It’s a pity the weather didn’t hold up for what was destined to be an exciting and insightful day in Huddersfield. For this was the first ever Gentlemen Of The Road Stopover - a series of mini-festivals/big concerts curated by the one and only Mumford & Sons, designed to launch their new record and introduce some of their favourite ‘under-the-radar’ acts. By playing in a town famed for its rolling hills and friendly inhabitants (but yet lives in the shadows of nearby Yorkshire giants Leeds and Sheffield), it gives the folk quartet a chance to ‘subtly’ showcase some of their new material from their up and coming record (out on Septembr 24th) to a patient and zealous crowd. The line-up for Huddersfield was questionable to some, after seeing the acts announced for the joint Galway gig which saw bands like Zulu Winter and The Vaccines on the bill. However, the inclusion of acclaimed names in the alt.folk genre such as Michael Kiwanuka, Slow Club and Willy Mason soon put the questions to rest.
Upon arriving at Greenhead Park for the event, it was clear to why the organisers had called it a ‘festival’; the place was vamped up with quaint drapes, posters and flags and typical British slogans representing the Gentlemen Of The Road theme. Unorthodox food and drink stalls were present, pleasing a wide range of visitors – from a Wonka chocolate stall to an Ostrich and Venison seller. Among all this, the bars even served Ale which was brewed specifically for the day. Overall, the aesthetics, food, drink and merchandise were all very reasonable, appealing to the family rather than the hardcore gig goer. The only downside being that there was a serious lack of toilets, as one time I queued for 40 minutes.
The music began two hours after opening gates with The Rag Tags; a local five-piece urban folk band who run through their short set with great enthusiasm, blasting songs with notably catchy choruses. The introduction of a variety of instruments into their set saw them draw a reasonable crowd (for the opening band), as they varied the combination using a fiddle, banjo and mandolin along with the usual accompaniments. Meeting the band after their set, I was able to bag myself a free copy of their Sabotage EP, for which they kindly signed. Listening back to the tracks, there is a certain pop and hip-hop influence to their stuff, which gives them promise in today’s market. Next on the second stage is the pristine Willy Mason, who keeps the whole crowd happy with his Cash-esque low-key tunes. Being tipped as one the greatest songwriters of this century, his words induce a prolonged silence whilst he plays as people take in the tales of love, despair and living. He grabs a large crowd with his honey smooth vocals, with ‘Talk Me Down’ embodying everything a perfect mid-afternoon set should be. ‘Oxygen’ is just as attractive with calming guitars complementing his yielding voice. His early appearance means he only plays for 30 minutes, which is a slight disappointment, but as he explains “I’m sorry I can’t stay, I have to be in Bristol by 12 to play the Dot to Dot Festival. So excuse me”.
With the arrangement of the day well thought out, there are no annoying clashes between bands. Now, the attention moves to the main stage, situated merely at the opposite end of the ‘arena’, with Moulettes. The collective enhance the use of strings, by providing a big sound which has seen them perform at larger festivals like Glastonbury and Latitude. Due to queuing (as mentioned above), I was only able to witness the very end of their set. All I can say from their performance was that I wish I had been there for the first half. The celestial harmonies and rhythms filled the seemingly large stage, leaving them with an apparent well-deserved send off of very loud cheers and a break out of dancing. They were directly followed by Mumford & Sons tour partner and close friend Nathaniel Rateliff. As like a few acts today, he has signed to Communion Records for which Ben Lovett (keyboardist from Mumford & Sons) is head, and certainly did not dishearten the soaking wet audience. Backed by a full band, including double bass, his set included ‘Shroud’ and ‘You Should’ve Seen The Other Guy’ from last year’s debut album In Memory Of Loss. Akin to Willy, he is an intense songwriter whose voice tears right through you. He created moments of pure beauty and intimacy followed outbreaks of euphoric, relentless rock and roll. It was a magnetic performance that drew people away from the cover into the rain. Michael Kiwanuka quickly followed and receives a similarly warm welcome as he successfully negotiates his 50 minute slot of soulful finger picking. The biggest crowd of the day greets him, most likely due to his ever-increasing image after winning BBC Sound Of 2012, and grows throughout the time with people who start curious but end impressed. Popular tunes ‘Home Again’ and ‘I’ll Get Along’ go down a treat as the delightful croon rings across the field, while personal favourite ‘I’m Getting Ready’ brings a bit of groove to the day.
