MIDLANDS MUSIC FESTIVAL
Artists included - Kenny Rogers, Loudon Wainwright III, Nanci Griffith, Emmylou Harris, Jackson Browne, Dwight Yoakam and Glen Campbell. Van Morrison, The Saw Doctors, Don McLean Tony Joe White, Lambchop, Mozaik, Albert, Low, Hayseed Dixie, Del McCoury, The Hillbilly All-Stars, Guy Clarke, Darden Smith, Charlie Landsborough, Ray Wylie Hubbard and the Hacienda Brothers.
He likes both kinds of music: Country and Western
Midlands Music Festival 28 – 29th July
Ballinlough Castle, Meath, Ireland
View: Various places during the festival, including up close and behind umbrellas!
Artists included (apart from those mentioned below): Kenny Rogers, Glen Campbell, Dwight Yoakam, Emmylou Harris, Nanci Griffith, The Saw Doctors & Hayseed Dixie.
“Let the music keep our spirits high.” declared Jackson Browne during his set. It being a festival though the weather certainly didn’t! On stage with David Lindley (a live reunion keenly anticipated by many), he put on a set for which everyone applauded the musicianship, but hardly their showmanship. This performance felt more like a date on the tour, than a festival gig. With a selection of less anthemic tracks, like Crow On The Cradle, their professionalism was never in doubt and they clearly enjoyed performing, however they lacked the ability to rouse the crowd beyond a luke warm cheer. The climax of his set certainly gave the audience what they wanted - These Days, followed by a countrified version of Take It Easy and Running on Empty.
The following day saw Don McLean’s set, sandwiched between The Del McCoury Band and a superb Glen Campbell, and contrary to Browne he put on an admirable festival performance. Introduced as Mr. American Pie presupposes what he will play and also detracts from his merit as an artist rather than a one hit horse. However not really trying to play down his stereotype it was fitting that he came on with a Buddy Holly track (Maybe Baby) and then delved deep into his back catalogue to give us Fool’s Paradise Cryin’ and of course Vincent. However the largest cheer from this partisan crowd was for the other song that established him in Ireland, The Mountains Of Mourne: A haunting folk song about loneliness on the streets of London and the abandonment of ones homeland. However there was no detracting from the fact that the anthem was to be his final tune and so, on cue, was a 10 minute singalong of American Pie. However much it may be over played / in the public psyche, it is still a great live track
Van Morrison is always the consummate professional, although hardly a born entertainer, and with a backing band that looks more like a protection racket, they gave an exceptionally tight performance. Never bubbling with pure adrenalin, he is, as Seamus Begley once humourously pointed out, economic in his banter and even his movements! Coming on to rapturous cheers he tore through Playhouse with a lively efficiency that implied a man on a mission. A great rendition of There Stands The Glass was pitted deep with emotion, this was the cue to the start of the ‘Festival’ tracks – Bright Side Of The Road and Cleaning Windows were enjoyed by everyone. Similarly the climax featured an upbeat gospel version of I Can’t Stop Loving You and Have I Told You Lately That I Love You and of course, finally a countrified version of Brown Eyed Girl. A top festival with a country title, but fortunately only a country slant.
James Masterson
Ballinlough Castle, Meath, Ireland
View: Various places during the festival, including up close and behind umbrellas!
Artists included (apart from those mentioned below): Kenny Rogers, Glen Campbell, Dwight Yoakam, Emmylou Harris, Nanci Griffith, The Saw Doctors & Hayseed Dixie.
“Let the music keep our spirits high.” declared Jackson Browne during his set. It being a festival though the weather certainly didn’t! On stage with David Lindley (a live reunion keenly anticipated by many), he put on a set for which everyone applauded the musicianship, but hardly their showmanship. This performance felt more like a date on the tour, than a festival gig. With a selection of less anthemic tracks, like Crow On The Cradle, their professionalism was never in doubt and they clearly enjoyed performing, however they lacked the ability to rouse the crowd beyond a luke warm cheer. The climax of his set certainly gave the audience what they wanted - These Days, followed by a countrified version of Take It Easy and Running on Empty.
