LIVE (Photos) Deer Shed Festival 2024 (Day 2, 27.07.2024)

Having fallen in love with Deer Shed when I attended for the first time back in 2022, and then going on to have another dreamy weekend at the North Yorkshire festival last year, I was very glad I got to go again this year. Highlighting a real family focus, whilst hosting a range of exciting new artists, it oozes the warmest of vibes and – being smaller in size than most other festivals – creates a space that feels comfortingly intimate; an inclusive safe haven for artists and fans of all genres and ages. Whilst providing a child-friendly environment, this does not take away from the quality and array of performances on offer for everyone to enjoy. Although I’d say I’m in the minority of attendees who does not have children (or isn’t a child themselves!), I in no way feel this to be hindrance – there’s still plenty of adult fun to be had, just in perhaps a slightly less intense, and more safe, environment than most other festivals. Which is no bad thing, in my opinion! 

Amongst those performing, a fantastic amount of female, non binary and queer performers are represented, and. I was lucky enough to catch lots of these over the weekend – a good balance of artists I already knew and loved, and those who I had not had the chance to see before. Following our thoughts about Friday evening at the festival, find some words and photos about our highlights of Saturday below…

Waking up to the sound of children kayaking along the stream on Saturday morning at Deer Shed feels pretty idyllic; almost as idyllic as it does to sit in the sunshine whilst the glistening Geordie folk tunes of Frankie Archer float through the crowd at the Lodge Stage for our first music of the day. From songs endorsing lie-ins, to tales of peacocks showing respect to the hens in their lives, Archer treats us to her beautifully lilting offerings; seamlessly fusing together traditional folk melodies and storytelling with sparkling electronic soundscapes.

Having been scheduled to play earlier in the morning, London-based Blue Bendy now take the afternoon time slot of Chalk, who weren’t able to make it up to Topcliffe in the end – something that front person Arthur Nolan playfully draws attention to by introducing the band as the absentees they’ve replaced: “Hi, we’re Chalk”. This playful, somewhat whimsical, attitude remains apparent as the set goes on; as the swirling, shimmering cacophonies created by the other five band members interweave with the seething raw emotion of Nolan’s vocals, a subtle tongue-in-cheek air lingers throughout. Oozing a stark, poetic realism with a droll charm, each fuzzy soundscape immerses the ever-growing crowd, and – personally (no offence to Chalk) – I’m glad of the band’s later time slot; it’s meant I’ve been able to watch their full set, nicely lubricated by a half of Brass Castle Sunshine IPA, and discover a new favourite band.

I’ve heard a lot of good things about Picture Palour, and so am pretty excited to be able to catch them on the main stage whilst the sun continues to shine on this glorious Saturday afternoon. And they don’t disappoint. Oozing an alluring swagger as they take to the stage, the Manchester indie-rockers maintain this engaging confidence throughout the entirety of the set. Whilst front person Katherine Parlour’s vocals ripple with a smooth romanticism and crooner-level charm reminiscent of Tranquility Base era Alex Turner, with each offering they build with a soaring gritty splendour alongside fierce hooks from guitarist Ella Risi. One of the most charismatic stage presences I’ve witnessed for a long time, Parlour and co. deliver their epic, cinematic anthems to a captivated crowd, no doubt sparking adoration and inspiration in many young fans (and some old ones, like me).

I’m not sure why it’s taken me three years of coming to Deer Shed to visit to the Wilderwild stage, but I’m grateful to have discovered it in time to catch a gorgeous set from London-Cornwall songwriter Lily Lyons. With an endearing charm, each glistening offering flows with a lilting musicality as her soulful jazz-infued vocals resonate with an exquisite grace. With songs artfully inspired by Wendy Cope poems and Mark Rothko paintings, Lyons treats us to a blissfully uplifting thirty minutes.

After having a bit of a dance to the deep groove of Baba Ali as the duo emanate swathes of immense coolness, we stay under the cover of the In The Dock stage for Personal Trainer. Pretty much the opposite of the previous band, the seven members of the Dutch collective take to the stage in a flurry of frenzied energy. Complete with trumpet, saxophone and extra percussion, their quirky indie offerings combine twinkling harmonies with a gritty emo edge as front person Willem Smit writhes and bounces around the stage with a refreshing enthusiasm. With a vivacious spirit, the whole band ooze a swirling colourful chaos with each enlivening song, and I’m utterly transfixed by their jubilant charm.

