Glastonbury媒体评论

很喜欢Guardian和The Observer的两篇评论,先摘在这里,有空了翻译.很明显radiohead被批了,因为的确king of limbs这张专辑就不大受欢迎(参考NME的恶评),而他们演了很多这张专辑的歌,没有演hits,被认为是很不friendly. 还扯上了去年Gorillaz那失败的headlining set. 总之Guardian这篇把radiohead说得实在太不堪了,没听到hits的歌迷伤不起啊…但是hits唱太多了也不行! Coldplay把一辈子的主打歌都拿出来唱了,也被评论说得一般般,远没有elbow评价高,’你要多么铁石心肠才不会被elbow感动’.Beyonce被大赞,热切同意,’她甚至有勇气一开场就把最热的两首歌演掉了’,霸气!

Guardian: The Glastonbury festival showed it’s a place where anything can happen

At Glastonbury 2011 Radiohead ignored their hits and paid the price, U2 worked hard but couldn’t connect, Elbow made a triumphant return and Coldplay judged the temperature just right.

… But even if you’re trying to concentrate on the music, the weather’s impossible to avoid, largely because it changes the way audiences react to what’s happening onstage. By Friday afternoon, Glastonbury’s usual we’re-just-glad-to-be-here atmosphere of blithe acceptance has evaporated, replaced by a kind of grim fatalism: the crowd’s mood is more difficult to judge, artists have to work infinitely harder to win them over. It’s tough on the Vaccines, who have decent tunes to spare but not a vast amount in the way of charisma. “Who gives a fuck if it’s raining?” offers frontman Justin Young, or at least words to that effect. There’s a rather wan cheer in response, a sound that seems to say: well, we do mate, largely because, unlike you, we won’t be getting on a luxury tourbus and leaving in about an hour.

…This year, aside from one doughty soul who insists that Friday night’s unbilled performer is going to be Lionel Ritchie, everyone seems to know in advance that they’re bringing the rest of Radiohead with them. The crowd that elects to trudge up the vast slippery gradient to The Park area is vast enough to not only fill the area in front of the stage, but the hill that overlooks it. Back at the Pyramid stage, Morrissey is left belting out Smiths songs to a sparse audience – although it starts getting noticeably less sparse when it becomes apparent that Radiohead intend to play a set almost entirely drawn from the recent King of Limbs, an album that received a pretty lukewarm reception, at least by their standards. In fairness, you could argue that expecting Radiohead to start pandering to the wishes of a mass audience is a bit like expecting Radiohead to come onstage and perform a cover of Baggy Trousers while Thom Yorke flies around the stage on wires: on one level it’s a strangely appealing idea, but it’s never going to happen.

If you believe that you can tell how well a Glastonbury set is going by how easily the audience has its attention drawn from the performer by the panoply of other sights on offer – during Gorillaz’s lacklustre headline appearance last year, a large section of the audience was distracted by the diverting sight of a man climbing a wooden structure stage left and exposing his genitals – you might note the fact that about three songs in, the hill keeps exploding into random applause. Alas, they’re not cheering Radiohead’s boundless determination to look forward, to be unswayed by the demands of those less musically adventurous than them, but the sight of people who’ve decided to leave and realised too late that if you get too much momentum behind you when walking down a muddy hill, it’s literally impossible to stop until you fall over, and sometimes not even then. It’s like a cross between You’ve Been Framed! and It’s A Knockout up there, albeit with an incongruously gloomy soundtrack.

