Tag: badness

An Impressive and Fantastic Park Farm Music Festival

Images: Jess Worrow

Well my friends the time has come; Park Farm Music Festival sure went from zero to hero in one swift and fantastic Saturday……

Nestled between Fulltone and the Scooter Rally, two established events on the calendar at the same Devizes site, Park Farm, the self-titled music festival’s inaugural outing last year deserved more attention. Perhaps with Nirvana and AC/DC tributes its lineup greatly directed towards rock, but more so because it takes time for the worth of any new festival to become realised.

If I’ve waffled about how, despite it being a new venture in Devizes, the organisers have twenty-five plus years of experience hosting Mantonfest, a gorgeous family event adored in Marlborough, I could only hope folk took heed. The organisers this year went with more universal appeal for its lineup. For whatever reason, it worked, and I was delighted by the announcement that Park Farm Music Festival sold out this year.

Those who had cottoned on left impressed. I’m not here to flatter anyone, I say it like it is, you know this. But proof the organisers aimed to impress, particularly Devizes folk, use the example of the town’s most beloved blues legend Jon Amor and his drum and bass section Tom and Gerry, rocking the stage while I could still taste toothpaste. A brilliant beginning to what will be a mighty fine day.

The other Devizes favourite present, Ben Borrill and Pat Ward’s Matchbox Mutiny took twice to a side stage towards the end, and with their fun but proficiently delivered covers they absolutely rinsed any expectations the side stage was merely an interim whilst tribute acts soundchecked. 

Knowing how amazing they are, I expected this much of Ben and Pat. My pleasant surprise on the alternative “Moonrakers” stage was a young Hungerford-based trio called Station. They’ve gone from gigging Marlborough’s Green Dragon to national tours, and it was easy to see why.

Feelgood and carefree songs of oceans, driving away and how fake gold jewellery makes your finger turn green, were joyfully delivered with zest in a unique eighties mod-Two Tone punkish come subtle Levellers-esque mesh. Though I love what I’ve heard of them, I’m not completely informed, but would liken Station to the Coral, and believe it’s an apt and deserved comparison. I went straight for the Instagram follow, because they delighted the crowd with natural flair.

Mantonfest wouldn’t be Mantonfest without veterans Barrelhouse, and equally they bring their vintage blues with a groove to its baby sister Park Farm. If it’s standard issue, it’s a deserved badge of honour. Following Jon Amor wasn’t going to be easy, being this is Devizes, and Devizes loves Jon. Yet, Barrelhouse’s show is so insatiable it’s catching on here, via memorable gigs at The Southgate and hey, didn’t I book them at Rowdefest for this very reason?! Ah, they did it, as they do each time, an explosion of jump blues mixing covers with originals which no one bothers to untangle, because it so absolutely rocks. 

The remaining day at this brilliant communal and genial festival was vetted tributes. In chronological order, too hot for mirror-disc top hats, Slade tribute Slyde wonderfully homaged the seventies glam era, got elders worked into an early frenzy and younger onlookers mesmerised by the catchiness of those ostentatious anthems. I knew they would, I’ve seen them before, albeit it was a Mantonfest Christmas party, still, yeah, they had to encore with the unseasonal classic Slade yell, and with exceptional expertise.

The stage was ready for the second tribute to seventies/eighties pop, and undoubtedly the most invariably treasured, Abba. Abba Inferno hail from Swindon rather than Sweden and with Scandinavian accents intended to jest about this. The general banter and party-dance crowd encouragement of Inferno was second-to-none, and if Abba tributes are two-to-a-penny, with apt costumes and their dedication to the defining sound, this was the best one I’ve bore witness to.

With the evening still young I could criticise we peeked too soon with tribute acts, but with the crowds roused now, I remained confident the organisers know better, and know exactly what buttons to press. The penultimate act was ultimate for my personal tastes and seemingly the majority at Park Farm too. Self-styled Badness attributes Madness, Bad Manners and merges other Two-Tone acts into one of the most entertaining, lively and Northern humoured amusing tribute acts I’ve ever seen. It’s one of those who will force anyone younger and unaware of the music of the period into some dedicated after-study, while thoroughly skanking those in the know.

Fulltone may have had a great and energetic Madness tribute, but I wished those at Lower Park Farm last weekend were here once again, because Badness would have banged them to rights. This was the peak of the evening, not forgoing Matchbox Mutiny filled in the gap with another astounding second half.

