Maggie Rogers @ Glastonbury Festival 2023

Maggie Rogers @ Glastonbury Festival 2023 (Kalpesh Patel)

Now, we are presented with the all-grown-up Maggie Rogers. She has a sophisticated shaggy pixie haircut, is wearing a pale blue 1970’s mini dress and biker boots. A far cry from the all-white trouser affair of 2019 where the striking long red scarf caught the afternoon breeze along with her long tresses as she ran from one side of the stage to the other. This Maggie is confident, edgy and seems to have taken rock and soul to heart. She is delighted dancing, she commands your attention, there is no running here.

If debut record Heard It In A Past Life (2019), was characterised by a folk-indie sound, her second offering Surrender (2022) is funkier and more soulful. The differences bring a constant change in tempo which keep the audience guessing, slower tracks create mood and atmosphere harking on the whimsical, mixed with up-beat drum-led numbers the crowd are taken on a journey. Rogers starts by whipping up the energy with two tracks from Surrender, Overdrive and Want Want, heavy on the guitars and drums. She then follows up with Say It (2019) taking the tempo down a notch, showcasing her unique voice. This is the formula. Whip them up and let them dangle in awe. A treat.

In a rare talkative moment, she shares her second album was recorded near Glastonbury in Bath and those working on it with her visited the festival in winter for inspiration. For the sing-songwriter, Glastonbury is not just a weekend in June. From that visit Be Cool was written to be played right here, at this festival, on this stage. I believe her. It has a dirty bass that somehow evokes innocence and abandon at the same time. It talks of taking time to be who you are and hang with your friends, taking time to be cool with the simple things in life. Such as being present on a Saturday afternoon in the sun being serenaded, perhaps? Alaska is given a soulful make over, it still sounds so fresh. Rogers takes a dance break through her most well known song, showing just how relaxed she is. For Love You For A Long Time, a stand-alone single from 2021, her guitar skills are displayed alongside her melodious folk-y vocals.

Awe and wonder is not reserved for those watching, the singer-songwriter can be caught smiling wistfully and singing off mic with the crowd, so their voices are given room to breathe. During Fallingwater everyone is encouraged to clap, no words are needed. The performer proceeds to get lost in the performance closing her eyes making you wonder where she’s gone. The final song, last year’s Where I Am is delivered with gusto, we are rocking out, there are symbols crashing and hips swaying plus a reeeeeeally long note held. That voice. Wow.

Maggie glowed, having thought about playing here for 3 years you can tell Glastonbury means a lot to her. The performance sparkled, the field bathed in sunlight felt ethereal and we’re left with the impression the healthy glow she gives off comes from within, as well as without. But, isn’t that what it feels like when you come home?

Review by Sharmayne Robinson and photos by Kalpesh Patel at Glastonbury Festival 2023.

Carly Rae Jepsen Really, Really, Really Likes You At Glastonbury 2023

Rick Astley @ Glastonbury Festival 2023

Rick Astley @ Glastonbury Festival 2023 (Kalpesh Patel)

When people are starting to fray around the edges, having partied hard for at least 2 days in the oasis that is Worthy Farm in Somerset, midday on a Sunday is a challenging slot to fill. Opening with classic Together Forever (1987), Astley swiftly acknowledged that most people were only there to hear that song and promised it would close out the set. No more guessing. He worked hard to get the audience warmed up, cracking jokes and playing games with the cameras and those who made sure to be on site early were treated well for their eventual participation. The singer was depreciating and witty throughout, generously showing appreciation for his band and singers along the way, allowing them to shine individually as they all got to live out their own childhood dreams of the festival, taking their moment at the front while Rick hung off to the back or side.

Moving effortlessly through Keep Singing (from his anniversary album, 50 in 2016) which admittedly not many knew, to cover a track pretty much everybody knew, As It Was by Harry Styles. Astley threw a guitar round his neck and gave it an 80’s synth makeover playing A-Ha’s Take On Me underneath. Genius. Cry For Help (1991) was atmospheric and sounded like it was being sung in a church, rather than in a field in the middle of the Somerset acountryside.

The very modern salmon pink suit worked fabulously against the 80’s outfits of Dawn and Lauren (the choir of two) donned in sparkling denim jumpsuits featuring fluted cuffs. Back to that 15-year-old in a garage, when the vocalist moved to the drum kit he took on, and nailed, AC/DC’s Highway To Hell sharing it was a dream come true for him. We were treated to a new track Dippin’ My Feet (2023) telling the audience he would be a fool not to take advantage of the biggest audience of his life and the TV being there, he was right and it was well received. The beauty of this musicians’ time at the Pyramid was making new things old and old things new.

Closing, as promised, with Never Gonna Give You Up (1987), that song, the whole field was singing along before a note was even played. It was the call and response track of the day, completely worth the wait. When the music kicked in, the band accompanied by the stage staff displaying a choreographed routine along the safety barrier, a unique touch where no one cared IF anyone pointed the wrong way. I did miss the famous finger click and hip sway from the music video, but it was the perfect end to a tricky slot.