The following day saw Don McLean’s set, sandwiched between The Del McCoury Band and a superb Glen Campbell, and contrary to Browne he put on an admirable festival performance. Introduced as Mr. American Pie presupposes what he will play and also detracts from his merit as an artist rather than a one hit horse. However not really trying to play down his stereotype it was fitting that he came on with a Buddy Holly track (Maybe Baby) and then delved deep into his back catalogue to give us Fool’s Paradise Cryin’ and of course Vincent. However the largest cheer from this partisan crowd was for the other song that established him in Ireland, The Mountains Of Mourne: A haunting folk song about loneliness on the streets of London and the abandonment of ones homeland. However there was no detracting from the fact that the anthem was to be his final tune and so, on cue, was a 10 minute singalong of American Pie. However much it may be over played / in the public psyche, it is still a great live track
Van Morrison is always the consummate professional, although hardly a born entertainer, and with a backing band that looks more like a protection racket, they gave an exceptionally tight performance. Never bubbling with pure adrenalin, he is, as Seamus Begley once humourously pointed out, economic in his banter and even his movements! Coming on to rapturous cheers he tore through Playhouse with a lively efficiency that implied a man on a mission. A great rendition of There Stands The Glass was pitted deep with emotion, this was the cue to the start of the ‘Festival’ tracks – Bright Side Of The Road and Cleaning Windows were enjoyed by everyone. Similarly the climax featured an upbeat gospel version of I Can’t Stop Loving You and Have I Told You Lately That I Love You and of course, finally a countrified version of Brown Eyed Girl. A top festival with a country title, but fortunately only a country slant.
James Masterson
Midlands Music Festival
JULY 2006
After weeks of glorious sunshine the clouds descend on a Friday morning… must be festival time again. Sure enough, a new fest billed as Midlands Music Festival in the middle of Ireland – running, strangely, on the Friday / Saturday – gave us a healthy balance of country, blues and folk, with legends playing alongside up and coming artists.
Starting proceedings was Darden Smith, an accomplished Texan singer-songwriter who took time out from touring with Richard Thompson (one of many names that pops up regularly over the weekend), to give us a well constructed festival set list rather than his usual – with singalongs and humour to accompany the first entrants to the site. He was followed by Guy Clarke who also gave the crowd up-beat tracks together with the Cowboy songs many sought. But his most popular number was his attempt at a love song, ‘Home Grown Tomatoes’!
The first real legend to enter was Loudon Wainwright III, who really knew how to entertain. From The Picture and Heaven the crowd enjoyed his lively performance – and managed to (unlike Glen Campbell the following evening) remain interested when he was joined on stage by his daughter (Lucy Roach). They performed the beautiful Grey In LA – just as the rain clouds made their presence felt. He hit all the right notes with a light-hearted set of his more popular tracks (reminiscent of an American John Otway), including paying the relevant homage to his only ‘hit’ so far – ‘Dead Skunk’.
Meanwhile, starting things off in the tent was the Blues / Country master Albert Lee, with his driving ‘I’m Ready’ – he pleased his large audience who knew and loved what they heard. Back on the mainstage, Nanci Griffith received a hero’s welcome as she gave us her anti war anthems (The Flyer / From a Distance) and Country love songs (I Love This Town / Love At The Five And Dime). But she saved her favourite country tune for last as she tore through Listen To The Radio, her tribute to Loretta Lynn and the Grand Ol’ Opry, with a passion and power unseen for the rest of the set.
Some 20 years ago Bad News played Donnington and got abuse for mocking metal, but no such fate awaited the exceptional Hayseed Dixie as they waltzed on stage some 20 minutes late, tearing through hillbilly versions of Dirty Deeds Done Dirt Cheap (AC/DC) and Ace Of Spades (Motorhead) alongside another half dozen metal anthems. The crowd loved it and lapped up every second of the metal mayhem with a banjo riff!
Emmylou Harris always gives a solid performance and today was no exception. The beautiful rendition of To Know Him Is To Love Him was a highlight, but the best track was the accapela three-piece with Pam Rose and Mary Ann Kennedy of Didn’t Leave Nobody But The Baby.
There then followed a lesson in misplaced artists on a bill – or how to lose an audience in 60 minutes – as Low came on. Their Lo-Fi economic sound was not of interest to these curious country fans. They whittled their audience down to only a handful of devotees. More the Radiohead of country than the unsung heroes of the tent. However they were soon followed by Lambchop, who, although in a similar vein, really captured the mellow country vibe with their phenomenally understated Paper Back Bible and many more.