Tonight’s secret guests on The Park stage are even less secret than Radiohead: the Sun has already informed the world that it’s Pulp. The crowd is even bigger than the preceding night’s, the atmosphere utterly different. As with the re-formed Blur’s set two years ago, it’s not merely celebratory, but marked with the lovely feeling of restitution, as if the crowd is trying to apologise on behalf of the British public. As Jarvis Cocker noted at the time, one of the reasons Pulp split up was that “nobody was that arsed” about their records any more. They seem very arsed indeed tonight: the set is a reminder both of what an engaging frontman Cocker is, and of how many fantastic songs they had, overshadowed in the collective memory by Common People: Razzmatazz, Something Changed…

It’s a triumphant return, as is the appearance of Elbow on the Pyramid stage, three years on from the televised performance that belatedly catapulted them to mainstream fame. The line about them being The People’s Band is both a cliche and a bit daft, suggesting as it does that every other band’s fanbase largely comprises hamsters or chickens, but you see immediately why it’s come about: the warmth radiates irresistibly from the stage, the sense of their performance as a kind of dialogue between artist and audience impossible to avoid. The crowd adore Guy Garvey: every time he smiles, which he does a lot, in the manner of a man who can’t quite believe his luck, they go berserk. They encourage him to down a pint, he gets them to sing Happy Birthday to the band, formed, he claims, 20 years ago to the day. The elusive Glastonbury moment of collective transcendence doesn’t just happen, it keeps happening, over and over again: a majestic, charged version of Open Arms, the beautiful drift of Weather To Fly. There’s something inevitable about the finale of One Day Like This, but what you can’t prepare for is the sheer emotional force of the audience’s reaction, which knocks you sideways: you’d have to be a pretty flinty character to remain unmoved. Certainly flintier than Garvey, who understandably looks close to tears as he leaves the stage.

The feeling that it’s a performance that’s going to be hard for Coldplay to top is hard to avoid, and in a sense they don’t: you certainly don’t feel the kind of intense emotional connection that ran through Elbow‘s set, nor do you get the visceral power emanating from the Other Stage, where the Chemical Brothers, never the most opaque band, sound particularly cataclysmic and thrilling. What you do get is the feeling that Coldplay are a band who know exactly how to headline Glastonbury, having had a lot of practice at it: front load the show with hits, place the handful of new songs in such a way that the audience barely notice them – with the best will in the world, the fact that they’re not terribly memorable probably helps – and get them singing along. Whatever you think of their music, you’d have a hard time arguing that it doesn’t work in this situation, and it’s impossible not to be impressed by how assured their performance is…

The Observer: Festival watch – Glastonbury 2011

Beyoncé easily eclipses fellow headliners U2 and Coldplay

…Radiohead struggled to make a set drawn largely from their difficult King of Limbs album connect with the crowd. Pulp triumphed from sheer force of personality. Well, that and a load of goodwill – even those who had decamped right back to the Stone Circle were singing along to the bespectacled speck in the distance.

One woman single-handedly saved the main stage: Beyoncé‘s set created fireworks, not just because she had actual fireworks going off every five seconds, but because she dared to detonate her two biggest hits first and didn’t let things deflate thereafter. She also made an Alanis Morissette cover seem not entirely like the worst thing in the world.

It was a lesson in big performance to the other two headliners, who performed fine if not career-defining slots. It says something about U2‘s bombast that they can get an astronaut in to sing backing vocals on “Beautiful Day” and still have people feeling let down by the stage show – but their set did fall slightly short of expectations and not just because of the drizzle. Coldplay brought a bit more spark but were let down by the fact they were, well, Coldplay. It just didn’t seem essential to catch a band who had already headlined the festival twice in the past decade.

Elsewhere, Janelle Monáe wowed West Holts, Elbow reduced grown men to tears (again), Patrick Wolf apologised for his chaotic 2007 appearance with a charming show and Paul Simon unveiled the hits in a lacklustre manner. On balance, a great year, though nobody will begrudge Glastonbury their break until 2013, when no doubt Prince, Paul McCartney and Madonna will form a supergroup for a secret show in the John Peel tent. Or something.

我发誓这是交论文前最后一次再在网上乱看G节的东西…..