While talking about badness, bad was my research for our preview of Park Farm, as the Queen tribute I had seen at a previous Mantonfest wasn’t the same one as here. They were The Boheniems, and they were the best Queen tribute I’ve ever seen, but, apologies for the assumption, that mistake; this Queen tribute was called One Vision, and unfortunately, while satisfactory, failed to deliver quite the same impact. Nevertheless, it was late, folk had had so much fun, and with sufficient alcohol in their system, it did not matter. One Vision was enjoyable, and a great end to an absolutely fantastic festival at Park Farm.

Just like glorious Mantonfests of yore, this festival was so carefree and friendly. With an adequate scattering of food and drink options, there may need to be more to entertain the kids, and we look forward to side-attractions blossoming here, but for the music lovers this is one mighty fine event, and one you should mark on next year’s calendar if you’ve not already. If I’m singing Abba songs all week, please excuse me!! 

MantonFest Magic, Again

With the danceable penultimate act attracting a packed crowd, I observed a young teenager, who, on spotting a disregarded beer bottle, picked it up and disposed of it properly. I’m at Mantonfest, the gem on Marlborough’s annual event calendar. I’m not surprised, having been a few times now, it has always been this pleasant and respectable; this year I reasoned why….

Kids these days, huh? Reacting appropriately, averting a potential trip hazard, I ask you?! Elsewhere, a younger girl is on her dad’s shoulders, pumping her arms in the air while the Queen tribute reenacts classics way beyond her years, and her dad bounces underneath; it’ll be one of countless priceless family memories to savour here today, just like Heidi of Barrelhouse giving out inflatable guitars, mics and more randomly, crocodiles!

For at Mantonfest’s very opening, parents are driven to joyful tears, as thirteen year-old Megan Mills from St John’s School swaps guitar for keys and confidently delivers an outstanding if short set, filled equally with talent and expression.

If, in past years I’ve pondered the wide age demographic at Mantonfest, Mills, the aspiring health and safety officer, the girl piggybacking her dad, the toddler clutching his inflatable croc, are examples as to why. It’s the festival’s fifteenth birthday, families have grown up with this, ergo, Mantonfest is an institution, they return habitually and hold it in such high esteem, even at teenage they respect this congenial ethos. It creates a matchless experience to justify me hailing Mantonfest as the friendliest festival you’re ever likely to attend.

It’s tradition which warrants the return of favoured acts, such as Madness-Bad Manners and overall Two-Tone act, Badness, back by popular demand. They blew the roof off last year, although they mimicked their show, they came up shining, and skanking again.

Similarly, the model set from Barrelhouse will never go grey. They are to Mantonfest what R2D2 is to Star Wars, appearing time over and never failing to delight with their perfectly pumped hoedown of vintage blues. To see Barrelhouse live is cake, to see them at MantonFest is the icing on that cake. Yep, there’s many repeating features at Mantonfests, but if it’s not broken ….

I’m standing with Chippenham’s wonderful folk singer-songwriter Meg, complimenting Mills for a likeness to her own expressive vocal range. Meg’s on next, which shouldn’t really be as the section is supposed to showcase talent from the town’s comprehensive, but as one band cancelled I was called for a suggestion and couldn’t imagine anyone more apt and deserved. At 17 now Meg has developed a name for herself, hard working her idiosyncratic style to play Chippenham’s Pride, Folk Festival and expanding to Minety and Trowbridge’s Pump. On her first of three gigs this weekend, she excitedly tells me how it went supporting Jools Holland. Such are local circuit barriers though, Meg’s not so widely known here, so even a short set is good to help her to venture eastwards, and they sure made her welcome.

Sublimely delivering three tunes of her own wares, Meg set the bar high for Rory & Tom, who followed by providing popular covers in a friendly and lively fashion. Elton-like pianist Sammy Till-Vattier polished off the youth section. Saw him last year, he’s the upcoming name to watch on the Marlborough circuit. His poignant crafted originals are emotionally poured out, he literally sweats solo talent, as his final piece verged on Serge Gainsbourg level, and in his language too; je l’ai aimé!

This opening section to Mantonfest debuted last year shouldn’t be viewed as a filler or talent contest, rather a taster of what’s to come for the family event.

Just like other neighbouring towns, Marlborough youths show dedication and talent. It fills one with confidence that music is safe in Gen Z hands, but more importantly is Mantonfest’s drive to showcase them. There’s no bolt-on gazebo miles away from the event’s main brace, they’re on the same stage which Toyah once graced.