Jackson Browne, with David Lindley in tow, came on to huge applause and the crowd continued to grow. Clearly a favourite, they started to wane as he performed more obscure tracks, whilst many expected almost an Eagles medley – perhaps even a request show. But he was quick to dismiss this with the witty “At any time half the crowd want to hear songs about death, the other half want to hear songs about the little death!” Instead we were treated to his own blend from Crow On The Cradle, The Pretender and These Days – one of his own favourites. But of course, included were a couple of classics at the end – with a countrified version of Take It Easy and finally Running On Empty. A solid performance, but not a festival show.
Finally the evening ended on a high note with the consummate professional Kenny Rogers coming on to give the crowd an unadulterated self mocking performance of all the hits they wanted to hear. This was a celebration of an artist’s entire career with unashamed joy. From Love Or Something Like It , through She Believes In Me, this set encompassed the classic country sound Kenny Rogers typifies – Ruby, Don’t Take Your Love To Town was followed by Coward Of The County and of course Ruben James. A couple of new tracks were thrown in – The Last 10 Years captured some of the sentiments Kenny clearly felt for the last decade and it was as saccharine as one would expect from the genre. Another concession to the 21st Century was big screen footage of Coolio accompanying Rogers on an updated version of The Gambler. And finally, what better to leave the crowd with but the tried and tested Lucille and Islands In The Stream (Bee Gees) But all in all no pretence and uninhibited fun, just like a festival should be. Perhaps the tour of the new album later in the year will be a more serious affair!
Day two started with the Hillbilly All Stars, in effect a spin off for Mavericks’ bassist Robert Roberts - who swung into action with the popular Las Vegas. That said, the Country slant gave way to a very rock’n’roll jam and even a drum solo more reminiscent of Mr Brownstone (Guns ‘N Roses) than what it actually led to – Ring Of Fire. But this was not simply a medley of covers – Even The Man In The Moon Is Crying was their first self-penned track.
Ray Wylie Hubbard was up next, and his brand of humour and world weary pathos was enjoyed by large parts of the crowd. Especially when he played easy to singalong, humourous songs such as Snake Farm and Up Against The Wall Red-Neck Mother. However it was his sentimental love song for his wife (Pole Cat!) that got most of the crowd into the festivities. That said, he also lost the crowd with his longer than necessary The Messenger – but won them over again with I Wanna Rock N Roll – more in the vein of Muddy Waters than Hank Williams.
The Del McCoury Band came on to muted applause, but proceeded to win over the crowd with their upbeat Country / Bluegrass such as Duct Tape Blues and Body And Soul. But it was their cover versions that most captured this crowd. John Sebastian’s Nashville Cats, Hank Williams You Win Again and albeit an, as they themselves conceded, weaker version of Richard Thompson’s 1952 Vincent Black Lightning that appealed to this crowd. Never Grow Up Boy and All Aboard left the audience wanting more. This only acted as an ideal preparation for Don McLean’s entrance. A popular choice, he tore through Buddy Holly’s Maybe Baby as opener – perhaps acknowledging the only track he could finish with. Yet this set was not solely focused on his anthem. He gave a great rendition of Crossroads from the American Pie album, plus, of course, Cryin’, and Vincent. One of his most popular tracks from this partisan crowd proved to be a song that made Number one in Ireland – The Mountains Of Mourne. Then came the all inevitable American Pie – a 10-minute powerful singalong for all the family.
Charlie Landsborough’s crowd were already packed thick in the tent at the expense of the last few tracks of Don McLean. They were treated to a series of great tracks from this artist who is hugely popular throughout the British Isles. He’s A Friend Of Mine was clearly well liked. As was the track written by a man only 10 miles down the road, The Isle Of Innisfree. Whilst his Little Bit Of Heaven and You’re Still Around proved worth hanging around for. I Will Love You All My Life was insipid, but loved by the country crowd that crammed into the tent.
Glen Campbell, not unlike Kenny Rogers the night before, had the advantage of having a massive song arsenal at his disposal and used it wisely – able to give the crowd exactly what they wanted. His opening four tracks (Gentle On My Mind, Galviston, By The Time I Get To Phoenix and Country Boy) left you thinking he had shot all his ammo early on – but he came back with his first hit, by Conway Twitty – It’s Only Make Believe. True Grit and Classical Gas ensured he had the crowd in the palm of his hand. Then the man who knew best how to work the crowd for his own set, lost a lot of interest with a combination of bad luck and bad choice. The bad choice was to bring on his daughter to perform a few standards while he went off (Stand By Your man / Don’t It Make Your Brown Eyes) – compounded by bad luck that the only real technical problem of the weekend was her mic not working for most of her set. But with his return Campbell amazingly managed to pull the crowd back immediately with Witchita Lineman and Lovesick Blues (Hank Williams) – many more classic tracks followed before the Bonanza theme and of course Rhinestone Cowboy.