BC Camplight offers a nice accompaniment to our vegan hot dogs before we head back into the In The Dock stage for London-based international band (and GIHE faves) Los Bitchos – one of the bands I’ve been most looking forward to seeing all weekend. Making their entrance to ‘Heaven Is A Place On Earth’, they go on to create a pretty heavenly atmosphere inside the jam-packed tent; emanating a swirling joyous charm and colourful charisma throughout. Propelled by racing melodies, funk-fuelled hooks and jangling rhythms, they treat us to “some oldies and some newbies”, their playful eccentricity and effervescent energy illuminating the intricately woven layers of sound. From epic drum offs to dancing together in sync, and from songs about Tequila to “penguins fluttering around on a beach”, Los Bitchos take us on a thrilling fun-filled journey; leading us to discover a rousing sonic euphoria we didn’t know we needed. 

All in all, a beautiful day of live music was had. Stay tuned for photos of, and words about, of Day 3 at Deer Shed, plus some special thoughts about the kids’ activities at the festival from next generation GIHE gal Orla….

Words: Mari Lane / @marimindles
Photos: Paul Dawes / @GRNDglass

mariangelicalaneLeave a comment

LIVE (Photos): Deer Shed Festival, 2024 (Day 1, 26.07.2024)

Having fallen in love with Deer Shed when I attended for the first time back in 2022, and then going on to have another dreamy weekend at the North Yorkshire festival last year, I was very glad I got to go again this year. Highlighting a real family focus, whilst hosting a range of exciting new artists, it oozes the warmest of vibes and – being smaller in size than most other festivals – creates a space that feels comfortingly intimate; an inclusive safe haven for artists and fans of all genres and ages. Whilst providing a child-friendly environment, this does not take away from the quality and array of performances on offer for everyone to enjoy. Although I’d say I’m in the minority of attendees who does not have children (or isn’t a child themselves!), I in no way feel this to be hindrance – there’s still plenty of adult fun to be had, just in perhaps a slightly less intense, and more safe, environment than most other festivals. Which is no bad thing, in my opinion! 

Amongst those performing, a fantastic number of female, non binary and queer performers are represented, and I was lucky enough to catch lots of these over the weekend – a good balance of artists I already knew and loved, and those who I had not had the chance to see before.

After our seven and a half hour journey, and settling into our pre-pitched tent (a revelation saving so much time and energy that I will be doing it at every festival going forwards!), we make it to the main stage just in time to catch Liz Lawrence. A GIHE favourite and one of the first ever guests on our radio show, she combines a twinkling emotion with deep funk-fuelled hooks as her distinctive syrupy vocals narrate each reflective offering. From songs such as 2019’s ‘USP’ and ‘None Of My Friends’ to recent single ‘Strut’ (at the request of “the lad that said ‘can you play Strut for my mum?’”), and everything in between, a gritty splendour flows throughout, as the sun shines upon our first taste of live music of the weekend.

Next up, we head to the In The Dock state to witness the fierce power of OneDa. Declaring that “pussy power is a way of life”, she launches into a set of immense hip-hop infused drum ‘n’ bass anthems, all delivered with a ferocious swirling energy and seething passion. 

Following some tasty vegan gyoza, we wander over to The Lodge stage to catch some of the colourful “digital voodoo” of Nana Benz Du Togo. Emanating a majestic grace, as their voices and unique instruments combine to create uplifting anthems like ‘Liberty’ and ‘To Be Free’, their message remains clear throughout: as lyrics like “I wanna make my own decisions” resonate with a stirring poignancy, a deep empowering spirit oozes from the stage. Declaring that “women should be free to be what they want to be”, and describing their aim as being to “recover the place that our mothers lost to the patriarchal society”, Nana Benz deliver a wonderfully invigorating set; uniting the buoyant crowd in a resolute drive for change with a glistening joyous energy. 

