16 July 2007 (gig)
29 July 2007
The tag-line for this event promises that Latitude is 'more than just a music festival’. To prove their all-encompassing cultural credentials the weekend offers a Literary Tent, a Poetry Tent and a Theatre Stage in and amongst the usual music venues. Apart from the distinct lack of any type of dance music (more of which later), Latitude attempts to cater for many tastes.
Perhaps more than any other festival, Latitude has the potential to invigorate anyone jaded by the modern music scene. Although the eclectic music policy plays a vital part in this, Latitude’s ability to showcase new music is largely to do with the festival set-up itself. Due to its size, you are able to wander from one stage to the next without fear that an entire set would be missed during the journey. The lack of massive headliners means that there is no pressure to stick to a tight itinerary, and if the main act isn’t doing anything for you, it’s perfectly easy to go and find something you do like without losing your friends for the rest of the weekend.
A trip to the bar may result in chancing upon some unknown, intriguing act, and unlike the majority of festivals you are perfectly able to stay for a while and enjoy something new, safe in the knowledge you’re not going to miss an essential band on the main stage/ never make it to the toilets in time/end up wandering around, lost and alone, praying you bump into someone who can tell you where your tent is.
The atmosphere was so conducive to a laid-back attitude that my usual festival-nazi tendencies subsided. I replaced my strict itinerary with recommendations from strangers and my schedule of acts with a pint of Aspell’s cider. This technique paid dividends; I witnessed sixteen acts on the Saturday alone, most of which I would never have happened upon at a larger festival. As a means of discovering new bands without being prejudiced by the hype that surrounds them, this approach is unparalleled.
Going against the conventional headliners were the less publicised but perhaps more interesting acts of the weekend. The proximity of the stages allowed for a few tracks from the main stage before exiting to a smaller stage for something little less commercial (if it’s possible to brand Wilco commercial).
Tiniwaren offered something special for the eager crowds on Friday night. Malian desert music doesn’t often resound around the marshlands of Suffolk, but the rapturous response to their set suggests that they would be welcomed back if they ever fancied playing the Dallinghoo village fete. Home-grown talent Kate Nash packed the theatre tent out, and Patrick Wolfe charged enthusiastically round the second stage like a toddler high on Sunny Delight.
Saturday’s blazing sunshine lead to Bat For Lashes’ Natasha Khan regretting her outfit choice of black cat suit, but her discomfort did not detract from a spellbinding set. The other notable performances of the day came from Dan Le Sac vs. Scroobius Pip, who injected the weekend with some much-needed beats, and Rodrigo Y Gabriela, whose set was so well received the cheers threatened to drown out The Good, The Bad and The Queen on the main stage.
With a violin, a loop pedal and a keyboard that looked as though he had bought it from a car-boot sale, Toronto’s Final Fantasy was the highlight of the weekend. After a superlative set showcasing unparalleled dexterity, talent and wit, even Jarvis Cocker’s energetic cover of 'Eye of the Tiger’ seemed mediocre. That’s not to say that Sheffield’s finest wasn’t on good form; his ability to please a crowd is second to none, even when most of the audience are waiting to see if he’ll play 'Common People’.
Final headliners The Arcade Fire put on a show to stun even their detractors. For their fans, the performance didn’t disappoint. Large enough to be a spectacle, but intimate enough to feel a part of something special, they tore through their hits with virtuosity. Alternative headliners The Gotan Project didn’t stand a chance, despite a satisfyingly smooth and sensual set.
The location, diversity and atmosphere suggest that Latitude has the potential to be one of the best festivals this country has seen. Next year, Mean Fiddler need to focus on two aspects; a rethink of festival logistics (despite a stunning line-up, the comedy tent was a no-go area for the majority of the festival), and the pitiful lack of any music outside of the typical white, Guardian-reading, ciabatta-toasting, 'alternative’ section of HMV. Comedian Russell Kane based his show around mocking the audience’s middle-class sensibilities ('Let’s pelt him with quails eggs and tomatoes. These are sun-blushed, you fuck!’), and the lack of any type of jazz, hip-hop, soul or dance music did leave an embarrassing hole in the schedule. Once this has been addressed, Latitude will definitely merit a place in any discerning festival-goer’s summer.