Tony Joe White had a hard act to follow, but his blues crowd adored every track. Clearly Polk Salad Annie and Rainy Night In Georgia, strangely in the middle of the set, proved enough for this crowd to enjoy it all and scream for an encore that never materialised. Clearly this festival ran on a strict timetable.
Van Morrison is always professional, but seldom outstanding in performance, and tonight was no exception. His band were note perfect, and tight, but lacked the spark that might light a flare. In turn he was not charismatic or warm as he performed Playhouse and Big Blue Diamonds. Nonetheless, he knew what the crowd wanted and he gave them Bright Side Of The Road, Cleaning Windows and Moondance. As the show neared its end, Have I Told You Lately gave rise to a countrified version of Brown Eyed Girl. The crowd wanted more, but an encore was not forthcoming.
The Tex/Mex Hacienda Brothers (in the tent) gave us a solid performance including a number of samples from their most recent album, plus The Last Time and I’m so Proud, but the highlight to their Americana set was their strongest song – What’s Wrong With Right?
Headlining the tent on the final night were The Saw Doctors – whose brand of folk pop was not what you would expect from a country festival – but they certainly appealed to the teenage and 20-something members of the audience who crammed in to mosh to Tommy K The DJ and the chorus to Meet Me On Claire Island. Very much a local favourite - even event staff clocked off to catch them! Performing mainly a non-country set, they catered to the event with their humourous Guitars, Cadillacs aside and their finale, Hay Wrap. Despite a cheering crowd the strict timetable was adhered to and no encore was forthcoming, which was surprising as I Used To Love Her would have been a must on everyone’s set list.
Saturday’s main headliner was Dwight Yoakam, unadulterated modern country. Indeed this was shown by the fans that remained - still a good number, but mainly the hardcore (Stetson wearing, Line Dancing) country fans. Yoakam’s set was excellent. Professional and fun, with the lead guitar almost breaking into Rock’n’roll at points! From the popular Act Naturally and This Time to Please, Please Baby and Turn It On, Turn It Up Turn Me Loose, he gave the crowd an exciting evening. With Johnny Cash’s Home Of The Blues he caught the attention of many of the impartial observers. Finishing with (of course) Guitars, Cadillacs – he was allowed an encore and concluded with a song that won everyone over – a good rendition of Crazy Little Thing Called Love (Queen).
All in all, an entertaining two days which were popular with everyone. Despite being billed as a ‘Country’ festival, it managed not to fall into a rut of heartbreak and Honky Tonk.
James Masterson
JULY 2006
After weeks of glorious sunshine the clouds descend on a Friday morning… must be festival time again. Sure enough, a new fest billed as Midlands Music Festival in the middle of Ireland – running, strangely, on the Friday / Saturday – gave us a healthy balance of country, blues and folk, with legends playing alongside up and coming artists.
Starting proceedings was Darden Smith, an accomplished Texan singer-songwriter who took time out from touring with Richard Thompson (one of many names that pops up regularly over the weekend), to give us a well constructed festival set list rather than his usual – with singalongs and humour to accompany the first entrants to the site. He was followed by Guy Clarke who also gave the crowd up-beat tracks together with the Cowboy songs many sought. But his most popular number was his attempt at a love song, ‘Home Grown Tomatoes’!
The first real legend to enter was Loudon Wainwright III, who really knew how to entertain. From The Picture and Heaven the crowd enjoyed his lively performance – and managed to (unlike Glen Campbell the following evening) remain interested when he was joined on stage by his daughter (Lucy Roach). They performed the beautiful Grey In LA – just as the rain clouds made their presence felt. He hit all the right notes with a light-hearted set of his more popular tracks (reminiscent of an American John Otway), including paying the relevant homage to his only ‘hit’ so far – ‘Dead Skunk’.