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Beggars Group:中产乐队之家

最爱的两个indie唱片公司,一个是Domino,还有一个就是Beggars。

其实人们说Beggars牛逼的时候一般都会提到radiohead,当年radiohead离开了EMI而把约签给了Beggars。或者什么Adele,破了beatles纪录之类的。

其实我觉得Beggars Group运作得最好的是一堆他们所说的“中产艺人”。大牌算是Beggars里面的非主流艺人,Beggars Group里面最多的还是那堆“中产艺人”。

“他们一张专辑大概能卖100,000张,能去30-40个城市巡演,演出有3000-4000个观众。这样他们就能过上很好的生活,不愁吃穿。但同时他们也不求大红大紫和大富大贵。我们有很多这样的艺人。They are incredibly healthy。”Martin Mills说。

Beggars Group由四个厂牌组成,4AD,XL recording, Rough Trade, 以及Matador。4AD和XL recording是beggars最老的品牌,XL recording最早是个舞曲厂牌。后来为了开美国市场beggars入股了美国的matador,又把老牌厂牌rough trade买了,因为当时rough trade一直亏钱,所以beggars group买他们的时候出价很便宜,后来有很多报道说这个价钱太低了,因为光rough trade这个名字就够值钱了,rough trade被买之后相继发行了The Strokes, The Libertines, Babyshambles, Belle & Sebastian这些大牌的专辑。

从2003年起,在整个音乐产业下降得最厉害的几年里,Beggars Group连续七年赢利。他们的公司架构是业内一直被称道的。老大Martin Mills也有很高威望,因为他有超准的直觉。在2000年之前,beggars就已经把所有的catalogue全部数字化了。。。

每个厂牌选择艺人、签艺人不需要看集团的脸色,有完全的自主权。这也是各个厂牌的主要工作,管艺术。集团负责一切后事,PR, Marketing, Promotion, 同时厂牌基本有自主权决定艺人需要多大的团队来服务,然后集团就派出一只小分队来专心负责这个project。所有的市场策划基本都从18个月前开始。

Martin Mills认为公司能够保持赢利的一个重要原因是,他们生产的音乐,消费者会比较愿意花钱买而不是盗版。用户普遍比较忠诚并且敬重他们生产的音乐。相反,主流音乐、大流行,消费者会更愿意盗版。beggars group的收入中,有50%来自于数字销售。比平均值高很多。

其实是上周写得吐了的作业,趁没忘光前做个笔记。

提问:国内乐队有多少中产了?(就是从音乐中赚的钱能让乐队成员衣食无忧但不用大富大贵)如果也量化的话,国内乐队需要演出多少个城市,拥有多少观众,卖出多少张唱片,才能中产?

感叹:英国市场真健康啊啊啊,能养这么多中产乐队啊啊啊。

英国festival calendar

最近几年关于英国live industry说的最多的一个问题是,音乐节越来越多,可是能当headliner的越来越少。每年的headliner看来看去都是那几个。原因有很多,唱片工业下降,唱片公司越来越不舍得花钱做推广。另外一方面摇滚界要培养一个festival headliner一般都需要10年左右的时间,muse和elbow是典型,唱片公司气急败坏地想赚钱,懒得慢慢培养。另外在网络时代,受众接受信息的渠道越来越多元,所以口味变得越来越杂。以往用传统媒体猛推的方式现在看来风险太大。还有就是越来越多人习惯用电脑做音乐,而传统的音乐节headliner都是吉他摇滚,这种音乐形式已经不像以前那么dominate。老师说目前赚大钱的英国摇滚乐队只有4个,muse, biffy clyro, Bullet for My Valentine,还有一个忘了。

2009年英国live产业达到历史峰值,不过很多人直接归功于几个大牌出专辑。现在live产业有点儿整天指着大牌出专辑的意思。因为缺大牌的现象,很多90年代的乐队也在最近开始疯狂复出了。所以今年英国对elbow都寄予重望,觉得真不容易终于出了一个新的headliner了啊。不过也有混了没几年就很快当上headliner的乐队,那就是arctic monkeys。记得老师上课讲起2007年推arctic monkeys去领衔glastonbury的时候,所有人都捏着一把汗,因为实在没人了,只能拼死一博,最后的结果相当amazing。

