Amelia’s Magazine | Glastonbury 2010 Climate Camp Tripod Stage Review: Friday

KIRSTY-ALMEIDA-Lisa Stannard
Kirsty Almeida by Lisa Stannard.

On Friday we kicked off with Kirsty Almeida, who you can read more about in our interview here. My description of her music as bayou blues meets dub bass might suit her recorded material, but for this small show Kirsty ditched the big band that would later be accompanying her on the Avalon stage and instead took a more stripped back acoustic approach, dressed in a fetching stripy all-in-one pants suit.

KIRSTY-ALMEIDA-Lisa Stannard
Kirsty Almeida by Lisa Stannard.

A particularly creative course of action was required from all the percussionists who visited the Tripod Stage and, in between rattling and banging a wide variety of objects, Kirsty’s drummer once again stole the show… dancing and gurning in accompaniment to her song about the “wrong Mr Right” in a thoroughly endearing fashion.

Glastonbury 2010 Climate Camp Kirsty Almeida
Glastonbury 2010 Climate Camp Kirsty Almeida
cheeky drummer!
Glastonbury 2010 Climate Camp Kirsty Almeida

One of a breed of strong female musicians who have no desire to fit the normal pliable record label mould, Kirsty was relaxed and chatty during her songs: an absolute delight. Her album Pure Blue Green comes out on Decca on 31st August, and she finished painting the album artwork just last night!

Kirsty on the Tripod Stage: I loved how creative yet peaceful the area was. The stage was so beautifully bonkers it brought our bonkersness out of us and gave us a licence to be cheeky too.
Kirsty’s favourite part of Glastonbury: Definitely all the street entertainers. I loved The Dead Weather too but for us as performers the highlight was definitely the chance to entertain and share our music.

Following Kirsty we had a session from Newislands, who despite worries that they would not be able to make a big enough noise managed to wow a small but perfectly formed mid afternoon crowd with their melodic post rock.

Abi Daker - Newislands -Glastonbury
Newislands by Abigail Daker.

It was only after the gig that I discovered they were missing their bassist Bogart…. we are mutual friends of the Mystery Jets and met many years ago at a small festival called Blissfields that we all went to together. Later that night Bogart called on me in my tent with Marina Pepper. I was fast asleep and woke with the fear of God in me…. it wasn’t the best way to be reintroduced but apparently he insisted on seeing me “the nicest person he knows” – I look forward to meeting Bogart again one day when I am wide awake.

Glastonbury 2010 Climate Camp newislands
Glastonbury 2010 Climate Camp newislands
Glastonbury 2010 Climate Camp newislands

Lead singer David’s best bit about playing the Tripod Stage: Well apart from the lovely stage itself, complete with the best speaker system I’ve ever seen, receiving a cup of tea from yourselves midway through the set, was pretty special.
David’s Glastonbury highlight: Apart from playing two amazing gigs, (one for you and one for BBC Introducing), seeing Thom Yorke and Johnny Greenwood on stage together was ace… “For a minute there I lost myself…”
 
Newislands are playing at Napa Live in Cyprus and then return to the UK to play the Farm Festival. A new single, followed by their debut album, will be released soon. You can watch their other Glastonbury performance here.

We then had our first session from Climate Camp poets Danny Chivers, Claire Fauset and Merrick – all of whom deliver brilliant spoken word commentaries on the state of the world. Danny and Claire have a way of making the environmental/political mess we are in make complete and simple sense, and Merrick takes on the whole system. Why do we work? If you’ve heard Merrick speak you’ll question the sense in ever getting a job.

Glastonbury 2010 Climate Camp Danny Chivers
Danny Chivers.
Glastonbury 2010 Climate Camp Claire Fauset
Claire Fauset by Gareth Hopkins
Claire Fauset by Gareth Hopkins.
Glastonbury 2010 Climate Camp Merrick
Merrick.
Natasha-Thompson-Bristling-Badger
Merrick by Natasha Thompson.

After a somewhat more subdued ceilidh we were then treated to the most extraordinary live set from Danny and the Champions of the World, who decided to ditch most of the electrical amplification and instead sprawl towards their audience in a great acoustic morass.

