd with their brand of '60s influenced indie rock. Amongst the guitar musicianship some of the songs tackled a range of issues such as lost love in "Falling" to the betrayal of Jesus, "Kiss Of Judas", to judgments within the Church in "I Believe In Jesus (Not You)". There was a great mix of up tempo rockers and mid tempo arm-swayers in the set. The standout song for me was "Mr Dawkins", which is a quirky look at the works and statements of author Richard Dawkins, spawning the chorus "Mr Dawkins when you die/When you wave this world goodbye/Will you ask the questions why/Mr Dawkins when you sit at the bottom of the pit/Will you still claim this is it?" "Goodbye Cruel Pop World", another cracking number, tells the tale of a struggling musician trying to make it in the music industry, with Blake singing "Good bye cruel pop world I'm leaving today/You won't miss me at all I'm sorry to say." Part of the charm of watching Blake is the honesty that comes through the songs which really does give you an insight into not just the artist but the man behind the art which is a rare quality found these days.
Gavin Owen

FLIGHT BRIGADE - Performance Café - 2:20pm
It took an excessively long time for this band from (according to the programme, "a sleepy Hampshire village") to sound-check, which was sadly eating into their own performance time. Flight Brigade consisted of: one accordion/glockenspiel player, one violinist/singer, one keyboardist, one guitarist/singer, one bassist/singer and a drummer. I'm happy to report that despite the long wait they were worth it! The sweet blend of music that came forth once they actually started had me thinking of Fairground Attraction and The Beautiful South with perhaps a hint of James Blunt thrown in for good measure. There were two tracks in their now no doubt shortened set which stood out for me. I believe one may have been called "New York City" and the other was "Amy", which had a really catchy refrain of "firecracker in my heart. . .". It has to be said that until they played "Amy" the full sound of the band hadn't come through. My observations of this tight sounding and melodic group was that this would make great music to drive to, particularly their track "Planes, Trains And Automobiles", or least I believe that's what it was called, which was a great instrumental piece in middle of their set. If you want a feel good factor on a lazy sunny afternoon, then these are the guys to definitely have a listen to. With their lead vocalist having a hint of a happy mood Thom Yorke (Radiohead) and a well rounded sounding band, I suspect Flight Brigade will have clear skies ahead of them.
Simon Akehurst

FILTHY FUNK PROJECT - Underground - 3:30pm
Another slightly off the wall band playing at this year's fest were this London-based nine-piece aggregation who wore silly trousers and played their own unusual brand of funk, reggae and soul. The group certainly knew how to lay down a decent groove enhanced by a three-piece brass section, some fine wah wah guitar from Ben Skerritt and lead vocalists Natalia Schwartz and Natasha Heliotis had surprisingly powerful voices but rarely did Filthy Funk Project move away from pastiche. The highlight of the set was a cover of Max Romeo And The Upsetters' 1976 reggae classic "I Chase The Devil" where all of the elements of the Filthy Funksters came together to create something brilliant - if only the rest of the material had displayed this level of quality. Unfortunately, too much of the set verged on cheesiness and often those on the stage seemed to be having a better time than those off it. Take for example the closing number, a strange interpretation of the theme music to the television show Countdown which was every bit as bad as you can imagine. The two girl singers even took to the front of the stage holding piles of vowels and consonants! I'd expected a band of stone-to-the-bone funksters. Unfortunately, at the close they more resembled a band booked to play at a children's party.
Peter Timmis

JUDYSHOUSE - Underground - 4:30 pm
Judyshouse is a seven-piece band playing their own mix of jazz/soul inspired music. Coming together as family and friends, the band contains graduates and current students from Birmingham Conservatoire, together with other young talented musicians. The group were established in 2009, out of the backing band for Laura Douglas, but have since started to develop their own unique style. This was a very tight, soulful, funky band that from the offset triggered memories of The Young Disciples but with perhaps more of a jazz vibe. Other comparisons that were brought to mind were hints of Sade and perhaps even the sadly missed Aaliyah. Having said that, one of the band's tracks had a salsa feel that got more than just a few pairs of feet shuffling in the audience. The band's drummer was particularly tight and was banging out some very funky rhythms. The line up consists of three singers of which two also play violin and the third is the keyboard player. Other band members are the drummer, the guitarist, another keyboardist, and a cellist/soapbox player. Personally I would have liked to have seen a bass player for such a soulful group, but they did have the sound covered through the additional keyboard and cello. Their set was well balanced, incorporating some very mellow, soulful tunes, along with some syncopated funky rhythms, and they were tight, I mean, tight! I particularly liked one of their last numbers which included lyrics about jelly babies and curries, giving it a bit of a Lilly Allen vibe.
Simon Akehurst