To end the night, I swap from my usual position of spectator to ‘artist’… If you can call DJing that. Either way, I was on the In The Dock stage, playing tunes to a tent that ended up being full of people for the Silent Disco. Lurking in the shadows without being noticed is generally more my vibe, so needless to say I was quite nervous about it. But, despite the cursor key on my laptop deciding to stop working at just the wrong time, causing a few clunky ‘mixes’(and with most of my set clashing with Liverpool legends The Coral on the main stage), it was really lovely to see so many people dancing and singing along to the music I was playing. Noticing the number of young people who seemed to be enjoying it – making up dances with their friends and getting excited by certain songs – was particularly heartwarming, and I’m really grateful to have had the opportunity to do it. So, massive thanks and love to Deer Shed for letting me unleash my danceable queer tunes onto the crowd (and hopefully my laptop cursor won’t break next time!).

Stay tuned for photos of, and words about, of Days 2 & 3 at Deer Shed – including some special thoughts about the kids’ activities from next generation GIHE gal Orla….

Words: Mari Lane / @marimindles
Photos: Paul Dawes / @GRNDglass

mariangelicalane1 Comment

Introducing Interview: Lindsay Ell

Having been wowing crowds playing guitar live with the legendary Shania Twain in the UK over the last couple of months, singer-songwriter Lindsay Ell is also a renowned artist in her own right. Not only did she win ‘Single Of The Year’ at the Canadian Country Music Awards last year for the twinkling emotion of last year’s catchy ‘Right On Time’, but – following playing with Shania’s band at BST Hyde Park a couple of weeks ago – she also sold out Omeara in London the following day for her own show.

We caught up with Lindsay to find out more about the experience of playing with her hero, what inspires her, being a woman in the music industry today, and more. Have a read and then listen to the awesome playlist that Lindsay has put together for us, of some of her favourite contemporary country artists!

Are you able to tell us a little bit about what initially got you into music, and playing the guitar?
I grew up in a really musical family – my parents and grandparents all played instruments, and my brother and I started playing piano when we were six years old. By the time I was eight years old, I thought the guitar was a lot cooler, so I asked my dad to start showing me a few things on it. The first guitar riff he taught me was ‘Stairway to Heaven’. After that, I never looked back! 

I just saw you playing with the legendary Shania Twain at BST Hyde Park on Sunday – you were incredible! And it was so lovely to see all the band members so in sync with each other and having such a great time on stage! It must have been such an amazing experience – how was it for you?
BST Hyde Park was one of the most memorable shows I’ve ever played, and also my favourite with Shania so far; Hyde Park seemed like the perfect ending to such a legendary run (getting to play Glastonbury as well!). There is something about that stage that makes a show feel larger than life and the energy in the heart of London is something that’s hard to describe in words. Shania has been the most wonderful human, welcoming me so brilliantly on her stage each night. I’m honoured to have been a part of her world this year. 

And how did the opportunity to play with Shania come up for you? Had you previously been a fan?
To say I’ve been a fan of Shania would probably be the understatement of the century. Shania is the reason I started singing when I was a little girl. It’s crazy to think the song that made me fall in love with Shania, ‘No One Needs To Know’, is now a song I get to play on stage with her every night. Life is truly wild and surprising in those full circle moments. I toured with Shania last year on the Queen Of Me tour, which was so incredible! Then, at the beginning of this year, when I got the call to see if I wanted to come out and play guitar for her, the offer was one I couldn’t resist!

As well as playing with legends like Shania Twain and artists like Maren Morris, you’re also a solo artist in your own right and write fantastic country-pop anthems – I love the catchy hooks and emotion-strewn power of songs like ‘How Good’! What are the main things you tend to draw inspiration from when writing songs?
I want to write songs from an honest place, because I think the more honest a song is, the better chance it has to connecting with someone else. I feel that we’re all fighting similar battles on opposites sides of the same war sometimes, so usually I tend to pull inspiration from my own life, or from stories I’ve heard friends tell me. As long as I can connect to it in some way, I can write a song about it. 