Glastonbury 2010 Climate Camp Danny and the Champions of the World
Glastonbury 2010 Climate Camp Danny and the Champions of the World

This band was made for live gigs…. myself and Dom, the banjo player in Green Kite Midnight, were so enthralled by the set that we dusted ourselves down after dinner and set off to hear them once more at the Croissant Neuf bandstand. Danny is a massively confident and skilled musician who has clearly been playing for years: talents like his ought to be better celebrated.

donna.mckenzie.dannyandchampions
Danny and the Champions of the World by Donna McKenzie.

Danny liked playing the Tripod Stage because: the audience was really great and there was an atmosphere that seemed very ‘other’ to the mad hustle and bustle of the rest of the festival – like a haven of good vibes and togetherness, like a family or maybe like what my minds eye would conjure up when I think of festivals in the 60′s. We really just love playing and it’s always great to pass the instruments around, have fun with friends and sing a bunch of songs, and it felt like the perfect time for that – we could’ve played for hours. The lentil dal [for supper] was a treat too!  

Danny’s favourite part of Glastonbury this year: I guess the best part of it was getting to play music with friends to loads of folks. We were lucky enough to play on a bunch of different types of stages so we got a pretty broad experience of it all – we played about seven times which was amazing… but my feet still ache! It’s what we live to do: drink a few ciders and pass the guitar around. 

Danny and the Champions of the World on the road: Our band really lives and breathes on the road, meeting good people and having a great time playing tunes. We’re doing… Maverick, Cornbury, Lounge on the Farm, Deershed, Secret Garden Party, Port Elliot, Truck Festival, Summer Sundae and Greenbelt – and maybe a couple more that I’ve forgotten. We’ll probably start to record a new record at the end of the year.

But, it didn’t end there…. like a magic jack-in-the-box, there were more surprises in store. Out of the band popped a duo who’s music I have loved since the very moment their album plopped onto my doormat. Like a butterfly emerging (from a particularly sexy and gorgeous caterpillar) Trevor Moss and Hannah-Lou shed the rest of the musicians to perform a few gorgeous tunes of their own. I was beaming like a motherfucker by this point.

Glastonbury 2010 Climate Camp Trevor Moss & Hannah Lou
A surprise performance from Trevor Moss & Hannah-Lou.

And then… I discovered that the band line up also features the delightful brothers who run Truck Festival, a great independent music festival near Oxford. They also run the smaller and folkier Wood Festival which takes place at the gorgeous Braziers Park, a sustainable community where I have camped on many an occasion. I really hope I can hook up with them some more. A nicer and more talented bunch of folk I have seldom met.

Glastonbury 2010 Climate Camp Danny and the Champions of the World
This man runs Truck Festival.

Moving on, my next blog tackles a very busy Saturday on the Tripod Stage – read it here.

Categories ,Abigail Daker, ,Avalon, ,BBC Introducing, ,Blissfields, ,blues, ,Brazier’s Park, ,Climate Camp, ,Cornbury, ,Croissant Neuf bandstand, ,Danny and the Champions of the World, ,Deershed, ,Donna Mckensie, ,Farm Festival, ,folk, ,Gareth Hopkins, ,glastonbury, ,Greenbelt, ,Kirsty Almeida, ,Lisa Stannard, ,Lounge on the Farm, ,Marina Pepper, ,Maverick, ,Mystery Jets, ,Napa Live, ,Natasha Thompson, ,Newislands, ,Port Elliot, ,Prog Rock, ,Secret Garden Party, ,Summer Sundae, ,The Dead Weather, ,Trevor Moss and Hannah-Lou, ,Tripod Stage, ,Truck Festival, ,Wood Festival

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Amelia’s Magazine | A post Tin Tabernacle interview with Trevor Moss and Hannah Lou

Jesca Hoop by Rebecca Strickson
Jesca Hoop by Avril Kelly
Jesca Hoop by Avril Kelly.

I love Jesca Hoop‘s new song City Bird and the accompanying video so much so that I decided to get in touch with both Jesca and Elia Petridis, side effects the director of her recent videos, sildenafil to find out what makes them tick. Elia Petridis runs boutique production company Filmatics in Los Angeles, California. After making several award winning shorts and music videos he is about to start shooting his first full length feature The Man Who Shook The Hand Of Vicente Fernandez. I think his incredibly detailed answers throw an intriguing light on what goes into the creation of a very considered and beautiful music video.

Jesca-Hoop-by-Liam-McMahon
Jesca Hoop by Liam McMahon.