Meanwhile, starting things off in the tent was the Blues / Country master Albert Lee, with his driving ‘I’m Ready’ – he pleased his large audience who knew and loved what they heard. Back on the mainstage, Nanci Griffith received a hero’s welcome as she gave us her anti war anthems (The Flyer / From a Distance) and Country love songs (I Love This Town / Love At The Five And Dime). But she saved her favourite country tune for last as she tore through Listen To The Radio, her tribute to Loretta Lynn and the Grand Ol’ Opry, with a passion and power unseen for the rest of the set.
Some 20 years ago Bad News played Donnington and got abuse for mocking metal, but no such fate awaited the exceptional Hayseed Dixie as they waltzed on stage some 20 minutes late, tearing through hillbilly versions of Dirty Deeds Done Dirt Cheap (AC/DC) and Ace Of Spades (Motorhead) alongside another half dozen metal anthems. The crowd loved it and lapped up every second of the metal mayhem with a banjo riff!
Emmylou Harris always gives a solid performance and today was no exception. The beautiful rendition of To Know Him Is To Love Him was a highlight, but the best track was the accapela three-piece with Pam Rose and Mary Ann Kennedy of Didn’t Leave Nobody But The Baby.
There then followed a lesson in misplaced artists on a bill – or how to lose an audience in 60 minutes – as Low came on. Their Lo-Fi economic sound was not of interest to these curious country fans. They whittled their audience down to only a handful of devotees. More the Radiohead of country than the unsung heroes of the tent. However they were soon followed by Lambchop, who, although in a similar vein, really captured the mellow country vibe with their phenomenally understated Paper Back Bible and many more.
Jackson Browne, with David Lindley in tow, came on to huge applause and the crowd continued to grow. Clearly a favourite, they started to wane as he performed more obscure tracks, whilst many expected almost an Eagles medley – perhaps even a request show. But he was quick to dismiss this with the witty “At any time half the crowd want to hear songs about death, the other half want to hear songs about the little death!” Instead we were treated to his own blend from Crow On The Cradle, The Pretender and These Days – one of his own favourites. But of course, included were a couple of classics at the end – with a countrified version of Take It Easy and finally Running On Empty. A solid performance, but not a festival show.
Finally the evening ended on a high note with the consummate professional Kenny Rogers coming on to give the crowd an unadulterated self mocking performance of all the hits they wanted to hear. This was a celebration of an artist’s entire career with unashamed joy. From Love Or Something Like It , through She Believes In Me, this set encompassed the classic country sound Kenny Rogers typifies – Ruby, Don’t Take Your Love To Town was followed by Coward Of The County and of course Ruben James. A couple of new tracks were thrown in – The Last 10 Years captured some of the sentiments Kenny clearly felt for the last decade and it was as saccharine as one would expect from the genre. Another concession to the 21st Century was big screen footage of Coolio accompanying Rogers on an updated version of The Gambler. And finally, what better to leave the crowd with but the tried and tested Lucille and Islands In The Stream (Bee Gees) But all in all no pretence and uninhibited fun, just like a festival should be. Perhaps the tour of the new album later in the year will be a more serious affair!
Day two started with the Hillbilly All Stars, in effect a spin off for Mavericks’ bassist Robert Roberts - who swung into action with the popular Las Vegas. That said, the Country slant gave way to a very rock’n’roll jam and even a drum solo more reminiscent of Mr Brownstone (Guns ‘N Roses) than what it actually led to – Ring Of Fire. But this was not simply a medley of covers – Even The Man In The Moon Is Crying was their first self-penned track.
Ray Wylie Hubbard was up next, and his brand of humour and world weary pathos was enjoyed by large parts of the crowd. Especially when he played easy to singalong, humourous songs such as Snake Farm and Up Against The Wall Red-Neck Mother. However it was his sentimental love song for his wife (Pole Cat!) that got most of the crowd into the festivities. That said, he also lost the crowd with his longer than necessary The Messenger – but won them over again with I Wanna Rock N Roll – more in the vein of Muddy Waters than Hank Williams.
The Del McCoury Band came on to muted applause, but proceeded to win over the crowd with their upbeat Country / Bluegrass such as Duct Tape Blues and Body And Soul. But it was their cover versions that most captured this crowd. John Sebastian’s Nashville Cats, Hank Williams You Win Again and albeit an, as they themselves conceded, weaker version of Richard Thompson’s 1952 Vincent Black Lightning that appealed to this crowd. Never Grow Up Boy and All Aboard left the audience wanting more. This only acted as an ideal preparation for Don McLean’s entrance. A popular choice, he tore through Buddy Holly’s Maybe Baby as opener – perhaps acknowledging the only track he could finish with. Yet this set was not solely focused on his anthem. He gave a great rendition of Crossroads from the American Pie album, plus, of course, Cryin’, and Vincent. One of his most popular tracks from this partisan crowd proved to be a song that made Number one in Ireland – The Mountains Of Mourne. Then came the all inevitable American Pie – a 10-minute powerful singalong for all the family.