I came away thinking what a talented gentleman, he knows how to work a crowd and appreciates his musical history. Very obviously delighted to be on the stage showcasing his ability on a range on instruments. Rick Astley’s Glastonbury debut was everything I wanted to see. Overall 10/10? No notes (apart from these).

Review by Sharmayne Robinson and photos by Kalpesh Patel at Glastonbury Festival 2023.

Carly Rae Jepsen Really, Really, Really Likes You At Glastonbury 2023

Carley Rae Jepsen @ Glastonbury Festival 2023

Carley Rae Jepsen @ Glastonbury Festival 2023

Surrender My Heart from 2022 album, The Loneliest Time was the opening choice and perhaps it was her way of saying she was surrendering, or asking the crowd to surrender to her. It worked, she smiled and strutted in chunky pink platform boots keeping the masses in the palm of her hand. It was a master class of pop excellence. The set took its content from Jepsen’s 6 album back-catalogue and featured a new track, Shy Boy, which received a pretty big cheer. The announcement coincided with the removal of her pink cropped camouflage jacket, I can’t be sure some of the cheer wasn’t for that.

There was much arm swaying and too many people on shoulders seeking that all important camera shot to be displayed on the screen. Jepsen was a consummate professional, her engagement grin-inducing. She used her backing singers as confidantes and treated the crowd like friends. She was just the right amount of chatty, humorous and vulnerable. When introducing Bends, she said it had personal meaning for her, a change in tone from the main focus of parties, boys and love or heartbreak. Her voice was occasionally pitchy, but that was ok. At regular intervals the shout of “Let’s Go” caused the throng to jump along with her and generally raise voices for a choral accompaniment to the tune.

My personal highlight was the crowd-pleasing I Really Like You followed by (I) Want You In My Room into pick-up-song turned life mantra (her words) I Didn’t Just Come Here To Dance, all sing-a-long-tastic.

The whole experience was the perfect upbeat start to the weekend. Carly enjoyed herself claiming the memory was implanted already before she launched in her closing number, Cut To The Feeling. Which was euphoric in delivery and obviously, had everyone chiming along. Until next time, Ms Jepsen. You were a joy.

Review by Sharmayne Robinson and photos by Kalpesh Patel at Glastonbury Festival 2023.

Royal Blood Blow Eardrums For Glastonbury 2023 Pyramid Stage Set

Mavis started her career by joining the family business, The Staples Singers, led by her father Roebuck “Pops” Staples, singing with her siblings in about 1950. The group used their popularity to raise awareness of several issues and address difficult topics, especially lending their voices in support of the Civil Rights Movement during the 1960s. Staples branched out on her own in the late ‘60s but kept her material challenging and she continues to be relevant and provide social commentary through her music today.

The genre tags of Gospel, Soul and R’n’B don’t seem to be enough. Country, Blues and Rock ‘n’ Roll also feature heavily in her repertoire. The latest studio album, If All I Was Was Black released in November 2017 showcases all of these styles. This is a collection of tracks with a variety of influences that speak to the conversation on colour and the ramifications of tensions within the United States (specifically) today. It also deals with the seemingly growing struggle of loneliness and the need for individuals to feel supported. On this occasion, these themes came wrapped with poignancy and were delivered with vocal excellence as an extraordinary journey commenced.

Union Chapel is the epitome of the intimate venue, the lighting and acoustics give artists a helping hand on their way to creating a bond with the audience watching them. Mavis didn’t need this extra help, closeness is who she is. The feeling of being cherished by her was held in a field two weeks ago and on Glastonbury’s Park Stage on a June Saturday afternoon in 2015, as much as in the tiny chapel in which I found myself.  However, she took full advantage of the cosy surroundings calling those enthralled by her performance cousins very early on.  The dusky haze brought on by the setting sun through the paned glass windows was a nice addition to the spotlights. There were few moments all evening when Mavis was not making eye contact with someone in the audience, interrupted only when she was interacting with her band.  We were privy to impromptu stage discussions; a couple of song restarts and lots of laughter.

The intro bars were played for If You’re Ready (Come Go with Me) by The Staples Singers which had the crowd on their feet before ‘The Queen’ was even on the stage (a comment I overheard while waiting, after Nick Corbin had completed his acoustic support set.  A comment which I have no problem endorsing. Move over Beyoncé). Introduced to the stage by the band leader, Rick Holmstrom, we were invited to come and go with her for the night. Mavis, I accepted wholeheartedly.

A classic rock ‘n’ roll riff on a heavy bass brought us the upbeat Can You Get to That from the album One True Vine (2013), with Vicki Randle and Donny Gerrard taking up backing vocals we were gifted with a beautifully harmonised acapella ending as the stage was bathed in pure white light. Slippery People, a Talking Heads record covered by The Staples Singers was presented next. This song is disco-style in its original-cover form, as Mavis pleads “put away that gun, he’s alright” the delivery is as gospel rock ‘n’ roll, complete with proper scat chat, harmonies, drum rifts and a Van Halen-esque guitar solo from Rick.

