Sid O’Neil is as typical Gen Y, as they come. Creative, artistic and entrepreneurial he’s also susceptible to losing motivation and struggles to pay attention to the things that don’t matter to him. As the front man to original Melbourne-based trio The Vasco Era he’s currently erring on the side of stimulated, but it’s not because of the music he and his band mate’s brother Ted O’Neil and Michael Fitzgerald recently produced. Rather it’s the shift in perspective he’s undergone while waiting for their latest album to be released.

At just age 23 Sid claims to have undergone a quarter-life crisis attributable he believes to the sophomore album (recorded almost a year ago) being delayed for release. Too much time spent wondering how it would pan out prompted him to make some radical life decisions. Those choices have proved to have profound implications on his day-to-day to living.

“I thought maybe I should quit being a musician and do something meaningful with my life and I just took a plane to Queensland the next day stayed on people’s couches and stuff, then I ended up with a girlfriend and I’m studying social work now, by correspondence from a uni just near Byron so I’m a bit more balanced these days,” he said.

It’s obvious as he speaks in a dopey, freshly woken voice he’s recently enjoyed either an afternoon kip or a ‘morning’ wake-up call mid afternoon. Sid oscillates between excited and apathetic when he’s asked about The Vasco Era’s latest record Lucille. “We recorded it like a year ago, so it’s a weird thing, our excitement about it isn’t so relevant anymore.

“All of the responses we’ve had and the reviews about it so far have been really good, so it’s kind of exciting to get that, to get some credit, cos our last one didn’t review nearly as well.

Sid is fairly impatient for the release to occur so he and the lads can get on and start a new project.

A brief history lesson for those unfamiliar with The Vasco Era’s catalogue, they released a debut LP : Oh we do like to be beside the seaside (no doubt referencing their Apollo Bay roots) back in 2007 and then have not really been heard of since, reasons for which Sid is matter-of-fact in explaining. Basically his creativity was being compromised.

“I was homeless in Melbourne, trying to write songs, getting really pissed and taking lots of drugs and those things don’t go together cos you’re not that creative when you’re taking heaps of ecstacy unless you’re the Happy Mondays.

“I have spent a lot of time not making anything good up, so that’s why it took so long really.”

Lucille (as an album) takes a narrative approach, following the lives of two central characters, Lucille and Sam. The idea for this record he claims was generated by a chance visit to a town in Northern NSW at again a time when he was struggling to come up with ideas for songs.
“I went there for a party for two days, cos it’s like a place I wouldn’t usually go and it was something different, and I met this couple.
“She’s a stripper, and I don’t know if he was like religious or priest dude and he was acting fairly jealous and he didn’t act like he liked what she was doing but he liked her and that’s where the idea sort of came from.”

The fruits of his findings are cleverly expressed via a bluesy baseline and rockabilly sensibility. Despite Sid’s noticeably laconic nature, he’s assured of his ability to make good music. Though he will admit the ability is spread evenly amongst the three members. “Ted’s [older brother] got better general knowledge and he’s probably academically a little bit more talented but musically I’m more creative than him.

“If you ask him any question about anything he’ll know the answer but … I’m better at making up songs,” he laughs.

Whereas, Michael, he’s completely different, he’s technical, he went to the conservatorium in Melbourne, to learn about the f…cking xylophone and I don’t know, triangle or whatever you do in the orchestra, symphony and stuff. “He’s obviously talented in a whole other way, the technical kind of way so it works pretty good the three of us, cos I’m not technical by any means.”

When broached with the concept he’s talented, Sid pauses and after some protesting awkwardly accepts the compliment. Choosing instead to reference musical genius, John Lennon’s belief that there is no such thing as talent you just do things for a long time and you end up pretty good at it. “I was good at drums when I was a kid but I didn’t think I’d be a good guitarist which is what I do in this band, it’s more just that keeping on doing it, for ages.”