There’s a part of me, though, which wishes the hordes who came for the finale crowd-pleasing tribute acts could’ve supported the local talent at the start, but I know, cookie crumbles this way.

Tributes were the order of the evening, but nestled between the St John’s section and them, the tradition of family continues. Josie Mackenzie is no stranger here, she pulled a blinder last year guest singing with The James Oliver Band. Taking front and centre this time with swing-style rockabilly-blues her new band the Radiotones wonderfully reintroduced fifties-early sixties classics in an Etta James fashion. Particularly stand-out was Ray Charles’, Hallelujah, I Love Her So. 

Then, Ol’ Man Witcomb And The Bergamots; wow! In different guises, especially one called Skedaddle, Witcomb family members have regularly played the festival as they live in the village, albeit a slot so early I missed them before. Took this with a pinch of salt, then, assuming this being a village custom, I wasn’t expecting  greatness; my biggest surprise this year. 

The old man referenced in the name is Chris Witcomb, bassist, wife Jane sings, boy, does Jane sing, and three sons back them on lead acoustic and electric guitars, and drums, like a Manton Carter Family!

If this ensemble was “formed for a bit of fun” as stated I’m truly in awe; they were as uniformed as any professional classic rock band, and handled some unusual and technically challenging covers, particularly poignant was Genesis’ Land of Confusion. 

Aside from their model set they even carried onstage banter with ease, apologising for performing Making Plans for Nigel for its possible election connotations! It was a gorgeous performance they really should take on the road, sitting somewhere between The Pretenders and Fleetwood Mac.

Between acts Fruci Fit Personal Training of Marlborough and Devizes gave a loud and proud exercise class, then, The Fab Four took the stage. Working through the Beatles discography with lighthearted panache, they’re another back by popular demand, and are a thoroughly entertaining tribute. Barrelhouse followed as evening set in, enough said. Coupled with the perfect weather, it was looking to be a most memorable Mantonfest.

A further three tributes to take us to the cumulation. Firstly, Forever Elton was enjoyable if technically mediocre. Badness did it again, stealing the show with upbeat Two-Tone re-enactments in newspaper suits but idiosyncratically making tributes stand-alone. The northern working-class banter is at invaluable comical proportions, but their musical proficiency too makes it a class homage. It’s a wonder how Queen tribute The Bohemians will top it, but surprisingly, according to my love of ska, and the fact Queen tributes are two to a penny, I think they did.

Tricky to perfect but a common choice to attribute, Queen is a national pride. To do this badly would be an epic fail. I’ve always thought this, ending up surprised with the results of previous Queen tributes I’ve bore witness to, but The Bohemians were undoubtedly the best. It was a show stopping finale, a sublime imitation of probably the finest rock band ever, if not, certainly the most popular. Throughout their performance I was equally held in awe at the precision and attention to detail, and simply enjoying the moment, as those rock classics were delivered with such skill and gusto.

Yet it is not only the excellence of all the acts which makes Mantonfest Mantonfest, rather the lesser ingredients, the beautiful setting, the simplicity of the arrangement and its dedication to hold dear its self-made traditions. But most importantly, and likely the sum of all other parts, it’s this trouble-free tenant akin to a Caribbean holiday (with rum punch,) which has seen a generation grow and be proud and respectable of this wonderful annual occasion. 

For me, it’s equally about Mills, Sammy et al, as it is for a tribute act knocking it out of Treacle Brolly, but I feel it is too for the many here who enjoy this gem year after year. Another Mantonfest ticked off, another astounding and memorable year, it never fails to impress me. 

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Mantonfest 2023; Best One Yet!

All Images by Gail Foster

One of the fundamental elements which makes Mantonfest such an absolutely brilliant festival, aside its beautiful location and friendly atmosphere, has to be the varied age demographic. It may be the case Marlborough doesn’t do separate niche festivals for this, and for that, but I’m thinking after my third consecutive Mantonfest, Marlborough doesn’t need to when it’s all encased in this Treacle Bolly bowl of wonderful….

If I smiled to note the same bunch of groupies gathered front of stage for the standard protocol Barrelhouse hour I see annually, a smidgen more grownup each time, it was far from the only time I smiled.

Barrelhouse

For as well as Barrelhouse, who on their home turf can attract kids from nine to ninety-nine with this insatiable groovy appetite for vintage jump blues, beach balls and, this year, a homage to Tina Tuner with a Rolling on the River cover, this age demographic was truly catered for musically, this year, I think, more than ever, and I’m backing this claim with another couple of examples as to why.