When did you start working with director Elia Petridis?

Jesca: Elia is an old friend. We met in Los Angeles at one of my shows. He would say that he forced me to be his friend, which is kind of true though I would say that he used his clever imagination to lure me in. I’m glad that he did. The Kingdom was our first video adventure together.

Elia: A producer I’m working closely with these days said to me recently that humans are “meaning making machines” (a soundbite from some career seminar) but that phrase really resonated with me. I’m infatuated with screenwriting and personal mythologies, sometimes to the detriment of my own mental health. I grew up in Dubai for 18 years before moving to LA for film school – although Dubai had a lot of its own magic it didn’t have a music scene to speak of so I’m always a little astonished by the talent I find in LA. When I saw Jesca perform live I really felt her music was very special and otherworldly, and tried to do my best to see if, as human planets, we could potentially orbit each other and become friends. 

I would venture to say that the first time I saw Jesca Hoop live was one of the most astonishing musical moments I have ever witnessed. It was the night before Halloween and she came out in a marionette outfit, complete with rosy cheeks, and stood motionless while her back up players wound her up to life. For a visualist like me, a storyteller, it really had an impact. The whole endeavour of courting a friendship with her was kind of a lark for me because I honestly thought she had better things to do. It was just a matter of pushing the boundary between fan and friend and seeing how much I could get away with. Suddenly, unexpectedly, as with most of life’s wonder, we had some mileage behind us and had transformed into friends. I will tell you that the first *official* conversation, the ice breaker, was when she was writing Tulip – from the Hunting my Dress album – and I was writing a screenplay dealing with Tulip Fever in Holland so I leant her my reference material. I knew I had two opportunities to wiggle my way in there – one to give her the book, and one to get it back!   

Hunting my Dress
The Hunting My Dress album cover.

Where was City Bird shot and where did the inspiration come from?

Jesca: It was shot in a miniature haunted house in downtown LA. We both wanted it to be a ghost story and Elia was the one to bring the children’s narrative into it.

Elia: FALSE! The video was shot in a garage in Riverside, Ca. The whole thing was fractal – an infinite amount of information in a finite space, as the garage is attached to an 18th century ‘Painted Lady’ Victorian house owned by my fiance. So in essence, it was shot in a miniature dollhouse inside a bigger dollhouse which made the shoot utterly magic. I think what Jesca is communicating is that the story takes place in a miniature dollhouse in downtown LA. The whole thing was lit using candles and christmas lights. 

Where did the idea for an animated video come from?

Jesca: It came out of limitation really. We had very very little money for this video so we just mused about what we could do with what time and money we did have. I set a pretty hard task considering the resources available and I am delighted with what Elia and his team came through with.

Elia: To me, the track is seance folk. That’s the sonic iconography that City Bird evokes – a ghostly seance. When it comes to music and music videos I am not a literal thinker so although my mind knows the song is about the fright and sadness associated with homelessness that’s not what my heart feels when I hear the song, and it’s not what the dream theatre in my mind projects over it either. But here Jesca’s mastery shines through, because the sonic landscape, right down to the very physical shape her mouth is making around the lyric is just as important as what she’s trying to say; the two are organically woven together. The magic of Jesca’s music lies in the alchemy that exists between form and content. All my artistic heroes do this, from Chabon, to Spielberg; they use genre to sugar coat the pill. So here she uses the disguise of seance music to coat the literal message of homelessness she’s trying to communicate. 

Now, narrative is something I am always running away from when directing a music video. Whenever I read a music video treatment from some kid that went to film school it makes me cringe and I think the best music videos come from documentary filmmakers who get a chance to put forward a psychology of form rather than one of narrative. But, having said that, my instincts on City Bird were narrative, perhaps because it’s a kind of lilting waltz so it felt right to have a narrative to pull you through it.  So, for the treatment, I sat down and wrote an entire ghost story from scratch, in the style of Poe or Hawthorne. I even wrote nursery rhymes about the ghost, because ghost stories are mostly aural traditions.