As the trio prepare to tour their record, he’s at peace with fame as a concept, and reveals he’s not so much interested in being recognised, but that he’s keen to be recognised for his music and has adjusted his expectations for his musical career trajectory. “I’m not so reliant on what people say or how the music goes really, which is a better balance especially in Australia to try and be a musician for a living, it doesn’t work, unless you want to make music to deliberately sell records, like deliberately cap your music which I really don’t want to do.

“Unless you’re one of those that makes music by compromising what you want to say and I couldn’t live with myself if that happened, so I’m going to be a social worker and help other people that take drugs.”

The Vasco Era take their new album, Lucille on the road throughout April /May. Visit www.myspace.com/thevascoera for dates and purchase their album via Universal’s www.getmusic.com.au.

Ruth Bailey

Posted: April 22nd, 2010 under Australian Interview.
Comments: none

Song sung blue

Brisbane band, Yves Klein Blue have been around for a little longer than most people realise but following their win in an MTV Kickstart competition (which recognised their greatness by injecting them with cashflow to the tune of twenty thousand big ones) they got smart and decided to record a debut EP – and in name and practice they worked out how they could draw attention to themselves.

That was some time ago (2008 in fact) and since then they’ve enjoyed opportunities afforded through the signing to label – Dew Process, which have included tours with big name acts, the likes of which include, Reverend and the Makers in the UK.

“We were playing big venues too. It was so weird we were in Bristol and playing to like 2000 people, we were like what is this, we’re on the other side of the world playing to more people than at home. It was pretty awesome,” says bassist Sean.

The frenetic and fiery (three of the four members are red heads) lads: Charles, Michael, Chris, and funny-man Sean give the sense together their apt to mischief. For Sean the lure of playing their own first headline gigs (off the success of their current album: Ragged and Ecstatic) is amusing and exciting and well worth paying money for.

“Our own tour, it should be interesting, being the last band on hopefully people will enjoy it, do a few things make it fun, experience for people make it worth people coming out and making worth whatever ticket price we’ve probably set.”

Sean speaking from his childhood home in the semi-rural reaches of Brisbane’s outer western suburbs allows himself time to reflect on his and his band-mates ascendency but with plain irony he concluded that perhaps not all that much is different.

“Feels like everything around us has changed, we feel like we’re just doing the same thing, but now all these other people are kind of looking over our shoulder. The Management, they’re all awesome people, but they weren’t there at the start and now they are,” he muses.

As well as their own tour, the Yves Klein blue lads have also been named alongside big name act La Roux, as jumping aboard the Bacardi Express which means travelling down the East coast of Australia aboard one mean locomotive. The train, joy-ride kicks off its tour from hometown Brisbane in late March. The idea of which is quite enticing to Sean.

“I wouldn’t say that we’re train enthusiasts, we’re not quite, we don’t have trains set up, I think maybe Charles and I have trains but they’re not set up but um we like trains and we’re all pretty excited about travelling on one.”

To this savvy twenty something the fact that the Bacardi Express is (as its name indicates) likely to deliver them free alcohol whilst aboard (always a benefit to a struggling rock musician) it is not the only reason Sean can think of for why this experience is set to be awesome.

“It will be a dangerous two days I think. It’s like a really old train and it full of musicians, who will sleep there, eat there, jam there, there’s a jam room there and there is also like three or four bars serving an abundance of alcohol.

Catch the raucousness of Yves Klein Blue when they headline their own tour visit: www.myspace.com/yveskleinblue for tour dates. Their album Ragged and Ecstatic is available through Universal Music; www.getmusic.com.au.

Ruth Bailey

Posted: March 14th, 2010 under Australian Interview, INTERVIEWS.
Comments: none

Whitley goes forth

A baby-face like that which belongs to Lawrence Greenwood (Whitley) surely isn’t capable of delivering music so deeply detailed by themes of existentialism, is it? This implies an aged, musician created it.  Managing to turn the archetypal ‘soul’ musician mould on its head and replace it with his own self, there is a rare maturity demonstrated to this man’s music.