对英国的音乐节按照时间顺序做一个整理,因为太多了所以只选择一部分名气大的。目前我还一个都没去过,我了解情况只能靠各种文章介绍。今年会去glastonbury,做这个是因为自己还想选一个去。随着了解越来越多会继续update。

  • [特色]4月31日-5月1日 The Camden Crawl

地点:伦敦camden town

票价:£63.5 (weekend), £39.5 (single day)

介绍:明日之星音乐节。面向音乐圈的tastemaker们的音乐节。请来参加音乐节的基本都是当年即将红起来的乐队,这点很强大。参加这个音乐节你基本就知道今年什么乐队会红。比如2008年参加的乐队就有Florence & The Machine, Mumford & Sons,Crystal Castles, Robyn;2007年是Adele, Amy Winehouse, Biffy Clyro, Foals;2009有the XX。在camden town的50个场馆举行,一张票通行全部场馆。

  • 5月12日-5月14日 The Great Escape Festival

地点: Brighton (海滨小城,摇滚传统很深,还是英国gay之都)

创办:2006

票价:£45-£51(三天),£15-£22.5(单天)

今年阵容:DJ Shadow, Friendly Fires, Sufjan Stevens, Katy B, The Vaccines…

介绍:展示、发掘很多不知名的,但是已经比较成熟的,有前景的新乐队,很多演出的乐队后来都成了大牌比如Kasabian, Foals, Mumford & Sons, Laura Marling, The XX, Tinie Tempah。不是户外。而是在brighton大约30个场馆举行。乐队300个以上。你得到处跑。此外还有很多产业论坛。

  • 5月19日-5月21日 Liverpool SoundCity

地点:利物浦,30个舞台

票价:£40 (3天),£130 full pass

今年阵容:Miles Kane,Wretch 32, Black Lips, Yuck,Frank Turner, Funeral Party..

介绍:目的是推新乐队,”Starmaker”, headliner都是处于上升期的二线乐队,还支持新乐队自己报名。之前推过Florence and the Machine,White Lies, Wild Beasts之类的。也有产业论坛,新入行的也能去听。

  • 5月27日-5月29日 Glastonbudget

地点:Leicestershire

票价:£58(Weekend camping)

创办:2005

介绍:这是个专门给翻唱乐队的festival。各乐队上去翻唱blur之类的。不过headliner不翻唱。

  • 6月10日-6月12日 Isle of Wight Festival

地点:Isle of Wight (英国一个小岛)

今年阵容:Foo Fighters, Kings of Leon, Pulp, Kasabian, Beady Eye, Jeff Beck, the Hurts

票价:£150-£175(票面),£239(Ticket Agency)

创办:1968

介绍:当年可以跟glastonbury,Woodstock相提并论,英国最早的音乐节之一,T- Rex,Jimi Hendrix,The Doors, Joan Baez这些老大牌们当年都在这演。

  • 6月10日-6月12日 Download Festival

地点:德比

票价:£145(纯票)-£245(camping,coach各类服务)

今年阵容:Def Leppard, System of A Down, Linkin Park, Pendulum, Korn, Bullet for My Valentine

介绍:偏金属。两个户外舞台以及一个在树林里的chill out area。2007年billboard评选最佳音乐节。

  • 6月10日-6月12日 RockNess Festival

地点:苏格兰Clune Farm

创办:2006

票价:£149

今年阵容:Kasabian, The Chemical Brothers, Paulo Nutini,Magnetic Man…

介绍:被称为风景最好的音乐节

  • 6月22日-6月26日 Glastonbury

地点:Worthy Farm, Pilton, Shepton Mallet, Somerset

创办:1970

票价:£195 + £5 booking fee per ticket + £4.95 P&P per booking

今年阵容:U2, Coldplay, Beyonce, Elbow…

介绍:Glasto needs no introduction, it’s the mother of all festivals and an experience not to be missed. If you could only choose one festival to go to in your whole lifetime this would be it, regardless of musical preference. The real Glastonbury experience comes from discovering and exploring the numerous areas including partying hard in the dance village to putting your feet up in the healing fields, not to mention the all out craziness that goes on in lost vagueness after dark.