On The Kingdom video Jesca had a ton of input because I quickly realised that it would only reach its full potential if I pretended to be a paint brush and let her grab hold of the crew through me and paint. Once I took my ego out of the equation I realised there was something special there I was meant to service, and honestly, that’s the best method of working with an artist on a music video, that’s what you really cross your fingers for, isn’t it? You can see a little more of that process on the behind-the-scenes doc of the kingdom here:

But for City Bird Jesca was in Manchester and we were in LA shooting. Her schedule was tight, and I was really flattered that she had enough faith in me to let me just go and shoot because I know how much she loves her songs and how much faith it took for her to let go a little. I had originally submitted an entirely different treatment to her and had kind of resigned myself to the fact I wasn’t going to do it, which was cool enough for me because god only knows how many talented people Jesca comes across in her travels. Surely, I thought, she can find people in the UK to make amazing videos, and surely, as an artist, she wants to go and do cool stuff with other cool people. So I thought I would just give it a shot. I submitted this treatment about metaphorical ghosts, which dealt with mis-en-scene of places that had just been left and abandoned – an unmade bed, plates on a table after dinner, a toilet still running, stuff like that, where humans had vacated the frame only seconds ago and you’d just missed them – kind of pretentious honestly. Then I came across my fiancée’s childhood dollhouse and started taking video and snapping pictures and all of a sudden this whole new idea came to mind of the dollhouse and miniatures and stop motion and ghosts. I sent the examples to Jesca and she totally fell for it! 

City Bird house
City Bird house.

Ghost stories are tricky because they are incredibly emotional stories surrounded in gothic imagery. Ghost stories like The Others, The Orphanage, The Sixth Sense, are rite of passage stories – they’re about letting go. About the dead letting go of the living and the living letting go of the dead. They’re NOT about the living being punished for a sin like horror movies, but about forgiveness of that sin from all parties, the relinquishing of unfinished business. And I wanted to nail that, I really did. In City Bird it is the boy who is at the centre of the story and has the rite of passage: the ghost is a sort of Frankenstein or Edward Scissorhands character. 

The boy has nightmares and makes up ghastly stories that paint the ghost as a demon, then something happens to the boy on his bike and he dies. We get those silent movie inter-titles: his tower (the city) is turned to a tomb. Shadows loom over his white coffin and he becomes a ghost, set into the underworld where he is refused and becomes a refugee with nowhere to go. It’s scary out there for a little boy so he returns to the ghost’s house and we realise that’s her purpose – she is a host for waywardly spirits like the dead boy. But he has been so scared of her, will he change? Can he let go of his fear of her? Can he muster up the courage to enter as she beckons him in? The song ends unresolved sonically so I wanted to leave the audience there just as the music does. The theme is that of judging a book by its cover and misunderstanding something: just as we pass the homeless on the street and pretend they are invisible like ghosts when they all have a real inner life. Can we let go of our prejudices and see beyond the stereotypes to see that the issues that made them homeless are ones that could very well come to prey on and haunt us at any time? That’s kind of the metaphor I was trying to get at. 

City Bird ghost
The City Bird ghost.

Who made the puppets and how long did the video take to make?

Jesca: I’m not quite sure actually… I should ask.

Elia: Everyone who was involved in making the City Bird video knew there was a finite time of ten days in which to create this beautiful, creative thing so necessity was to be the mother of invention due to the time constraints, and everyone really fed on that and brought their best to the project. My fiancee, Maranatha Hay, is an Emmy award winning documentary filmmaker who is piped into the most creative, kind, and daring community of filmmakers and her best friend Natalie Apodaca is an artist with experience in installations. I showed her Metropolis and told her we were going to build a monotone city from cardboard and she just went for it. Cosmin Cosma was my left hand man who insisted we use the Dragon Stop Motion software, which honestly was the main reason we were able to get the shots we needed in the time we had. 

The crew never lost faith in my direction, even when I had no idea how we would do it just ten minutes before the shoot. In the opening shot of the video there is a city cardboard diorama, the dollhouse, the puppet of the ghost AND the moon projected over the city! All those elements came into play because we just broke down the shot we had in mind element by element: that’s real filmmaking in a pure form. 99% of this video was done IN-CAMERA, like The Lumière Brothers! Then it was given that incredible aged look by Dan Geis, our after effects genius.

Jesca Hoop by Emma Lucy Watson
Jesca Hoop by Emma Lucy Watson.