His second album Go Forth, Find Mammoth lives as testament to understanding why Whitley looks set to endure as a successful artist even perhaps beyond his years.

Emotive lyricism applied to beautifully crafted instrumentation is probably what achieves this mantle for him. He’s blessed with an uncanny ability to write poetic, esoteric song lyrics and shape these around a musicality that only the most seasoned musicians manage to achieve. 
 
‘Head First Down’ is the single being played non-stop on radio and aptly it sets the tone for an album which poignantly delves into the notion of life – we’re born and then we die. Through the collection of songs on this album Whitley dares to ponder the aspects in between the life cycle, those which enrich our souls and contribute to our personal tapestries.
 
Whitley illustrates his ideas around this perplexing paradigm via a lovely meandering album which ebbs and flows much like life itself tends to.Tied together in the album notes as dedicated to Jonathon Livingstone Seagull, a philosopher of great influence it appears to Lawrence’s ability as a songwriter.
 
Adding to the richness of this album are those whose help he’s enlisted. Band-mates and friends Washington, lend their services on tracks including the blissful female overtones of Hazel Brown - on Killer. Even nature itself gave a helping hand, with ‘The piece you took from me’ enhanced by the real rolling thunder clouds of a storm going on overhead.  
 
If possible Whitley is already a master at his craft his latest album demonstrating he’s not only evolving in sound but his ability to write breathtaking songs is astounding.

Ruth Bailey

Posted: December 31st, 2009 under ALBUMS, FESTIVALS.
Comments: 2

Riding out of the dark and into the light

Conventionally speaking, a band’s evolution is characterized by their forming, writing of quality songs, shaping these songs, showcasing them live, taking the show on the road and building a fan base from each gig played - that’s the general rule. The Black Ryder of Sydney, on the other hand, isn’t about to start subscribing to any conventionality. If in fact they had not been presented with an opportunity to play alongside an internationally renowned act early last year, they may not have even contemplated leaving their studio.
 
“We never started the band with the intention that we’d be a live touring band. It started as a touring project and to be honest with you, the only reason we initially put a band together was because Black Rebel (Motorcycle Club) asked us to support and I think we only had three songs.”
 
So says one half of the duo, Scott Von Ryper who along with partner in music and life Aimee Nash is on a journey intent on making music for arts sake rather than popularity.
 
Adopting moods that oscillate between dark and brooding, shoegaze in its execution, smattered by reverb encased by eerie vocals (from Nash) and layered instrumentation which sometimes results in a country feel, at the time of our interview Von Ryper is preparing to preview the latest works from The Black Ryder, Buy the Ticket, Take the Ride.

The preview will take place in the slightly unusual setting, of Monster Children magazine’s art gallery HQ in Surry Hills. It’s no surprise to learn that it’s not just any old record launch, no as with everything the band does it’s planned to be executed a little left of centre.

 
“They [Monster Children] approached us to see if we’d like to do a listening party and as we spoke to them we developed the idea a bit more into a multimedia, so it will be a listening party but at the same time some photos will be on display that were taken on a film shoot that we did last weekend, we’re going to be premiering our new film clip.”

It’s an opportunity to celebrate the photography and the director from that shoot at the same time showcasing the work of the Black Ryder, “ Von Ryper continues.
 
As he recounts their weekend away filming (for the film-clip) it’s increasingly apparent that Von Ryper is only interested in dealing and co-creating with those who share in or enhance his vision - to make breathtaking, unusual and confronting artistic pieces.
 
The album which is due for release this month was self-produced by himself and Nash, and is the collective resonance of their styles.
 
“In the end we just realised what we were creating, the scope needed to be much bigger and it was ok to have tracks that were melodically different to others. 

“So there are tracks on there that are quite epic and wall of sound and then there is lonely more, country songs as well.

“Quite a large gap exists between some of the tracks on there, and in the end I think that was to our benefit,” Von Ryper reflects.  

