Glastonbury thrives on the unexpected, on supplying moments that other festival can't touch.

Last night (June 29th) The Rolling Stones breezed into town, performing a brand new track they'd written in honour of Worthy Farm. As sublime as that event was, another performance thus far this weekend has caught our eye.

Primal Scream's re-invigorated return has been a joy to behold, with their studio energy clearly carrying over onto the stage. Attacking Glastonbury with a real sense of purpose, Bobby Gillespie was quite possibly the most dapper man in Somerset (at least for a weekend).

Inviting HAIM onstage, the trio supplied some gospel tinged backing vocals on classic single 'Rocks'.

Check out the performance below.

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Follow Clash reports from Glastonbury HERE.

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OFWGKTA @ The Forum, London, Monday 1st

Odd Future are back, performing as a collective for the first time on these shores since their Reading and Leeds shows last August. At the Reading show they just wouldn’t stop, prompting the festival to pull the plug. And fans at this sold-out show can be sure to expect another vigorously committed performance. This is their last scheduled show as a group before the motley crew jets off for festivals abroad. You can also catch former Clash cover star (and designer) Tyler, The Creator at T In The Park in a couple of weeks.

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The Smashing Pumpkins @ O2 Academy, Glasgow, Tuesday 2nd

The mammoth task of reissuing The Smashing Pumpkins’ whole back-catalogue continues this month with the release of 1996 compilation ‘The Aeroplane Flies High’. Ahead of the release of the deluxe, remastered set, and fresh from their Glastonbury performance, the band heads north to give the Scots a slice of the action. Opening for the rock heavyweights are Californian trio Beware Of Darkness.

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Beck: Song Reader Live @ Barbican, London, Thursday 4th

Genre-defyer, multi-instrumentalist, master-sampler. Beck is many things, and let it never be said that this man doesn’t know how to mix it up. His last release, ‘Song Reader’, took the form of sheet music, and Beck invited fans to send in their own interpretations. This week he’s lined up an all-star cast to perform the album at London’s Barbican. Bringing the pioneering project to life, Beck will be joined by Jarvis Cocker, Franz Ferdinand, Beth Orton, Charlotte Gainsbourg, Joan As Police Woman – we could go on, and on, and on. Seriously.

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Pissed Jeans @ Electric Ballroom, Friday 5th

Rounding off a week in gigs, Pissed Jeans provide the perfect respite from a hard week at the office. Shed your shirt and tie, don some ripped-up denims, and jump straight into the mosh pit at Camden’s Electric Ballroom. Joined by Hookworms and Sauna Youth, the trio of punk bands promises to be loud and lairy. Although hopefully not quite as severe as the band’s video for ‘Bathroom Laughter’…

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Words: Emily Anderton

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Clash has been at Glastonbury Festival since Wednesday afternoon, absorbing every drip of cultural moisture that Britain's most mystical festival has to offer. Here is our recap of Friday, the first official day of full music.

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Glastonbury has so much to offer, aside from the music, that it's easy to lose track of the stage programs. However, the arresting sight of thousands of people going batshit crazy with every flag you can imagine breezing above their heads is still something special.

The Hives are the first band to bring this vibe to Friday. The charmingly bipolar stage persona of frontman Pelle Almqvist creates a garage-rock talk show atmosphere, and he stretches their 2007 hit 'Tick Tick Boom' to over eight minutes so he can introduce and socialise with the front row between verses.

Alt-J grace the same stage a few hours later, and deliver the performance of the day. The delicate songs of ‘An Awesome Wave’ become earthy and hymnal within these spiritual surroundings, with the stone circle in squint’s view and ancient ley lines running beneath your feet.

They close the set with a Gregorian-inspired vocal harmony before rolling into ‘Taro’, an epic finale of Middle Eastern guitar plucks pranging out over the thousands.

Smaller stages across the site start to hit their stride, and Mount Kimbie keep up the momentum over at the new William's Green area. It's a low turnout, as they battle with Dizzee Rascal's Pyramid gig, but those that bothered are hardcores. That fascinating collision of minds they bring to the stage, one rock and one electronic, sounds massive live, with frenetic riffs hanging out over pounding soundscapes.

With Mount Kimbie finished, it’s time to journey to Shangri-La, Glastonbury's most notorious and nefarious corner. It's a place the thousands ascend to, once the stages have finished, to continue their mischief in much more debauched ways.

This place is mad and devious. As we walk in, a hi-vis security guard barks down his phone, "We've got a man trapped on the toilet. He's 20 stone. He's been there all night and apparently he's on LSD." After a few hours in here, this type of chat becomes the norm.