I can tell you how the puppets were made, but I urge you to remember that cinema is like a magic trick. The home made feel is part of the fun of the viewing experience, especially the joy in realising that things like hair are actually twine. The doll’s arms are made of tiny painted tree branches, her spine is metal wire and her dress is made of muslin. Her face is tracing paper and is removable so that we could change her expressions from shot to shot. The part where the fork floats across the table had to be done with tweezers! (nudged lovingly one frame at a time by Maranatha)

The house was a nightmare. It is three feet tall and it took us 3 days to put it together from a flat box. We painted every part, so we had to know what the end product would look like before we even started. Luckily an architect friend, Dannon Rampton, showed up just to check out what was going on and got so enamoured with the dolls house that he ended up putting it together which is just as well since Natalie and I were clueless as to how we were going to do it. We painted it and then we had to DILAPIDATE IT so it looked old and haunted! We scrubbed it with metal brush, we broke its steeple and we stuffed miniature moss in all its crevices so that the ghost story would feel real and lived in. 

My motto is: make movies that can only be movies! Make movies that need that final step of the medium to fully realise the vision, because it’s such an expensive, time consuming endeavour that the content had better deserve and earn the medium. If it can be a song, a book, a play, let it be that. But film, film is reserved for the special stories that need the seven arts to make them whole. SO don’t give away our secrets if you don’t have to. 
Jesca Hoop by Avril Kelly
Jesca Hoop by Avril Kelly.

I love Jesca Hoop‘s new song City Bird and the accompanying video so much so that I decided to get in touch with both Jesca and Elia Petridis, drug the director of her recent videos, hospital to find out what makes them tick. Elia Petridis runs boutique production company Filmatics in Los Angeles, California. After making several award winning shorts and music videos he is about to start shooting his first full length feature The Man Who Shook The Hand Of Vicente Fernandez. I think his incredibly detailed answers throw an intriguing light on what goes into the creation of a very considered and beautiful music video.

Jesca-Hoop-by-Liam-McMahon
Jesca Hoop by Liam McMahon.

When did you start working with director Elia Petridis?

Jesca: Elia is an old friend. We met in Los Angeles at one of my shows. He would say that he forced me to be his friend, which is kind of true though I would say that he used his clever imagination to lure me in. I’m glad that he did. The Kingdom was our first video adventure together.

Elia: A producer I’m working closely with these days said to me recently that humans are “meaning making machines” (a soundbite from some career seminar) but that phrase really resonated with me. I’m infatuated with screenwriting and personal mythologies, sometimes to the detriment of my own mental health. I grew up in Dubai for 18 years before moving to LA for film school – although Dubai had a lot of its own magic it didn’t have a music scene to speak of so I’m always a little astonished by the talent I find in LA. When I saw Jesca perform live I really felt her music was very special and otherworldly, and tried to do my best to see if, as human planets, we could potentially orbit each other and become friends. 

Jesca Hoop by Rebecca Strickson
Jesca Hoop by Rebecca Strickson.

I would venture to say that the first time I saw Jesca Hoop live was one of the most astonishing musical moments I have ever witnessed. It was the night before Halloween and she came out in a marionette outfit, complete with rosy cheeks, and stood motionless while her back up players wound her up to life. For a visualist like me, a storyteller, it really had an impact. The whole endeavour of courting a friendship with her was kind of a lark for me because I honestly thought she had better things to do. It was just a matter of pushing the boundary between fan and friend and seeing how much I could get away with. Suddenly, unexpectedly, as with most of life’s wonder, we had some mileage behind us and had transformed into friends. I will tell you that the first *official* conversation, the ice breaker, was when she was writing Tulip – from the Hunting my Dress album – and I was writing a screenplay dealing with Tulip Fever in Holland so I leant her my reference material. I knew I had two opportunities to wiggle my way in there – one to give her the book, and one to get it back!   

Hunting my Dress
The Hunting My Dress album cover.

Where was City Bird shot and where did the inspiration come from?

Jesca: It was shot in a miniature haunted house in downtown LA. We both wanted it to be a ghost story and Elia was the one to bring the children’s narrative into it.

Elia: FALSE! The video was shot in a garage in Riverside, Ca. The whole thing was fractal – an infinite amount of information in a finite space, as the garage is attached to an 18th century ‘Painted Lady’ Victorian house owned by my fiance. So in essence, it was shot in a miniature dollhouse inside a bigger dollhouse which made the shoot utterly magic. I think what Jesca is communicating is that the story takes place in a miniature dollhouse in downtown LA. The whole thing was lit using candles and christmas lights. 