Boasting a number of special guests including stable-mate Ricky Maymi of the Brian Jones Town Massacre (who camped on the sofa of Scott and Amy’s house throughout recording) as well as Peter Hayes from The Black Rebel Motorcycle Club
the pair feel they’ve been blessed by the outcomes of many a chance encounter shared whilst traveling.
 
“All of the connections [with bands] have come about in a kind of different way I guess,” says Von Ryper.

“Amy and I connected with some of these bands during our travels of the previous band, being on tour with them in the States with them meeting them through our own music.”

Whatever synchronicity emulated throughout recording, all paths have led to The Black Ryder retaining ownership of their debut. An ideal situation arose which enabled them to negotiate signing to a large label for distribution, (EMI) but their own newly formed label: The Anti Machine Machine is the signatory. Von Ryper takes a big breath, almost a sigh of a relief, as he recalls the twists and turns that made it possible for The Black Ryder to complete their record ready for sale.
 
It didn’t come about that easy it was a long journey to get from there to having being in the situation we ended up with.

“We couldn’t have dreamed of anything better, It took a long time to get there.”
 
The Black Ryder’s debut album, Buy the Ticket, Take the Ride is available through EMI distribution. They play one show only in November: The Tote Hotel (Vic) November 19.

Ruth Bailey

Posted: November 16th, 2009 under Australian Interview, INTERVIEWS.
Comments: none

The art of Art vs Science

If you are frequenting the festival scene at the moment you’d be hard pressed not to notice one universal act - Art Vs Science. Their music fits within both the rock spectrum and electro gamut, hence their appeal to any festival promoter. Dan Mac (keyboardist and guitarist and vox player) to the Sydney trio considers it wasn’t all that long ago he was a fan on the other side of the festival fence. In fact the transition from punter to performer has been somewhat surreal.

“It is interesting seeing all the machinery behind the dream factory you might be able to call it.

“When you see everyone on stage it looks like some sort of amazing, magic thing sometimes, when they do it right, but then you get back stage when you see all the generators behind it all but it’s kind of not all that different I suppose, I don’t know though there is a serious side behind it all and that there is hard work involved.” He said.

Along with band mates Dan W and Jim Finn the 25 year old has journeyed further than many aspiring school-band musicians ever dream to and the comet’s tail attached to Art Vs Science continues to gain momentum and shine brightly. A recent Aria nomination for ‘Best Breakthrough act’ in the bag as well as a swag of festival dates still to come this year and into next, the band are quite unbelievably still to even produce a first album.

Together since high school the three lads were like any other muso kids. Spending their youth as part of garage rock bands and performing at friend’s patio parties. The discovery of an old keyboard and a desire to coin a track reminiscent of their fave electro artists proved the accidental impetus for Art Vs Science being borne.

“We decided to plug in this keyboard we found from Dan W’s house, into one of our guitar amplifiers and see if we could play like a Justice kind of song, or Daft Punk and we booked a gig later when the normal band wasn’t available.

“We booked this new gig with Art Vs Science and we didn’t actually have any songs written when we booked it and so we had a bout a week to write our set and so we wrote a set’s worth of material in about two days including Flippers and Hollywood,” recalls Dan.

Despite the constant touring and growing popularity the life of a rock-star has so far proven fairly unglamorous. Dan is circumspect when he retells some of the trials and tribulations encountered thus far (usual for many bands) and laughs when he admits to still eating bake beans (on occasion) and two-minute noodles because they’re content to save all their touring dosh to prepare for studio time. Mac who comes across as remarkably grounded in his demeanour, still spends time working the gardens of the Northern Western Sydney suburbs of his adolescence and chatting to his pet galah when he’s out that way, is reluctant to predict what lies ahead for his band.

“I’m not sure to be honest it’s something I haven’t really, I haven’t been peering too far down the track just because I don’t know.

“I think we’ve been pretty lucky up to this point and we try to remember that it’s a lot of good luck and good timing and that sort of thing I don’t want to jinx it, by trying to predict it either way.”