As many disperse to purchase hot drinks or food before the anticipated headline slot, the second stage poses Slow Club – a folk-pop double from South Yorkshire who, for the first time in the day, bring a little bit of refreshing variety to the proceedings. The gel and charisma of the band slowly attracts an appropriate audience. The charming sarcasm of drummer, guitarist and singer Rebecca nicely complements the swagger and chilled-out persona of fellow singer and guitarist Charles. The mix of melody-rich pop and heartbreak sultry blues leads you to believe there’s more behind this friendly duo that meets the eye. Opener ‘If We’re Still Alive’ sets the tempo for the rest of their short show which pleases the more upbeat indie lovers in the audience. Blasting through a set mainly comprising of songs from new album Paradise and a couple of new (and very promising) songs) shows how much these two have grown since Yeah So. A highlight comes in the form of ‘Never Look Back’ which beautifully proves that Rebecca is a much better live singer than first thought. Other favourites ‘Two Cousins’ and ‘Giving Up On Love’ give the impression that they can make a name for themselves as a live force.
The sky darkened quickly and appropriately the heavens shut their doors as rain stopped falling. The curators of the festival were introduced on stage by the Huddersfield town crier who asked the crowd to give them a “Yorkshire welcome”. This is what Mumford & Sons received as the classic banjo driven songs were drilled out in perfect form. Not many bands can pull off the opening of a set by playing a new song, but this isn’t an average band – the puzzlement on the crowd’s faces soon dropped as an amazing light show began. The simplicity of the light and graphics by just using ordinary looking colours of yellow against the black night sky gave a delicate yet infectious back drop to the headline band. It’s easy to forget that Sigh No More was released almost 3 years ago, but nonetheless the loyalty of the audience is remarkable, singing back all the lyrics and clapping to every song played. With a 90 minute set of new and old, the boys play 10 songs from their debut record and 5 new tunes for which most have surfaced online anyway. ‘Lover Of The Light’ has the potential to become Little Lion Man 2.0, it stands out on the night with Marcus Mumford himself displaying his versatility on the drums. Alongside an announcement that ‘Below My Feet’ will feature on the new record (a first official listing), they also play a new version of ‘Whispers In The Dark’ bringing high octane jubilation. Throwing in low-key, tender ‘Ghosts That We Knew’ and ‘Timshel’ break up the extreme excitation well giving the audience and the band a well-deserved rest. By the looks of the crowd by the time they strike a rousing rendition of ‘Awake My Soul’, I can only assume that the bar owners are rubbing their hands with glee. Arms aloft, cheers get louder and louder, creating the camaraderie that Mumford & Sons have based their career on. The dynamic and powerful end to ‘Dustbowl Dance’ sums up the evening and leaves smiles on everyone’s faces – keyboardist Ben so enthused by the day’s events, he clambers on monitors and leaps about onstage. Towards the end of the show, Marcus Mumford exclaims “People say to us, ‘why Huddersfield?’ and this is why” – clearly touched by the response they have received. There is no denying that they are one of the most enthralling live bands on the planet, and as a witness to their new live act, I was left more than satisfied. However it is painful to know that they must come up with something very special in September to live up to the legacy they have created.
Upon leaving, I quickly walked past The Correspondents who ended the night, with a rather familiar sounding house groove, on the second stage. From 60s jive-swing to drum and bass, the pair certainly don’t lack experience. Due to a late night train, I was unable to catch the full set from the dance duo and the “mental” (from what I’ve heard) aftershow parties and comedy shows which happened all over the town. But this was certainly a day for which I will remember.
Mumford & Sons played:
Lovers Eyes
Roll Away Your Stone
Winter Winds
White Blank Page
Below My Feet
Timshell
Little Lion Man
Lover Of The Light
Thistle And Weeds
Ghosts That We Knew
Whispers In The Dark
Awake My Soul
Dustbowl Dance
Sigh No More
The Cave
Written by Richard Maver
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