The area always embraces a theme. Two years ago it was the viral apocalypse. A rave to end all raves, where you were encouraged to sacrifice your soul to the DJs. The world ended then.

This year we begin in the afterlife, or the 'Shafterlife' as they call it here. The words "One man's heaven is another man's hell" are daubed across totalitarian propaganda posters that cover every patch of wall, with Mr Eavis himself making the odd satirical Lenin-like appearance in the artwork.

You can make this decision yourself. The entrance to Shangri-La brings you first to the good end. Cloud 9 is a fluffy ambient bar on your left. Purgatory is a dank boiler room, with cracked leather chairs, broken switchboards and abused typewriters. Eventually you reach the gates of heaven, and the Desk of Judgement.

Here, revellers get into queues and wait to speak to one of four angels. You must convince them you need to be in Heaven, or you're not getting in. You can be charming, or you can just bribe them. Either works just fine. Once inside, Heaven is a beautiful interpretation of all the popular stereotypes.

Clean, white, gentle and organised fun, it’s spread across a large room of cushions and low lighting, a harpist plucking pop tunes on stage. On the tip of some gossiping angels, we make our second visit to Heaven at 1am, and find Thom Yorke DJing to a house party vibe of 200 or so.

The Radiohead frontman dances up and down the stage, whilst Daphni's mix of 'Cos Ber Zam' thunders out. His two-hour set is a personal and sociable set of African-inspired bass, followed by some meaty house and techno.

If the world's oldest juxtaposition didn't as much hint already, Hell is the complete opposite to the Thom Yorke parties of those pearly white gates. It has seven circles, each more depraved than the previous. Sick Sick Sick is Hell's main indoor joint. A live drummer bombards his skins over the DJs, who are playing wonky bass and the odd questionable dubstep remix.

The club also has a smaller room, called The Glory Hole, where brutal pornography is projected as a camera films those who enter. Their reactions are then projected back into the main room.

Around the corner is Love Bullets, a bar made entirely from (you guessed it) old bullet cartridges. And on your left, before this, sits Pluto's Bazaar, a tiny and dingy room where ravers are forced to contractually sell their soul, so that their faces can be advertised to those queuing to get in.

Back down the corridor, where microphones are hidden in chandeliers above your head to amplify the idle chatter, you reach the last circle of Hell. A sign offers two options: are you feeling murdery or slothy?

Slothy leads back to the bar; Murdery to the inferno's pièce de résistance, Hell's main stage. As we pass, Craig Charles is spinning lost funk and soul records. His collection appears to have survived the apocalypse unscathed. 

If this is the afterlife, then where do they go next? Shangri-La's creative director assures us that this warped narrative still has much more to reveal.

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Words: Joe Zadeh

Follow the Clash team’s adventures at Glastonbury via Twitter, using #clashglasto2013

Find Saturday's highlights here

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Today’s Fashion Round Up is a two parter with a heavy focus on those Sibling’s. The ones who actually are not related by blood, but by a love for all things made from wool, those ones!


They may have brought denim into their world for SS14, but it remains that Sibling and their sister label, Sister by Sibling are a knit focused brand. On Tuesday Joe Bates, Sid Bryan and Cozette McCreery were announced as the winners of the European leg of the International Woolmark Prize 2013.

From a group of ten shortlisted labels, judges including’s Tim Blanks and Angela Missoni (of the Italian brand) decided the trio should win. The prize is a financial contribution of $50,000 AUD, which will be put towards creating a capsule range from Merino wool.

The capsule line will be debuted at Milan Fashion Week in February, where the overall winner of the prize will be announced.


Next up Newgen. Earlier this week the British Fashion Council announced the SS14 womenswear recipients of the designer support initiative, sponsored by TopShop. Amongst them Sister by Sibling, receiving catwalk sponsorship alongside J.JS Lee, Lucas Nascimento, Marques’ Almeida and Simone Rocha.

Nasir Mazhar, 1205 and Sophie Webster each received presentation sponsorship, while Liam Fahy was given exhibition sponsorship.

The help from the BFC and TopShop is increasingly crucial to supporting and nurturing new talent in London, with many Fashion East alumni receiving sponsorship almost as a second step in their careers.


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Wiley appears to have backed out of playing at Glastonbury following a flurry of explosive tweets.

Wiley speaks his mind. The grime pioneer has never shied away from sharing his opinion, often landing him in hot water in the process.