While they’ll take their time to determine which label is right for them, the upcoming festival circuit has Dan excited for the next few months as long as the promoters heed his pleas for later timeslots in the festivals, he feels whilst it’s an honour to play the early 2pm timeslot they’ve paid their dues and as well the rush of playing the early evening is what he’s chasing.

“One movement festival - Perth, we actually got to play at night time, I think it’s one of the first times we’ve ever done an outdoor stage at night.

“It was something else again, it was a different kind of energy it was really intense, really cool hard to describe, it was good though.”

Regardless of their timeslots over summer, one thing is for certain, Dan and his bandmates will be giving it their all on stage.

“It depends on the crowd the vibe they’re creating each set we try to do a different cover from time to time boom shake the room by the Fresh Prince and we played where’s your head at by Basement Jaxx for the Parklife shows – just things like that and just having fun with the crowd really is what’s going to distinguish one show from another, it’s the same as one conversation from another, different people, at least there’s a different kind of show, so it’s quite fun in that respect.”

Art Vs Science play:
The Falls Festival: Marion Bay (Tas) and Lorne: (Vic)
Sunset Sounds: (Brisbane QLD)
Southbound: (Perth WA).
They’ve also been named in the Good Vibrations line-ups nationally this February.

Ruth Bailey

Posted: November 16th, 2009 under FESTIVALS, INTERVIEWS.
Comments: none

Golden times for Valentinos

“Children of the Sun, see your time has just begun, searching for your wares through adventures of the city of gold.”

These were the lyrics to an eighties, retro cartoon from our collective childhoods that one Sydney indie five-piece, Lost Valentinos have proverbially run away with, creating a whole new musical genre - Conquistadisco.

Their forthcoming debut album borrows part of the cult animation’s title: Cities of Goldfrom Mysterious Cities of Gold as according to Nik Yiannikas, front man for the band, the lead character Esteban’s exploration for lost treasure, together with his South American comrades is a somewhat fitting metaphor for his band, Lost Valentinos.

“It’s a good name for the album not just cause of the cartoon but because it suits it in a lot of ways, we’re definitely big fans of that cartoon and we were watching a lot of it at the time which kind of sort of inspired a lot of the songs that are on the album.

“So we thought it was an appropriate name.”

Now, Lost Valentinos, they began their career as The Valentinos almost ten years ago. Yiannikas a constant member since the band’s humble origins considers that their album debut is the culmination of things falling into line for the band and perhaps some long overdue strategic direction emerging.

“In the beginning there wasn’t a lot of continuity in the line-up and we had no goals when we first started cause we weren’t expecting anything to happen you know,” says Yiannikas.

“But now you know the songs that we just put out recently and the songs that are on the album are the result of a more focused effort I guess, over a long period time after we’ve learnt from our mistakes and that kind of thing,” he continues.

A recent tour of Europe and the UK under their belts enabled the lads (like their cartoon friends) to travel. Highlights according to Yiannikas so far have been playing to packed clubs in London and the two and half thousand fans that saw their set in renowned venue Razzamataz in Barcelona. Mistakes seem few and far between and as the European summer hits full tilt the band have the added luxury of being accepted by the punters overseas.

“They are starting to catch on our single came out there like two weeks ago (Midnights) and they’ve been playing it on BBC 1, umm we got a write up in The Guardian the other day as their new band of the day, yeah they’re finding it really good, which is good.”

Perhaps the UK fans are lapping up what’s currently being fed to them by Lost Valentinos because of the uncanny similarity Yiannikas vocals (demonstrated on Midnights) resemble to that of revered British music legend, Ian Brown of The Stone Roses.

“I don’t think it was intentional, he says indignantly.

“I mean I’m not surprised, I was listening to a lot of Stone Roses at the time, I guess I was influenced definitely, and there are people who would say they are one of my fave bands.”

He’s not unashamed of the comparison being drawn either.

“It’s funny you should say that, I read a review the other day, Stone Roses produced by Quincy Jones.

I’ll take that one,” he says laughing at the compliment.