Where did the idea for an animated video come from?

Jesca: It came out of limitation really. We had very very little money for this video so we just mused about what we could do with what time and money we did have. I set a pretty hard task considering the resources available and I am delighted with what Elia and his team came through with.

Elia: To me, the track is seance folk. That’s the sonic iconography that City Bird evokes – a ghostly seance. When it comes to music and music videos I am not a literal thinker so although my mind knows the song is about the fright and sadness associated with homelessness that’s not what my heart feels when I hear the song, and it’s not what the dream theatre in my mind projects over it either. But here Jesca’s mastery shines through, because the sonic landscape, right down to the very physical shape her mouth is making around the lyric is just as important as what she’s trying to say; the two are organically woven together. The magic of Jesca’s music lies in the alchemy that exists between form and content. All my artistic heroes do this, from Chabon, to Spielberg; they use genre to sugar coat the pill. So here she uses the disguise of seance music to coat the literal message of homelessness she’s trying to communicate. 

Now, narrative is something I am always running away from when directing a music video. Whenever I read a music video treatment from some kid that went to film school it makes me cringe and I think the best music videos come from documentary filmmakers who get a chance to put forward a psychology of form rather than one of narrative. But, having said that, my instincts on City Bird were narrative, perhaps because it’s a kind of lilting waltz so it felt right to have a narrative to pull you through it.  So, for the treatment, I sat down and wrote an entire ghost story from scratch, in the style of Poe or Hawthorne. I even wrote nursery rhymes about the ghost, because ghost stories are mostly aural traditions.

On The Kingdom video Jesca had a ton of input because I quickly realised that it would only reach its full potential if I pretended to be a paint brush and let her grab hold of the crew through me and paint. Once I took my ego out of the equation I realised there was something special there I was meant to service, and honestly, that’s the best method of working with an artist on a music video, that’s what you really cross your fingers for, isn’t it? You can see a little more of that process on the behind-the-scenes doc of the kingdom here:

But for City Bird Jesca was in Manchester and we were in LA shooting. Her schedule was tight, and I was really flattered that she had enough faith in me to let me just go and shoot because I know how much she loves her songs and how much faith it took for her to let go a little. I had originally submitted an entirely different treatment to her and had kind of resigned myself to the fact I wasn’t going to do it, which was cool enough for me because god only knows how many talented people Jesca comes across in her travels. Surely, I thought, she can find people in the UK to make amazing videos, and surely, as an artist, she wants to go and do cool stuff with other cool people. So I thought I would just give it a shot. I submitted this treatment about metaphorical ghosts, which dealt with mis-en-scene of places that had just been left and abandoned – an unmade bed, plates on a table after dinner, a toilet still running, stuff like that, where humans had vacated the frame only seconds ago and you’d just missed them – kind of pretentious honestly. Then I came across my fiancée’s childhood dollhouse and started taking video and snapping pictures and all of a sudden this whole new idea came to mind of the dollhouse and miniatures and stop motion and ghosts. I sent the examples to Jesca and she totally fell for it! 

City Bird house
City Bird house.

Ghost stories are tricky because they are incredibly emotional stories surrounded in gothic imagery. Ghost stories like The Others, The Orphanage, The Sixth Sense, are rite of passage stories – they’re about letting go. About the dead letting go of the living and the living letting go of the dead. They’re NOT about the living being punished for a sin like horror movies, but about forgiveness of that sin from all parties, the relinquishing of unfinished business. And I wanted to nail that, I really did. In City Bird it is the boy who is at the centre of the story and has the rite of passage: the ghost is a sort of Frankenstein or Edward Scissorhands character. 

The boy has nightmares and makes up ghastly stories that paint the ghost as a demon, then something happens to the boy on his bike and he dies. We get those silent movie inter-titles: his tower (the city) is turned to a tomb. Shadows loom over his white coffin and he becomes a ghost, set into the underworld where he is refused and becomes a refugee with nowhere to go. It’s scary out there for a little boy so he returns to the ghost’s house and we realise that’s her purpose – she is a host for waywardly spirits like the dead boy. But he has been so scared of her, will he change? Can he let go of his fear of her? Can he muster up the courage to enter as she beckons him in? The song ends unresolved sonically so I wanted to leave the audience there just as the music does. The theme is that of judging a book by its cover and misunderstanding something: just as we pass the homeless on the street and pretend they are invisible like ghosts when they all have a real inner life. Can we let go of our prejudices and see beyond the stereotypes to see that the issues that made them homeless are ones that could very well come to prey on and haunt us at any time? That’s kind of the metaphor I was trying to get at. 