  • 7月1日-7月3日 Wireless Festival

地点:伦敦海德公园

票价:£49.5, £155-£165(club experience package), £92(两天),£130(三天)

今年阵容:Black Eyed Peas, Chemical Brothers, Pulp, TV on the radio, The Horror, The Streets…

介绍:主流音乐节里比较dance friendly的。Daft Punk, Fatboy Slim, Basement Jaxx, Underworld, Dizzee Rascal, Klaxons, LCD Soundsystem都在这演过。有一个巨大的啤酒公园以及各种互动游戏。不能camp。

  • 7月8日-7月10日 T in the Park

地点:Balado, Kinross-shire,苏格兰

票价:£195(camping weekend)

今年阵容:Arctic Monkeys, Coldplay, Foo Fighters, Blink 182, Pulp, My chemical Romance, Brandon Flowers, Jessie J…..太强大,大牌之多

介绍:9个舞台,其中4个在露营区,180个artists.因为今年阵容特好,票在一个小时之内就卖完了。

  • 7月9日 1234 Festval

地点:伦敦

票价:£15!!!

今年阵容:Black Lips, Lydia Lunch, Clout….

介绍:我们班一个很酷的男生说是他去过最好的音乐节。去年也有像these new puritans这样的小大牌来演。具体好在哪里也没有研究出来。但是票价让人震惊了。

  • 7月9日-7月10日 Basingstoke Live Festival

地点:Hampshire

票价:免费

介绍:英国最大的免费音乐节。当然参演乐队都没听说过。

  • 7月14日-7月17日 Latitude Festival

地点:Henham Park, Southwold, Suffolk

创办:2006

今年阵容:The National, Suede, Paolo Nutini

票价:£170(weekend),£70 (单天)

介绍:曾经被公认为“最安静,最悠闲”,“the sleepiest”的音乐节,不过随着这几年越做越大,再加上两起强奸事件的发生,这一点越来越难做到。还有其他很多艺术形式包括theatre, art, comedy, cabaret, poetry, politics, dance and literature,有时候舞台剧的阵容比音乐的阵容还强大。

  • 7月15日-7月17日 Lovebox Festival

地点:伦敦维多利亚公园(伦敦最老的公共公园)

票价:£28.5(单天),£99(Weekend)

今年阵容:Robyn, Scissor sisters, Lykke Li, Snoop Dogg, The Drums…

介绍:都市气息浓厚,因此有不少电子、舞曲类音乐。2008年被评为英国最佳中型音乐节,2006年被评为Party People Award for Dance Music.

  • [特色]7月15日-7月16日 2000trees festival

地点:Gloucester

票价:£59 (weekend camping)

创办:2007

阵容:英国地下乐队。

介绍:几个年轻人因为不满现在音乐节糟糕的饮食和厕所状况,于是创办了一个音乐节,让它拥有最好的音乐节饮食和厕所,并且最”green”,比如晚上11点钟所有演出必须结束以防止扰民。之后如果你还想high的话,现场会发放无线耳机,耳机有两个频道,分别是两个DJ打碟,你选个喜欢的然后全场听着耳机里传来的音乐一起跳舞,介就是传说中的“Silent party”.