Back on home turf, Nik discusses their upcoming Australian tour with a relaxed tone. He’s already admitted that he’s stopped listening to the album for fear it might get a bit annoying for him when he’s actually playing it live daily.

Does he see the prospect of splitting his time between Europe and Australia as a problem?

“I’m happy to go where the music takes me to tell the truth; just playing to people who want to hear our music, you know is an awesome privilege.”

As the boys prepare for a national tour which kicked off with a performance last month at Splendour in the Grass (Nik’s all-time favourite Australian music festival) like Esteban of the cartoon world, Mysterious Cities of Gold Nik has his sights set firmly on conquering the search for treasure, indicating a debut album as long as theirs in the making, is like having a baby.

“It’s not just a bunch of songs that we recorded it’s kind of like our whole life up to this point.”

Ruth Bailey

Posted: August 31st, 2009 under Australian Interview, INTERVIEWS.
Comments: none

Calling from the top

Matt Lambert, aka MC Suffa, makes up one third of the supremely successful Australian hip hop act Hilltop Hoods. Full-fledged Aussies, their established national fan-base is testament to their innovative lyrical poeticism.

It is difficult to fathom when speaking to Matt that he could be a groupie himself. But that’s exactly how this down to earth Adelaidian comes across when he let loose about the ‘Hoods’ recent opportunity to work with Pharoahe Monch.

“Yeh we’ve been massive fans of him, me and Dan since we were like 13.

“When he got here I pulled out like 20 vinyls for him to sign.”

The collaboration with renowned US rapper and producer, Monch came about due to the Hilltop Hood’s latest project, their third album proper:State of the Art. Which upon listening will tantalise even the most mundane of music listeners. Following in a similar vein to that of their previous efforts, The Calling and The Hard Road this album feels like it the lads have matured and ripened with age and given the time off they are energised and ready to rumble once more.

These laidback larrikins, born and bred in South Australia, can be accused of teasing their fans recently with their most recent outpourings being a remix of sorts. That is they took album two: The Hard Road and combined it with a symphony and repackaged it as the The Hard Road Restrung. For Matt who claims he’s still too close to it to comment it’s being touted as a departure from their upbeat and fun rhymes, this time they’re packing more of punch.

“We’ve always been who we want to be we just you know we just wanted to make a heavier album it is just the way we were feeling, but you know The Hard Road and The Calling and all that, that’s exactly the records we wanted to make,” he says.

Quiet for just on two years, they’ve been burrowed away pretty much for the entire duration, doing Matt assures nothing more than but the norm…

“Just working – it took along time to put together, cos when we do something like this, I usually make over a hundred beats and we’ll write a ton of stuff and people will go how long do you take to make twelve songs?

“You’ve got to make a lot more to get down to these sort of twelve songs.”

Matt professes to enjoy the making beats side of the music composition than the writing rhymes side of it. He’s not formally musically trained but he’s from musical stock, with his mum a music teacher, his dad a jazz-music collector and two of his three brother’s both in bands it’s any wonder he loves what he does and calls it his one and only and passion.

Perhaps this is also what has driven the cue ball right into the socket for the Hilltop’s latest offshoot - their label. It’s a chance Matt sees for them to influence the music industry in a positive way and give back some mentoring opportunities for those talented and upcoming in their industry.

“When our contract with Obese sort of expired, we thought about what we wanted to do, we wanted to control everything ourselves and we wanted to work to our own timelines and almost as important as that we wanted to put out the music of friends and of those who we respected as well.”

With speculation rife over the ‘Hoods’ decision to cut ties with Obese executives Matt is firm when he explains at the end of the day he and his band-mates have always done their own music.

“It’s just going back to what we’ve always been doing,” he states.

The year ahead looks likely to be spent touring the new album. Matt’s tone becomes serious when he discusses the task ahead of them, building their fan base overseas. Where does he think they might have the most success internationally?

“We’re definitely not as well known overseas…The UK for a couple of shows and Germany, where we’re doing a tour supporting Atmosphere, and a couple of shows on our own and then we’re finishing up with a festival in Switzerland.”