JON GOMM - Performance Café - 5:00pm
Every act I heard in the Performance Café this year had problems with their sound check, but Jon Gomm produced the best line (commenting on the bass he said, 'If I was pregnant I'd give birth!'). He then proceeded to provide one of the most beautiful and intriguing hours of music I've ever heard. You see, Jon is a one-man band of sorts, but not complete with harmonica and foot peddle. He plays all his music on the guitar, utilising every section with magical results. It's taking technique to a whole new level and the result was both hypnotic and awe-inspiring. It's hard to describe the sound this maestro musician produced - somewhere between Spanish guitar maestros Rodrigo y Gabriela and some of Jason Mraz's more acoustic songs. But even that doesn't quite get to the edge. His voice has the gnarled grittiness of a veteran rock star but can still convey soft tenderness. All the songs were brilliant but my particular favourites were "Gloria"; in his own words "A fun country waltz about a chav girl I went out with when I was 18", and "Stupid Blues", which is really the song that most showed off his musical virtuosity. If you do one thing today, check Mr Gomm out on YouTube. He needs to be seen to be believed.
Chloe Walker

LOVER'S ELECTRIC - Mainstage - 5:40pm
This Australian-born husband and wife duo were, according to the programme, "gaining something of an international reputation." I can't think why. Their synth pop approach sounded quite dated to me while the songs David Turley and Eden Boucher performed on a blustery afternoon before a smallish Mainstage audience failed to register with me or, judging from the tepid audience response they received, with many others either. Again according to the programme they "won an army of fans with their Performance Café shows in 2006 and 2007" but there were few signs of this army making their way to the windy environs of Mainstage ths year.
Tony Cummings

Jars Of Clay (Greenbelt '10, pic by Jonathon Watkins)

JARS OF CLAY - Performance Café - 6:00pm
Jars Of Clay kicked of their first of two performances at Greenbelt '10 with an acoustic set in the Performance Café. The venue was clearly too small for such a popular act (they've sold more than six million albums and won three Grammys) so predictably the place was jam packed, with queues of people having to wait outside in a vain attempt to gain entrance. During the performance, lead singer Dan Haseltine said they'd been warned beforehand that people would sit and really listen before admitting that it was "a bit. . . disconcerting. You are REALLY listening. . ." The set was great, with good harmonies and skilfully picked guitars that made the songs sound utterly fresh. They played some new and old tunes, including "Headphones", "Boys" and "Closer" from the album 'The Long Fall Back To Earth' and earlier songs "Flood" and "Crazy Times". "Crazy Times" was played as a request from the floor, although they joked that they may have forgotten how it went. Dan said that they love being in Britain and recorded their second album in London. In fact, he admitted making a mistake trying to put something of London into the lyrics of "Headphones". They used the term "Tube Stop". One of their friends who's lived in Britain later told them it should be "Tube Station". Just before the song, Dan admitted he always ends up thinking "Tube Top" when he sings it. Each band member now has children and the song "Boys" was written with them and other children in mind. All in all, a hugely enjoyable stripped down set from a band with a great reservoir of quality songs.
Rob Thompson

Knew Jeru'slum (Greenbelt '10, pic by Peter Timmis)

KNEW JERU'SLUM - Underground - 6:30pm
"It's going to be rowdy, we need all eight of you to go mental," came the instruction from the stage in a strong Yorkshire accent. Judging by the low turnout Greenbelters hadn't cottoned on to just how brilliant this hip-hop team from Huddersfield, Halifax and Bradford are. Not phased by the thin crowd main men Jonny Alpha and Watson G gave it everything, spitting out clever and insightful rhymes over inventive beats. Their regional accents set these guys apart from a lot of holy hip-hop where folky American accents seem to be adopted as a default and they just added to the authenticity of the powerful and emotional raps in songs like "Dreamcatchers" and "Move Mountains". The message was strong and the guys also displayed a fine sense of humour explaining that their excellent album 'Jeru's & Gentiles' was available for just five pounds. "We go for the Primark approach; good quality, low prices." Who would have thought these white guys from Yorkshire could make great hip-hop? I've a feeling those venues won't be empty for much longer.
Peter Timmis