  • [特色] 7月29日-7月31日 WOMAD

地点:Wiltshire

票价:£135(Weekend)

介绍:类似于音乐世博会的概念。WOMAD就是World of Music, Arts and Dance。

  • [特色]8月4日-8月7日 The Big Chill Festival

地点:Eastnor城堡!!!(城堡周围是鹿场,主办方要求所有观众离开的时候“leave no trace”)

票价:£165(weekend); £75 (单天)

介绍:这个音乐节因为崎岖的历史而出名。从1994年创办开始,换了N个地方举办,换了好几次东家,经历好几次财政动荡。后来这个音乐节不知不觉地越做越大,从七千人做到了几万人,变成了英国小音乐节发展壮大的典范。除了音乐,这个音乐节还会有art, films, poetry, circus, cabaret, comedy and gourmet food。去年的阵容包括MASSIVE ATTACK,M.I.A.,LILY ALLEN,THOM YORKE。什么风格都有,dance越来越多。

  • 8月5日 Underage Festival; 8月6日 Field Day Festival

地点:伦敦维多利亚公园

Underage票价&阵容:£31.5/BOMBAY BICYCLE CLUB, Yasmin…

Field Day今年阵容:£39.5/James Blake, Jamie Woon, Zola Jesus, The Coral, The Horrors…

介绍:这是两个姐妹音乐节,都由音乐节公司eat your own ears举办。Underage Festival是专门供18岁以下的小孩儿狂欢创办的音乐节,超过18岁或者低于14岁的不让进,因为观众群很精准,所以匡威之类的youth brand很喜欢赞助。Field Day是其成人版,低于18岁不准进。有一个village fete,包括拔河比赛之类的,关键是很多演出乐队也会参加进来。

  • 8月20日-8月21日 V Festival

地点:Hylands Park in Chelmsford and Weston Park in South Staffordshire

今年阵容:Eminem, Rihanna, Arctic Monkeys, Duran Duran, Kaiser Chiefs…

票价:£149(Weekend)

介绍:近年比较火的主流音乐节。

  • 8月26日-8月28日 Reading and Leads Festival

地点:Reading and Leads

票价:£199.50 (weekend, with booking fees)

今年阵容:My chemical romance, Muse, The Strokes, Peter Doherty…

介绍:大牌主流音乐节,在两个地方同时举行,两边阵容是完全一样的,乐队在一个地方演完第二天就去另一个地方演。去年阵容包括arcade fire, blink 182, the libertines. 今年3月21日开始售票。

  • 9月2日-9月4日 End of the Road Festival

地点:The Larmer Tree Gardens (North Dorset/Wiltshire borders)

今年阵容:Mogwai, Wild Beasts, Laura Marling

票价:£145 (weekend camping)

介绍:主办方只请他们自己喜欢的乐队,每个乐队平均演的时间比其他音乐节要长。强调服务细节,承诺提供最好的食物、啤酒之类的。其他节目包括Comedy, Cinema Tent, Woodland Library And Literary Area, Workshop & Children’s Area, The Somerset Cider Bus, ‘Where Is My Mind’ Music Quiz ,The Victorian Piano Stage Art…

  • [特色]9月8日-9月11日 Bestival

地点:The Isle of Wight

票价:£170(Weekend)

今年阵容:The Cure, Primal Scream, Robyn, DJ Shadow, Katy B…

介绍:有gaming spirit的音乐节。有很多好玩的东西,比如dress themed days,有专门给你换衣服的帐篷,还有swim to bestival,游泳大趴体。官网就很酷。音乐比The Isle of Wight Festival更加alternative,类型更多样。

  • [特色]ATP Festival

时间:不定,一年3-4次,一般会在5月和12月’Nightmare Before Christmas’

地点:Butlins Holiday Centre, Minehead

票价:£170-180

介绍:一个很有意思的音乐节品牌,它的line-up是由artist决定的。每次音乐节会找一个大牌,比如今年是Animal Collective,第一届是Mogwai,让他们来决定阵容,一般都选乐队自己喜欢的,或是最他们有影响的,或者他们很欣赏的看好的,一般还会有电影和艺术同时展,也由artist决定。有几届也让乐迷参与了投票,让乐迷来选line-up.