Scheduled to play this weekend's Glastonbury festival, the rapper sent fans a series of tweets expressing his disgust at the event. One of the searing highlights saw the artist take issue at Glastonbury's stance on paying artists rather less than other festivals – in part, of course, due to the festival being an anti-corporate event.

Now it seems that Wiley has packed his bags and fled Worthy Farm. A few moments ago the rapper wrote: "Ya know what… en route to heathrow realtalk…lol …."

However Wiley did have one final message for fans: "Make sure you go see the Rolling Stones tho…"

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Graham “G” Hastings sits in a basement surrounded by drying T-shirts, scowling into his webcam. It’s just him, as two Young Fathers – Ally and Kayus – are missing. “We’re all Juniors,” explains G in a broad Scottish accent; each shares the name of their father.

Despite forming in Edinburgh, the group is a cultural melting-pot. Kayus was born in the ‘Burgh to Nigerian parents, and has lived in Nigeria and the States before returning to his birthplace. G himself pertains from the gloomy Drylaw housing scheme, while Ally was born in Monrovia, Liberia. He left during the war when he was four, relocating to the wind-ridden Lothian climes.

The trio first met in the bass-quaking sweat pit of Edinburgh’s Bongo Club, an event that played out as some kind of cult initiation. “We were in this circle where people were dancing, so I remember I was introduced to them and we just shook hands, nae one said anything, we just shook hands and danced. Three hours went past and it wasn’t until after that when we decided to do something,” G remembers.

Going on to play open-mic hip-hop nights in the capital, they refused to conform to convention. “We would do structured songs with arrangements whereas everybody else would be battling for like f*cking four hours or whatever, and we would come up with a MiniDisc of beats I’d made. We would just do it as a big f*ck you to them. We revelled in annoying people who just wanted to rap for ages.”

G is keen, however, to stress that the group aren’t straight-up hip-hop: “I think it’s cos we rap, people always see us as hip-hop, but for us to start a song and know what the genre’s gonna be by the end of it, that’s like a sin.”

In fact, they’re adamant that they’re pop boys. “WE ONCE THOUGHT WE HAD A TOPPA THE CHART RADIO SMASH RECORDED ON A KARAOKE BOX,” reads their Tumblr.

But their latest offering, ‘Tape Two’ (the follow-up, unsurprisingly, to ‘Tape One’; find the Clash review here), sounds a little like Death Grips’ MC Ride meets WHY?. Which, of course, is no bad thing at all.  

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Where: Edinburgh

What: Darkly melodic rap, cloudy instrumentals

Get 3 Songs: ‘Deadline’, ‘Romance’, ‘I Heard’ (video above)

Unique Fact: Ally remembers a time during the war in Liberia when a missile exploded outside the church he was in with his mum and he took shelter under a table, surrounded by broken glass.

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Words: Felicity Martin

Photo: Neil Bedford

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It was sweetly reassuring for Clash, as we entered Kensington Gardens two nights ago and noticed Jake Bugg. Alone with his manager, standing quietly in the midst of what is annually dubbed, The Party of The Summer.

This, the Serpentine Summer Party, was co-hosted by L‘Wren Scott. Former model with the limbs to match, designer of many grand frocks noted on the night (including her own gold sequin number), and Mick Jagger’s other half.

Tomorrow Scott-and numerous other guests, Bugg amongst them-will have swapped Hyde Park for Worthy Farm and be eagerly awaiting the Rolling Stones debut Glastonbury performance. On Wednesday though, the buzz was all about the there and then.

Respected individuals from the worlds of fashion, art and music-Nick Rhodes, Lianne La Havas, the Sibling trio, Kate Moss, Sue Webster and Tracey Emin included-gathered on the lawn outside the art gallery to celebrate the arrival of the 13th Serpentine Gallery Pavilion.

Designed by Japanese architect Sou Fujimoto, the large work is white in colour and made up of squares and rectangles, pronouncing it as a kind of angular cloud. The clear discs on top act to prevent rain getting in, but appear almost like rain drops in this particular cloud.

Music on the night was provided by 2manydjs, Jake Bugg and Findlay. First on, Findlay lead singer Natalie dressed the part in a squiggly red dress and gold crown, exclaiming ‘What a lovely night, what a lovely bunch of people’.

Echoing the same garage rock sounds and passionate vocals as Jack White in his Raconteurs period, the band who’ve ‘come all the way from Dalston, via Manchester’ paired the rough with something a little more sultry.

Jake Bugg followed closely behind, leather collar up, suede desert boots on. No band just a man and his guitar, spitting as he sung favourites such as ‘Lightening Bolt’ and ‘Two Fingers’ with few words spoken in-between.  