And you’ve also just played a sold-out show at London’s Omeara, which I was sorry to miss! How was that for you? Was it the first time you’ve played in London?
My sold out show at the Omeara was so incredible. This is probably the tenth time I’ve played London, but I’m always so happy to be back and see the best fans on the planet! I felt so loved as they sang all the words to b-sides off my last couple records, and I was able to preview some brand new songs for them. Overall, it was such a great night. 

You won ‘single of the year’ at the CCMAs last year for your song ‘Right On Time’, which is so fantastic – big congratulations! How does it feel being classed as a ‘country’ artist, and how much would you say you’re influenced by and fit into the genre generally?
Winning ‘single of the year’ at the CCMAs for ‘Right On Time’ was such an incredible night. Most of the time I don’t really see myself as country, and to be honest have been told so many times that I’m “not country enough” for the genre. I grew up loving songwriters like Joni Mitchell, Carole King and Shania, and since I started writing music, my goal has been to create the most honest songs I can. When I moved to Nashville fifteen years ago, and got offered a deal from a country record label, I just figured that my music could cross over to many genres, and – because of the messages in my songs – I felt like country fans could relate. I’m so grateful for all of the amazing fans that I’ve met through country music, but if I were being honest, I don’t know if I’ve ever truly ‘fit’ into the genre. At the end of the day though, I don’t think fans care if they’re listening to a “country” song or a “pop” song, or a “rock” song, I think people just like to listen to the music they like to listen to. So at this point in my career, I see myself as more of a singer-songwriter than classified as a country artist, and truly, I just hope that I can keep making music that feels honest; that people want to listen to. 

Are there any other contemporary country artists that you’d recommend we check out?
I am very excited for the genre of country music, and the wider tent it’s casting with artists like Noah Kahan and Zach Bryan. It’s really inspiring to see artists like Kacey Musgraves being true to herself and her sound, and letting it evolve compared to letting a genre tell her where she needs to go. I’m a huge fan of her latest record, Deeper Well. 

As we’re an organisation that focuses on promoting women and queer folk in new music, how would you say the industry is for them at the moment? And how has your experience been in what can often seem like a male dominated environment?
Thank you so much for all you do for women and the queer community! I will say that I think the industry is better now than it’s ever been in supporting these minorities. However, we still have a long way to go. The ratios are still very uneven, and although there doesn’t seem to be a linear solution to the problem, I think the best thing that women and queer artists can do is keep releasing great music. 

And do you have any advice for young women who might want to get into making music right now?
If you’re wanting to make music right now, I think the most important thing to figure out is who you are and what you want to say: why now? Anyone can sit in their bedroom today, write a song, and release it hours later… But you have to think, why should anyone care? When you can distill what you want to do down to a few sentences, I think the path on what you need to do and where you need to focus becomes really clear. It should all revert back to your reasons why. 

Massive thanks to Lindsay for answering our questions! Have a listen the awesome playlist that she put together of some of her favourite contemporary country artists here.

mariangelicalaneLeave a comment

INTERVIEW: Tina Edwards

Ahead of Rhythm & Taste, a one-day jazz and food festival happening at Design District on Greenwich Peninsula this Saturday 20th July, we caught up with Tina Edwards who is going to be DJing at the event. Exploring beats as delicious as the eats, with a spread of New Orleans-inspired food, plus crate digging from Peckham Soul, sets from an eclectic line-up of great artists – including bassist and producer Marla Kether – in addition to Edwards, the event looks set to be a lot of fun; a perfect summer day out.

Find out more about Tina Edwards, her love of jazz and its pioneers, being undermined as a woman in the industry, and what to expect from her set on Saturday in our interview below. Have a read, and then make sure you have a listen to her luscious ‘Spitting Fire‘ jazz-filled playlist on Spotify!

Hi Tina, thanks for chatting with us! How are you doing today?
I’m very well, thanks! I’ve been away from home a lot over the last couple of months and this week’s been my first week home without looking at a suitcase! I’m feeling nicely rooted. 

Are you able to tell us a little bit about what initially got you into music, and into DJing specifically?
Although my Mum has a different taste in music to me, her passion for it was infectious. I’ve always been quite an introspective person, and music has always helped me to understand nuanced things about myself or the world. I got into DJing through radio, especially Worldwide FM. It was my first contact with CDJs, and so my curiosity naturally flowed into sharing music in a way that was new and exciting for me. I’ve been DJing now for six years but so many people around me have been doing it since they were teenagers. I still feel like a newbie! 