City Bird ghost
The City Bird ghost.

Who made the puppets and how long did the video take to make?

Jesca: I’m not quite sure actually… I should ask.

Elia: Everyone who was involved in making the City Bird video knew there was a finite time of ten days in which to create this beautiful, creative thing so necessity was to be the mother of invention due to the time constraints, and everyone really fed on that and brought their best to the project. My fiancee, Maranatha Hay, is an Emmy award winning documentary filmmaker who is piped into the most creative, kind, and daring community of filmmakers and her best friend Natalie Apodaca is an artist with experience in installations. I showed her Metropolis and told her we were going to build a monotone city from cardboard and she just went for it. Cosmin Cosma was my left hand man who insisted we use the Dragon Stop Motion software, which honestly was the main reason we were able to get the shots we needed in the time we had. 

The crew never lost faith in my direction, even when I had no idea how we would do it just ten minutes before the shoot. In the opening shot of the video there is a city cardboard diorama, the dollhouse, the puppet of the ghost AND the moon projected over the city! All those elements came into play because we just broke down the shot we had in mind element by element: that’s real filmmaking in a pure form. 99% of this video was done IN-CAMERA, like The Lumière Brothers! Then it was given that incredible aged look by Dan Geis, our after effects genius.

Jesca Hoop by Emma Lucy Watson
Jesca Hoop by Emma Lucy Watson.

I can tell you how the puppets were made, but I urge you to remember that cinema is like a magic trick. The home made feel is part of the fun of the viewing experience, especially the joy in realising that things like hair are actually twine. The doll’s arms are made of tiny painted tree branches, her spine is metal wire and her dress is made of muslin. Her face is tracing paper and is removable so that we could change her expressions from shot to shot. The part where the fork floats across the table had to be done with tweezers! (nudged lovingly one frame at a time by Maranatha)

The house was a nightmare. It is three feet tall and it took us 3 days to put it together from a flat box. We painted every part, so we had to know what the end product would look like before we even started. Luckily an architect friend, Dannon Rampton, showed up just to check out what was going on and got so enamoured with the dolls house that he ended up putting it together which is just as well since Natalie and I were clueless as to how we were going to do it. We painted it and then we had to DILAPIDATE IT so it looked old and haunted! We scrubbed it with metal brush, we broke its steeple and we stuffed miniature moss in all its crevices so that the ghost story would feel real and lived in. 

My motto is: make movies that can only be movies! Make movies that need that final step of the medium to fully realise the vision, because it’s such an expensive, time consuming endeavour that the content had better deserve and earn the medium. If it can be a song, a book, a play, let it be that. But film, film is reserved for the special stories that need the seven arts to make them whole. SO don’t give away our secrets if you don’t have to. 
TM AND HL-Jan 11-photography by Amelia Gregory
Trevor Moss and Hannah Lou, viagra dosage all photography by Amelia Gregory.

Last week Trevor Moss and Hannah Lou held a preview screening for their Tin Tabernacle tour video, viagra sale titled 11 Nights Under Tin. I caught up with them at Bush Hall a few weeks ago to find out more about this talented couple.

Trevor Moss and Hannah Lou, all photography by Amelia GregoryTrevor Moss and Hannah Lou, all photography by Amelia Gregory

The Tin Tabernacle tour followed on from Trevor Moss and Hannah Lou’s Village Hall tour of last year. To pull it off they found approximately fifty churches through the Tin Tabernacles website, got details of about thirty of them and managed to stage concerts in eleven of them. The website often listed the nearest town or they enterprisingly zoomed in on the google street view: sometimes a contact number would be visible on a noticeboard, and at other times they phoned the local pub. Most people were really enthusiastic, but some were overwhelmed by the idea and worried by the commitment. “We wanted to get out into the community and play for people who don’t have much access to music,” they told me when I spoke to them at Bush Hall. “We went to those who were keen.” It seems to have been a successful venture: the audiences were mostly comprised of locals.

Tin Tabernacle by Gilly Rochester
Tin Tabernacle by Gilly Rochester.

