Festival Feature: Hinterland, part 1

Something which Scotland has always lacked, until recently, has been an “urban festival” comparable to the Camden Crawl and the Great Escape. So, when Hinterland Festival was being touted as the Scottish answer to this wrong, many music fanatics got more than a little excited. As the line up began to take shape, bringing in legendary acts alongside fresh, exciting and upcoming new talent, people really started to pay attention. With venues all over the Glasgow city centre, from Clydeside – the Classic Grand and the Arches – up to Nice ‘N’ Sleazy and The Art School, the festival set the entire city buzzing.

Arriving a little late on the opening night (thanks to some of the most awful traffic I’ve ever seen, and having to negotiate the maze of city streets in order to secure wristbands), I arrived at the Classic Grand. After a short walk downstairs, I had my first encounter with perhaps my favourite discovery of the festival – 85 Bears. The London band, on their first trip anywhere north of Ealing, and playing the first of their two sets over the weekend, dazzled the assembled crowd with their own unique brand of instrumental post/math-rock, subtle intricate guitar lines looping and weaving in and out with bass and drums. A truly terrific set, from a band who are definite ones to watch.

After a short walk from the Classic Grand, to the Arches, via the wrong entrance, I find myself witnessing a “buzz band” – Metronomy. Fronted by main songwriter Joseph Mount, the band, who might previously have been lumped in with some of the horrors of the (whisper it now) “nu-rave” scene, showed that they stand head and shoulders above the poseurs and truly deliver, with a set of catchy, danceable and ultimately, very, very fun pop music. Sporting a new rhythm section, alongside longtime collaborator Oscar Cash, it’s clear that Metronomy are a force to be reckoned with.

From here, it was back to the Classic Grand in time to see the last two songs of Brigade‘s set – the post-hardcore crew convened by Will ‘brother-of-Charlie’ Simpson. However, the family connection was all but forgotten as they belted out songs vaguely reminiscent of Biffy Clyro and with impressive backing vocals (apparently born out of frontman Simpson’s throat problems). This is a band who deserve to go on to greater things, and truly move out of Charlie’s shadow.

I made a beeline towards the other side of the Arches, for Stonhaven’s finest – Copy Haho. The pleasing sounds of “Cutting Out The Bad” as I arrived ensured that this scribe entered the venue arms aloft and singing along. The band have their own brand of American-style indie-rock, playing tracks from their debut EP, Bred For Skills And Magic. Closing with previous single and fan favourite “You Are My Coalmine”, this band are definitely destined for big things.

And so to close out the night with “best pals with Biffy Clyro” Sucioperro, at the Classic Grand, playing a set comprised of a good mix between material from their debut album Random Acts of Intimacy and the recently released follow-up, Pain Agency, the band clearly had a huge fanbase in attendance, with some brilliant crowd singalongs. The band, now a three piece and sporting a new bassist, show every sign of why they’ve been away for a while practising and how it has absolutely paid off for them. Closing with a rousing rendition of fan favourite and single “Dialogue On The Two”, which culminated in frontman J.P. Reid passing the microphone to audience members for the final screams of ‘It’s more significant than numbers!’, it’s clear that the band had the audience in the palm of their hands. With a bit of luck, their years of hard work could pay off and they will go the way of their fellow Ayrshire-men (the aforementioned Biffy Clyro) and crossover into the mainstream. They certainly deserve it.

Stay tuned for more coverage of Hinterland 2009, including exclusive audio interviews. Full photogalleries from the festival are up now in the Gallery.