Then they’ll be back in time for their national tour which will take in most capital cities and of course the nation’s favourite winter festival – also Matt’s fave too, Splendour in the Grass.

“We haven’t played festivals overseas until now, so you’ll have to ask me again in a little while as it’s unfair to compare to Splendour anyway, ‘cos it’s my favourite festival.”

Ruth Bailey

Posted: July 7th, 2009 under Australian Interview, INTERVIEWS.
Comments: none

Things we learned at V Festival 2007

Finally, the V Festival phenomenon has travelled from the UK to reach Australian soil. A line-up large enough to span three continents with the punters ready to pay homage to the likes of The Pet Shop Boys, Beck, The Pixies and Groove Armada, there is nothing left to do except Go!

It is a merry troop (on our bus anyway) who set out on the winding journey from Carrara Stadium to a place none of us knew existed. Nestled somewhere inland of the Gold Coast - Merrimac lies Avica Resort aka: “by the way, where the hell are we?”

What a great venue it is though, perhaps selected for its natural acoustics rolling acres of rich, green lawns that housed three big stages. This Stage, That stage and the Other stage (a novel way for organisers to identify them) each waiting to burst forth with some cranking tunes.

Event organisers had taken the time to compile a list of a dos and don’ts to assist in making the day the ”greatest of our mortal lives” I took the liberty of recording my own dos and don’ts to get festival goers by.

Don’t furrow your brow at the bad fashion you spy wandering through the gates. Surrender to the fact V Festival focuses on the fashion of earlier eras more so than any other.
Chances are you will be caught cringing at band members, sporting designer silver pointy shoes and no, they won’t be girls. You know who you are Mr Valentino.

Do make sure you bring a packed lunch.
For eating while waiting in the queue for drink tickets. Half an hour will pass in no time.

Do embrace the rain.
We are in drought and just because the heavens have waited 43 days to open, we should be happy it occurred at all.

Don’t expect to comprehend the logic that goes along with purchasing said drink tickets – it won’t be explained to you.
The system is not like other festivals where you purchase tickets as per type of drink you wish to consume. Rather exchange your money for tokens of equivalent value. This requires that you to calculate how many drinks you think you’ll consume a task for some more mathematically challenged among the group.

Do read your map to understand where you are in relation to the key stages.
This will take some time especially if you are navigationally retarded.

Do expect to be frustrated when you learn you are confined to drink in locations that aren’t really in close proximity to any of the stages.

Do smile politely when the person in front of you at the bar is requesting four Jaeger- bombs and the bartender doesn’t understand what this entails.

Do beg, borrow, or steal a Virgin branded mobile to present to the girls at the VIP section of the V Bar.
They will then give you a silver wristband with VIP emblazoned on it. You will be free to rest tired tootsies and take advantage of pristine toilets as well feel free to buy drinks located in close proximity to somewhere that is playing music.
Or better still, know the promoters who have gold VIP wristbands to give away at their discretion. This will entitle you to the above luxuries but also an open slather = free bar.

If you are able to snaffle a VIP wristband, do then smile all day knowing you don’t have to worry about half of the above do’s listed.

Do be mindful of those rocking out to the music, be it to the Pixies or The Rapture.
Whilst it’s great to see shirtless bodies must they gyrate up against you in 80s fashion victim attire? Yes it’s great they are able to enjoy dancing but encourage them not to do it on top of you.

Do run through the meadows and commune with nature.
Why not? It’s a novel adventure this Avica Resort V Festival.

Do have a sense of humour for when you get back to the car and are forced to sit in another long queue (not dissimilar to the one you encountered buying drinks tickets) to get home.

Do make sure you buy your ticket for the next V Festival.
You won’t be disappointed – the crowd is friendly, and there is plenty of fantastic music to appeal to all music tastes.

Photos by Angus Martin

Posted: October 11th, 2008 under ALBUMS, FESTIVALS, LIVE GIGS.
Comments: none