Reason one being the simplest; the penultimate act is a timeless recipe for success. The fairground version of ska, via an incredibly entertaining Madness tribute from Hull, Badness. Not content with knocking out Baggy Trousers, Night Boat to Cario et al, in a fashion unpretending to mimic the appearance of Madness visually and drop in a little of their own panache, they encompassed the entire two-tone and eighties reggae scenes with equal gusto.

Badness

Badness was a chicken dinner, not only their proficiency and amusing stage banter, but of the formula; ska gets everyone up dancing. They were a blessing to a festival doing amazing without them.

Badness

This was equalled by a high-energy finale whereby tribute Rolling Stones Now not only mimic the era-spanning royalty of British blues, but recreated groundbreaking concerts. Showmanship ablaze with swagger and colourful costume changes, this was a true crowd-pleaser. Something of a history class both entertaining and precise, but more importantly coupled with Badness made a finale which catered for all. As a group of young teenagers loudly requested Baggy Trousers as an encore for Badness, I realised these classics aren’t only relished in retrospective appeal to my generation, but are timeless danacable favourites for everyone.

Mantonfest 2023
James Oliver Band

Second example why this year’s Mantonfest catered for its age demographic so astoundingly, was prior to show-stopping performances of rock n roll and blues, firstly from Welsh guitar virtuoso The James Oliver Band, Tony Briggs as a replacement upright bassist, and Jodie guest vocalling, who’s energy is unparalleled by the funny faces he pulls while strumming, sixties legends Swinging Blue Jeans, and nestled in between, the aforementioned Barrelhouse set, Mantonfest hosted an hour or so of upcoming talent from St John’s School.

Swinging Blue Jeans

There we have it, those ageing rockers The Swinging Blue Jeans, still so cool with their classic cuts of sixties hits, still commanding the stage with gusto and a depth of experience beyond all else, against a plethora of young local students eager to advance their music, surely meets my criteria for a festival for all. 

Renee Hawkins

Five acts in this section I hope the festival will repeat, was kicked off with a nervous looking Renee Hawkins, who through her divine voice came out the other end of her songs looking deservedly chuffed and a hundred percent more confident. Followed by Elton-like pianist Sammy Till-Vattier who breathed so much expression into some self-penned marvels I nodded akiness to Bowie in subject matter, and that’s a high acclaim for anyone.

Sammy Till-Vattier

A second student at the keyboard, Beth Jones, with equally accomplished vocals blessed the festival with some beautifully spun covers, and while they found time for a second tune from wonderful Paul Simon-esque acoustic guitarist Tom Schusster, who previously had first billing at the festival, nestled between those two we had a surprisingly funky collective known as Jvno.

Beth Jones
Jvno

Jvno, pronounced Juno, were sublimely united and tight, with talented saxophonist, two vocalists on bass and drums, and some mechanically ambitious original songs; technically a tricky stunt, the funky rhythms of a contemporary Average White Band, but going on their confident showmanship and collaborative genius, given time these guys are seriously heading places.

If I hark the talented upcomers in my town, Chippenham, Melksham and from Swindon to Salisbury, everywhere young people are creating an exciting new generational scene. Sitting on the grass at Mantonfest thinking about Nick Harper giving a young George Wilding a shot at Avebury Rocks, I reaffirmed Marlborough is no exception.

Of course, the proficiency of Swinging Blue Jeans or James Oliver is going to rock my world, the archetypal brilliance of a Barrelhouse show at this festival built for them I will never tire of, and though I’m sorry to say I missed breakfast rockers @59 and Ol’ Man Witcomb & the Bergamots, I made up for it with the fun of two fantastic tribute acts, the icing on the cake for me personally was this St Johns section, that and some unique chicken and chips I had from a vendor called Surf n Chips, naturally!

We continue to highlight upcoming talent at Devizine, because face it, sadly the mainstream local press seems only interested in projecting an image of gen z hooliganism for clickbait.

Mantonfest 2023

Overall, Mantonfest is a little gem which grows in equal amounts of kindness and charm as it does in stature, yet it seems it hardly expands to unworkable proportions. It doesn’t strive to be the next Glasto, seemingly content with its regulars. Like an exclusive club, if you know you know. Mantonfest will continue, I hope to simply be what it is. If it’s not broken is the motto. 

Still, with a wonderful idea to contrast the appeal of matured rockers and embrace the younger ones who tend to not mess around here, rather, to become apprentices of the music they’re witnessing, and that is something commanding the utmost respect for Mantonfest.