THE HERBALISER - Mainstage - 6:45pm
The great thing about Herbaliser is that they give you a show. Where many rappers believe that an MC and beats is sufficient to engage an audience Jake Wherry and Ollie Teeba and their loose knit collective of horn players, scratch DJ and singers make for a hard to resist spectacle. In truth some of the older cuts on their 'Herbal Tonic' best of, presented here on Mainstage, feature some pretty old school rapping but the sassy horn riffs and the percussive pyrotechnics of The Herbaliser Band kept heads nodding and feet tapping even when déjà vu began to creep in. Nothing of a spiritual nature in the rapper's content of course but for a growing Mainstage audience, looking to jig around and resist the cold and blustery wind, these jazz funk rappers demonstrated slick professionalism. Overall though, I was less than impressed. Maybe it was experiencing earlier that day the hip-hop of tomorrow with the stunning performance poetry of (Verb) Swish which made this set seem so ordinary. Maybe it was The Herbaliser's lack of anything much to say in their raps compared with the content from the current wave of Christian MCs like America's John Reuben and Trip Lee or the UK's Victizzle and Simply Andy that left me feeling so flat. But either way, I found The Herbaliser set hugely predictable with the only surprise being when the soundman forgot to turn on the MCs' mics for the first 20 seconds of their entrance.
Tony Cummings

PETER BRUNTNELL - Performance Café - 7:00pm
There's no easy way to say this. Peter Bruntnell was mind-numbingly boring. My gaze was repeatedly on my watch ("surely he's not only been on five minutes?") and after the rather entertaining sound check there was a series of uninteresting Bruntnell compositions. There wasn't even entertaining banter between songs. Instead, forced "Oh look how kooky we are" introductions, most noticeably before the first song "Bruise On The Sky" - "This is about when I was picked up by a UFO." Great. Pretty much every song followed the same pattern, the first words of the song being the title ("This is 'Sea Of Japan'," ♫Seaa offff Japaaaann♫), and of course the obligatory "rousing" middle eight. Being very kind, it's fair to say Peter had a nice voice and the songs had their melodic moments. They were just exceptionally bland.
Chloe Walker

KING/CAVE PROJECT - Worship Co-operative - 7:00pm
My wife had seen the King/Cave Project on Friday night perform their Thomas Mass and she was very impressed with this Nordic jazz worship concept. A careful examination of the Festival Guide revealed that they were playing again in the Worship Co-operative as part of the Life As Jazz worship event on Sunday night. On entering the room I was immediately struck by the skill of the King/Cave Project and not surprised that they had quickly established themselves on the London jazz scene. The Festival Guide had also clearly said that this was a worship event and that there would be opportunities to reflect on the Palestinian situation so I was aware that this was no ordinary jazz concert. In the room there was plenty of carpet space to lie back and enjoy the music. While the music played there was carefully selected footage of scenes from Palestine continually playing and the jazz was interspersed with readings outlining some of the history behind today's conflict with news, diary entries and prayers. This was all sensitively put together and I found that this added to the experience rather than detracted. King and Cave performed on well keyboard - at one point curiously swapping keyboards - while the other members of the band supported on strings and occasional vocals. Towards the end of the set they moved into some clearly orchestrated worship pieces that I found lifted the heart towards God. Though the audience for this was very small - probably due to the fact one had to dig deep into the Festival Guide to find they were playing here at all - it was a magnificent performance from this relatively unknown group.
Dancin' Dave Derbyshire

JIM JONES - Performance Café - 8:00pm
I've not heard much of Jim's solo stuff prior to seeing him live but certainly had fond memories of his C14 days and enjoyed Small Town Mentality's one and only release. So I went in with fairly high hopes. I wouldn't go so far as to say my hopes were dashed but certainly I'd have enjoyed him far more if I came in with much lower expectations. His blues-tinged singer/songwriter style is a delicately low-energy affair and is met with slightly grungy vocals, a remnant of his C14 days perhaps. Whilst a couple of Small Town Mentality tunes crept in most were from his debut solo album, my highlight being the haunting "Road To You", although one new song got an airing. Despite having two talented musicians join him on stage it still felt like a very intimate affair, something which suited his soulful delivery. It's not the kind of music that hits you with its immediacy; it more washes over you in a very relaxed and calming way, certainly a stark contrast to most of the rowdy music I'm used to reviewing. On CD it's a great way to relax at home; live it's all a bit low-key. I enjoyed Jim's introspective yet spirited set but perhaps not as much as most of the people in the fully filled, starry-ceilinged marquee that was the Performance Café.
Greg Sammons