Charlie Landsborough’s crowd were already packed thick in the tent at the expense of the last few tracks of Don McLean. They were treated to a series of great tracks from this artist who is hugely popular throughout the British Isles. He’s A Friend Of Mine was clearly well liked. As was the track written by a man only 10 miles down the road, The Isle Of Innisfree. Whilst his Little Bit Of Heaven and You’re Still Around proved worth hanging around for. I Will Love You All My Life was insipid, but loved by the country crowd that crammed into the tent.
Glen Campbell, not unlike Kenny Rogers the night before, had the advantage of having a massive song arsenal at his disposal and used it wisely – able to give the crowd exactly what they wanted. His opening four tracks (Gentle On My Mind, Galviston, By The Time I Get To Phoenix and Country Boy) left you thinking he had shot all his ammo early on – but he came back with his first hit, by Conway Twitty – It’s Only Make Believe. True Grit and Classical Gas ensured he had the crowd in the palm of his hand. Then the man who knew best how to work the crowd for his own set, lost a lot of interest with a combination of bad luck and bad choice. The bad choice was to bring on his daughter to perform a few standards while he went off (Stand By Your man / Don’t It Make Your Brown Eyes) – compounded by bad luck that the only real technical problem of the weekend was her mic not working for most of her set. But with his return Campbell amazingly managed to pull the crowd back immediately with Witchita Lineman and Lovesick Blues (Hank Williams) – many more classic tracks followed before the Bonanza theme and of course Rhinestone Cowboy.
Tony Joe White had a hard act to follow, but his blues crowd adored every track. Clearly Polk Salad Annie and Rainy Night In Georgia, strangely in the middle of the set, proved enough for this crowd to enjoy it all and scream for an encore that never materialised. Clearly this festival ran on a strict timetable.
Van Morrison is always professional, but seldom outstanding in performance, and tonight was no exception. His band were note perfect, and tight, but lacked the spark that might light a flare. In turn he was not charismatic or warm as he performed Playhouse and Big Blue Diamonds. Nonetheless, he knew what the crowd wanted and he gave them Bright Side Of The Road, Cleaning Windows and Moondance. As the show neared its end, Have I Told You Lately gave rise to a countrified version of Brown Eyed Girl. The crowd wanted more, but an encore was not forthcoming.
The Tex/Mex Hacienda Brothers (in the tent) gave us a solid performance including a number of samples from their most recent album, plus The Last Time and I’m so Proud, but the highlight to their Americana set was their strongest song – What’s Wrong With Right?
Headlining the tent on the final night were The Saw Doctors – whose brand of folk pop was not what you would expect from a country festival – but they certainly appealed to the teenage and 20-something members of the audience who crammed in to mosh to Tommy K The DJ and the chorus to Meet Me On Claire Island. Very much a local favourite - even event staff clocked off to catch them! Performing mainly a non-country set, they catered to the event with their humourous Guitars, Cadillacs aside and their finale, Hay Wrap. Despite a cheering crowd the strict timetable was adhered to and no encore was forthcoming, which was surprising as I Used To Love Her would have been a must on everyone’s set list.
Saturday’s main headliner was Dwight Yoakam, unadulterated modern country. Indeed this was shown by the fans that remained - still a good number, but mainly the hardcore (Stetson wearing, Line Dancing) country fans. Yoakam’s set was excellent. Professional and fun, with the lead guitar almost breaking into Rock’n’roll at points! From the popular Act Naturally and This Time to Please, Please Baby and Turn It On, Turn It Up Turn Me Loose, he gave the crowd an exciting evening. With Johnny Cash’s Home Of The Blues he caught the attention of many of the impartial observers. Finishing with (of course) Guitars, Cadillacs – he was allowed an encore and concluded with a song that won everyone over – a good rendition of Crazy Little Thing Called Love (Queen).
All in all, an entertaining two days which were popular with everyone. Despite being billed as a ‘Country’ festival, it managed not to fall into a rut of heartbreak and Honky Tonk.
James Masterson