A small breather gives Mavis her first opportunity to chat with the crowd, commenting on how much she loves the venue and how happy everyone looks “same as we left you last year”. Staples brought greetings from Chicago, the windy city, from where she hails and sets the intention for the evening “a little joy, happiness, inspiration and positive vibrations”. As she name-checks her fellow city mates, it is a list of rhythm and blues royalty with whom she’s worked. Howling Wolf, Muddy Waters and Pops Staples (chuckle).

She leaves other collaborators out (the list is that long, although more likely as they are not Chicago-born). She promises to do “that [which] needs to be done” to fulfil the intention. And she does, treating us to a mellow reworked version of the Staples Singers, let’s Do It Again released in 1976 with Curtis Mayfield. There’s the chance for a little fun as an unannounced competition ensues with Rick to see who can go the lowest. They are both almost on the floor. Mavis wins, mainly because her diminutive stature gave her a head start.

A second of silence leaves an opening just big enough for a woman in the front row to lead the audience in an impromptu chorus of happy birthday for the leading lady. Mavis beamed as she thanked the hoarse throng saying she’s “grateful to make another year. Y’all can’t get rid of me”.

Build A Bridge from her latest album is a call to notice our surroundings and those around us. Ironic, as the attention was firmly on the stage. The way the song was delivered gave a sense of Aretha Franklin. The stage was awash with red light and Who Told You That, also from her latest studio offering was played with a knowing smile. Mavis looked playful, planning to cause some trouble and take us along for the ride. The “ooo hoos” at the end of this one possibly inspired by KT Tunstall‘s, Black Horse and the Cherry Tree.

In keeping with the impressive contact list Bob Dylan‘s, When Death Comes Creeping (Whatcha Gonna Do?) was led by Donny Gerard and given a make-over. The pair sang in a canon, which gave an earthier spiritual sound to the stripped back rock ‘n’ roll original. It started heavy, you could almost feel a weight on your back, but as the guitars and symbol got louder, the crescendo lifted the mood somehow and the room felt lighter. Take Us Back (2016) encourages us to take the time we need for ourselves and our loved ones leaving you feeling bolstered and lifted. A decisive elbow slam from Mavis was a cue for the band to make an abrupt stop.  The band were all so aware of each other, this move was executed perfectly every time.  This one, not an exception.

Dedicated (2016) felt like a conversation with a well-meaning aunt. We’re Gonna Make It (2010) was pure gospel complete with vigorous hand clapping which was rousing and motivating, bordering on frantic.  Mavis clapped slightly ahead of the band encouraging them to go faster as if that were possible. She took a brief sit down afterwards as if it was all too much.  Her words, not mine. Possibly wanting to extend her breather, she tried to hand off the reins but was cheekily denied and Little Bit (2017) brought us right up to date, the first track on If All I Was Was Black.

We’re taken half a step back to Love And Trust from 2016 album Livin’ On A High Note, the acknowledgement that “the simplest things can be the hardest to do” delivered with zeal.  You’re Not Alone from 2010 album of the same name was delivered with such depth and conviction that I welled up. There was so much emotion in the room, which continued through No Time For Crying, a commentary on the state of America today. Mavis isn’t shying away from any issue, a message being sent as she implores “we’ve got work to do”. The lyrics on the album version are “people are dying”, these were added to and adapted on the night to talk about children being taken from their mothers, this scenario actually playing out in the States in the last few weeks.

And there we were to close, except the crowd protested, staying on their feet cheering for more and they were not disappointed, again being referred to as cousins.  An unplanned “on stage conference with the majors” left me thinking maybe the encore wasn’t in the schedule, which only added to the close feel of the evening, Little Bit was played again but this time used to introduce the band.  Rick Holmstrom (band leader and lead guitar), Jeff Turmes (guitar), Stephen Hodges (drums), Vicki Randle (vocals) and Donny Gerrard (vocals).  Sounding fresh, Touch A Hand, Make A Friend (1973) by the Staples Singers was the parting gift.

At 79 years old exactly, Mavis Staples has maintained the rich, soulful tone for which she is known, managed to stay relevant and popular, some of her best work (in my opinion) being released in the last 10 years despite a career spanning over 50.  The collaborations and credits list is as long and varied as the types of musical styles she has lent her vocals to.  Track and studio mates ranging from Van Morrison and Bob Dylan, Prince, The Gorillaz and Arcade Fire, a testament to her talent and versatility.  She effortlessly moves through genres adapting her tone and lyrics to suit the message she is trying to convey, her mood always buoyant.

The evening was one big band jam session held in someone’s rather grand living room.  I left knowing I’d been in the presence of greatness (Staples has been inducted to the Rock ‘n’ Roll Hall of Fame as well the Blues Hall of Fame).  Mavis shared that we made her feel good, she had wanted to give us enough energy that we would be fulfilled. I would suggest she did that and more.  When she said she would be grinning in her sleep all night, I think everyone there expected to do the same. The perfect end to the perfect evening. I know I did.

Live review by Sharmayne Robinson and photographs by Sarah Sievers of Mavis  Staples at Union Chapel on 10th July 2018

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