Just before the last chorus of ‘Matilda’, singer-guitarist Joe Newman was kind of trying to be Harry Styles: Chord Day Two

Kokoroko (★★★☆☆) was the fuel on which visitors dragged themselves through the afternoon slump. Glints served as an alarm clock without snooze earlier in the day and Jpegmaffia had some hardcore rap on offer, but both acts had to make do with far fewer people than Kokoroko. Instead of a brutal approach, the collective around trumpeter mouthpiece Sheila Morris-Grey went for a peaceful solution.

Initially, the eight-piece London group confined itself entirely to the atmosphere of the time, playing languid drinking music interspersed with excursions into muses, jazz and soul. During ‘Abuse Junction’ someone mused out loud about how the song reminded him of the view from a mountainside in Argentina, while our thoughts were with a Negroni, but CocoRoco had by then offered little more than supportive musings. did not do.

However, Sheila Morris-Grey regains control by drawing attention to herself with a groove from behind her trumpet. Kicking off with the song ‘We Give Thanks’ – Afropop served up as the cocktail of summer – Kokoroko achieves full mead swaying in the leprechaun dance with surprising ease. This is called correcting a bad situation.

Sheila Maurice-Gray Van Kokoroko Image © Stephan Temmermann

Sheila Maurice Gray of KokorokoImage © Stefan Temmermann

spelling tile

Kokoroko’s mettle was not spent on Goldband. While today’s Do Mar claimed the spotlight on Dope, Unknown Mortal Orchestra (★★★★☆) sought refuge in the twilight. Was this a way of covering up an overblown boil, or a statement that it’s not about who plays the music, but how it sounds?

Unknown Mortal Orchestra is a band that disappeared off the radar for a while. In CORE, the New Zealand psych rockers were doing so well that afterwards you could only conclude that it was wrong to think that the group around singer-guitarist Ruben Nielsen is outdated. Unknown Mortal Orchestra brought in a well packed Andoma tent that was surprising, versatile and flirting to perfection.

‘Multi-Love’ met Beyoncé’s ‘Drunk in Love’-like slogan. In a perfect world, “Necessary Evil” would be a number one hit, while “So Good at Being in Trouble” was more of a live on record anthem—an ode to imperfection—with its lyrics on a magic tile.

Ruben Nielsen made intricate guitar solos sound like child’s play, though we never quite experienced the band’s virtuosity as showmanship, and despite the gritty nature of ‘Meshugah’ and ‘Nadja’, the psych pop of Unknown Mortal Orchestra entered as simple radio pop. In CORE we really just realized what kind of world band Ruban Nielsen is. And let’s hope the Kiwis return for a club show soon.

Atmosphere at Goldband Image © Stefan Temmermann

Atmosphere in GoldbandImage © Stefan Temmermann

march caterpillar

It wasn’t even five minutes into the eponymous Mortal Orchestra masterclass that Little Simz (★★★★☆) made us swoon again. The British rapper appeared on such a massive main stage on his own as what we imagine the average tax inspector to be. So she came to be admired by people, although she was not after money but sentiment.

“Look around if you try to find out who you are / Now, you’ve got a missing piece, I was the biggest part”, she spits confidently. Little Simz barged in with ‘Silhouette’ without knocking. From then on, ‘introvert’ Simz took on the role of Cavalier Seul. There are plenty of examples of rappers where a single smart turns into fizz, but the competition certainly doesn’t have the gifts of Simbi Ajikawo.

“My life is a blessing, but it comes with stress”, she sighs during ‘Heart on Fire’. She preaches instead of raps, with the difference that non-believers hang on to her every word from beginning to end. She mumbled from tongue to tongue, insisting on the ghostly ‘Venom’ in broad daylight: “Fuck the people that don’t believe / They’ll never want to admit that I’m the best here.”

Whether it was the cool ‘No Mercy’ or the new bouncy club track with which the London-born estate girl signaled a new musical direction, Little Simz’s songs were like the caterpillars of a wedding procession, hardy critters whose presence left an inescapable mark.

It was previously uncertain whether the British rapper’s dark music also thrived in the sun, and it certainly did. For ‘Introvert’, ‘Gorilla’ and ‘Selfish’, among others, Simz was supported by a guitarist – he stole the show playing Santana’s ‘Maria Maria’ – and bassist, proving that he Will always impress the audience. she chooses. Little Simz just got it.

Little Simz Image © Stefan Temmermann

little simzImage © Stefan Temmermann


Was it Little Sims’ fault that the show Channel Trace (★★★☆☆), steamy and sexy as it was, didn’t last? Was the bar too high? Perhaps, though it didn’t help that the self-proclaimed Black Moses stalled after most of his songs. With ‘Brilliant N**ga’, ‘All My Friends’, ‘Just Can’t Get Enough’ and ‘6AM’, American yet again drenched his audience in a warm bath of Detroit techno and Chicago house, sweating the collective Was.

Too eclectic with diamond microphones, glittery biceps, pink skirts and glittery knee socks to bring your own Chippendale. With two dancers – herself being the third – at her side, Chanel Trace turned the temperature up with disco bangers and house tracks about black empowerment, though she failed to be ruthless across the line.

Channel trace image © Stephan Temmermann

channel traceImage © Stefan Temmermann


“Why end it?”, Keyboardist Gus Unger-Hamilton – sounds like a Gus as you’d imagine – wondered at the end of ‘Fitzplager’. The answer was simple: because a long set means Alt-J (★★★☆☆) would have to reach a no-hit in the absence of more hits, and magic would never be good enough.

At the start of the set, Alt-J opted for recent work with ‘Bane’ and ‘The Actor’ as nothing more than footnotes in the British band’s existence. Let these songs clearly be the children of their parents, but good genes aren’t enough, and ‘Bane’ and ‘The Actor’ had to rely on identity rather than personality. Also in the case of ‘Chicago’ and ‘Hard Drive Gold’ the beauty and monotony were confused.

Joe Newman of Alt-J Image © Stephen Temerman

Joe Newman of Alt-JImage © Stefan Temmermann

But with the exception of a handful of dead moments, Alt-J on CORE was deadly efficient. Clinically, yes, but the live and studio versions of “Teslet” and “Matilda” are identical, alt-J’s classics still evoking the tingle felt in the memory of Kiss, Hundreds in One Classroom from Lauren. Malmedy after listening.

Those who don’t like Alt-J will dismiss this as sleeper music, intended for Steiner school kids, but who cherish good memories. a great wave, His 2012 breakthrough record opened the door to the mind. Alt-J did what they were booked for, but not much more. Diplomatic too.

For a moment, just before the final chorus of “Matilda”, singer-guitarist Joe Newman tried to be Harry Styles and ordered the crowd to jump. It was a clumsy intention that taught Alt-J became a headliner that shouldn’t concern itself with fringe animation. Just play ‘Fitzpleasure’, ‘Breezeblocks’ and ‘Dissolve Me’ and thanks will be great.

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