I was lucky enough to catch you DJing at The Roundhouse as part of Higher Ground Festival last year, and loved the uplifting funk-fuelled grooves of your set! But has there been a particular set you’ve played throughout your career that stands out as a highlight? 
Thanks! It’s really hard to pin down one so I’ll just highlight a couple from this year; firstly, my Glasto debut! I played Platform 23 and HMS Sweet Charity; both filled my cup in different ways. Secondly, I made my debut at Detour Disco—a nomadic festival which is held in different difficult to reach places every year. I warmed up for DJ Paulette and got to play a disco edit of Ain’t No Mountain High Enough on a 3000km mountain, Piz Gloria, which featured in a Bond movie. We all sang at the top of our lungs. A pinch me moment! 

And how do you normally go about choosing what records to play? Do you have any particular go-to faves that you always play, no matter what? 
I focus on keeping my records circulating so that every set is different, but for sure, every DJ has their go tos that they know often go down well. There’s not a track that I ‘always’ play, but Onegram’s AEO (Slowly Dub), recently reissued by Jazz Room Records, is perfect for so many moments. It’s a euphoric, mid-tempo little ditty that works as a palette cleanser, a mid-set cool down or an uplifting closing track. 

And now you’re set to play as part of Rhythm and Taste festival at Greenwich Peninsula on 20th July, which sounds like an awesome day! Can you tell us a bit about how you got involved in this, and what you’re most looking forward to about the event?
I’m really looking forward to this, shout out to Matt Nightingale for inviting me down. It’s a treat to play for people who are arriving with open-minded ears, just open to having a good time. I’ll be bringing lots of latin and dance-floor jazz for this to try and coax out the sun. 

The event’s focused around jazz and its culture. How much of an influence would you say the genre has on you and the records you choose to play? 
Jazz is a thread that runs through a lot of the music that I play, but that could be in obvious ways or very subtle ways. Essentially, I value and celebrate black music — dance music is black music. It’s important for me to continually learn about and understand the origins of the music that I play out. 

Do you have a particular favourite Jazz artist? 
I couldn’t pin it down to one but right now, I’m really enjoying listening to and sharing music from Pharoah Sanders and Donald Byrd. 

And how much of an influence would you say the infamous women pioneers of jazz still have on music today? 
Not as much as they deserve. Music press and other structures have long thrown an invisibility cloak over female jazz musicians, in comparison to everyone else. And today, syllabuses in conservatoires are guilty of not under-representing female artists. A lot of jazz musicians I know, my age or younger, weren’t taught about the works of female jazz musicians. If we’re not teaching people about the achievements women, we’re telling them that it’s fine to overlook them. That needs to stop. 

Are there any contemporary jazz artists that you’d recommend we check out? 
A whole bunch! One of my Spotify playlists called Spitting Fire, named after the BBC One documentary I hosted in 2022, is full of artists that I recommend. 

As we’re an organisation that focuses on promoting women and queer folk in new music, how would you say the industry is for them at the moment? And how has your experience been of DJing in what can often seem like a male dominated environment? 
Often women’s knowledge will be undermined; I’ve had several sound engineers explain to me out of the blue how a mixer works — I already know, that’s why I’m here! Hahaha. Things are slowly changing and the likes of yourselves, He.She.They, Saffron and lots of other collectives are making positive differences. I run a night called Queer Jazz with Jelly Cleaver; we’re building a community of queer jazz artists and fans, and it feels really good to provide these talented musicians with extra opportunities to perform. 

And do you have any advice for young people who might want to get into DJing now? 
Visit open decks events, look out for workshops, and don’t be afraid to reach out to people for advice. No question is too basic or too silly. We all start from the same place.

Massive thanks to Tina for answering our questions!

Catch Tina Edwards’ set at Rhythm & Taste festival this coming Saturday 20th July at Design District on Greenwich Peninsula. And, in the meantime, listen to her ‘Spitting Fire‘ playlist to get you in the mood!

Photo Credit: Joe Magowan

mariangelicalaneLeave a comment