The crowd that had stood away at a safe distance for the support pulled in closer for Bugg, blogger Bip Ling amongst those pulling shapes to songs from his country doused debut album.

Before 2manydjs’ set guests were treated to a silent light installation within the pavilion. Harsh flashes of bright white popped up all over the work. As the music started back up the flashes integrated into the night, creating an almost clinical club scene in the centre of the grass.

The rest of the space remained dark however, allowing for all manners of famous face to slip into the night and enjoy being outside, uninterrupted by the weather. We can't promise the same will ring true tomorrow…


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Individual artist, pop star remixer and now, confirming his spinner’s legitimacy, on the Get Lost decks without it being a makeweight between his previous two trades.

Orlando Higginbottom is now officially a triple threat: that breathy vocal of the Brontobeatsmith translates into the sort of deep house that’s a diligent, hard-to-distract, but sometimes hard-to-love game of patience that Crosstown Rebels are all about.

Disc one is a below-stairs dweller finding pleasure in nooks and crannies, circling the ring for time, mixing up dusky taste with factory floor piston work and leaving oily dancefloor deposits.

Axel Bowman’s ‘Klinnsmann’ is worth diving onto the dancefloor headfirst for, a slowly built, inclusive vibe through Casino Times and Dave Aju making Higginbottom’s headdress feathers bristle, when not charged to re-stiffen at any time.

Much like the personality that pulled his studio album ‘Trouble’ together (Clash review), TEED is open to ditching the enigma of self-regard in order to pump up the volume. And, like the last edition mixed by Acid Pauli, he’s adroit at playing the game his own way.

It takes a while to get there, but disc two’s spins of Visnadi’s ‘Hunt’s Up’ and Trus’Me bleeper ‘It’s Slow’ apply Deep Heat before Future Four’s ‘Into Orbit’ and Separate Minds’ weirdly cross-purpose ‘Troubled World’ don high-vis pianist tuxedos.

Throwback jacks applaud Higginbottom’s laudable vinyl-scavenging acumen, and through electro and tribalised pullbacks, Breach’s ‘The Click’ and ‘Tonight in Tokyo’ get on the bass-house boat to cut above the deep house template as TEED’s own banger with Eats Everything cuts the crap.


Words: Matt Oliver

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It’s not very often you hear country made cool. Cue, Daughn Gibson.

The ex-trucker with the deep baritone of Johnny Cash has already convinced us we are dealing with a man, not a boy.

Gibson blends traditional (American) country with experimental electronica in an effortlessly cool fashion. Opening single, ‘The Sound Of Law’ is fast-paced and dynamic, its lyrics and bullet-like snare coming in simultaneously after some mysterious strings.

This enigmatic mood is continued through ‘Phantom Rider’, and we move into an immersive Portishead-like soundscape. Guitars cascade into pools of water in the psychedelic ‘The Pisgee Nest’, and cowboys ride bareback through twanging guitars and stomping beats in ‘Kissin On The Blacktop’. 

There are moments of classic country mixed with unpredictable ambient samples – some of which seem completely absurd (check out the bagpipes in ‘Mad Ocean’). Yet it all kind of works.

If you stand back and appreciate the whole, like a Monet, you will be delighted and intrigued.

Words: Sarah McRuvie


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Rudimental are set to acts as mentors during this year's Bacardi Beginnings project.

Well this should be exciting: after a successful first run in 2012, Bacardi Beginnings is back for another year of collaborative work. Last year, this music mentoring programme saw Joe Goddard (Hot Chip) work with Jessie Ware, Friendly Fires work with Aluna George and Mylo and Ronika.

These established artists work with new, up-and-coming musicians, allowing them to gain more experience and giving them a bigger platform to showcase their work. This year, the first pair announced will be Rudimental and Bipolar Sunshine.

Their project – 24hr A & R – is to work together on producing a track completely from scratch and then perform the final cut live, all in 24 hours. The unique opportunity to see their collaborative music live, will be a gig located at The Vaults in Waterloo, and you can get tickets here:

Rudimental's energetic approach to their work and creative experience will no doubt make for an interesting project; their distinct electronica combined with the electro pop mindset behind Bipolar Sunshine could well conclude in something vibrantly fresh.

Being fans of their work, Rudimental have specifically chosen to work with Bipolar Sunshine and hope to raise their profile in an ever-crowded music industry.

Clash awaits the outcome (Thursday 11th July) with curious delight.

Words by Sarah McRuvie