The Tin Tabernacle churches all vary in size, though they have a few things in common. They are all made of corrugated iron, and were invented circa 1840, when the scattering of God fearing British citizens across the British Empire hastened the need for an easily transportable place of worship. Mining communities sprung up in all sorts of remote corners of the globe so the churches often had to be carried for long distances overland. “They warm up fast because they are wooden clad inside,” explained Trevor and Hannah, “but some had no electricity so we played by candlelight.” The smallest church held only about 40 people, all squashed into the pews, but the average capacity was between 70-120. What with Trevor, Hannah and their two support acts it was still quite a squish.

Tin Tabernacle by Gilly Rochester
Tin Tabernacle by Gilly Rochester.

I spotted a tin church on my visit to the Cornish village of Cadgwith earlier this year, but sadly this was not one that they managed to include on the tour, despite Trevor’s Cornish heritage. Many were nevertheless located in amazing locations, including on cliff tops.


11 Nights Under Tin, a film by Trevor Moss, can be watched in full above.

Why did they chose such an innovative way of touring? “We had toured the same venues for years and they are all the same, painted black inside.” Trevor and Hannah hope that with their Arts Council funded tours their audiences will experience an event, instead of just standing in the shadows. “It’s no wonder that so many bands’ later records are rubbish when they live in such a strange parallel reality.” So they have chosen places that will open their eyes to other communities. They always stay in independent B&Bs and sometimes with the local vicar – it’s also a carefully considered way for them to have an interesting time whilst peddling an album. “We get to play in places we would never have seen otherwise.”

Tin Tabernacle by Alison Day
Tin Tabernacle by Alison Day.

I can totally relate to this idea – half the reason I was so attracted to fashion photography as a creative medium was the possibility of visiting interesting locations to take photos. During my nascent fashion photography career I went to South Africa and America before I began to realise the environmental problems of excessive air travel.

Trevor Moss and Hannah-Lou by Sarah Matthews
Trevor Moss and Hannah-Lou by Sarah Matthews.

The *world* premiere of the resulting Tin Tabernacle film was shown at The Social on Wednesday 16th March. It was entirely shot on an old 80s Hi 8 camera in three seconds bursts three or four times an hour, so it is basically what they describe as “a collection of moving photos” with mostly in-camera sound.

Trevor Moss & Hannah Lou - Tin Churches by Emmeline Pidgen
Tin Churches by Emmeline Pidgen.

This interactive approach to playing and documenting music is a result of Hannah and Trevor’s art college career. They both met at Goldsmiths, where Trevor was studying fine art and Hannah was doing theatre studies. By the time they reached their third year they were signed as the band Indigo Moss, which we profiled on Amelia’s Magazine. By this point they were spending so much time immersed in music that Trevor had to enlist the rest of the band to help get his degree show up on time.

Tin Tabernacles by Reena Makwana
Tin Tabernacles by Reena Makwana.

The couple have now been writing songs together for 8 years and seem a lot older and wiser than their 25 years of age, a fact which they attribute to having lots of older friends. They met whilst living in halls but did not start going out together until Indigo Moss, and managed to keep their relationship secret from other band members for two months. They got married in 2008.


There’s Something Happening Somewhere, a film by Trevor Moss.

Indigo Moss eventually broke up because they didn’t enjoy it anymore, especially the way the label was pushing the band. Inevitably, they were pulling bigger audiences as a duet. At that point Tom from Lewis Music saw them and they signed a one album deal. After that Jeff of Heavenly saw a couple of shows and as they put it “it all happened quite naturally. We had a cup of tea and the Tin Tabernacle tour really caught his imagination.” Heavenly Recordings have parted ways with megalith EMI and are now part of the Universal funded Cooperative Music initiative which supports independent labels such as Transgressive, Moshi Moshi, Bella Union and Domino. It means they can share PR costs and everyone knows when the others are releasing records so they don’t step on toes, which seems to make brilliant sense. These are amongst my favourite labels and between them they host some fabulous musicians – why would they want to deliberately compete with each other?

Trevor-Moss-Hannah-Lou-by-LJG-Art-Illustration
Trevor Moss and Hannah-Lou by LJG Art & Illustration.

Ever prolific, Trevor Moss and Hannah Lou aim to put out one album a year from now on. The next record will be out in May and then comes the festival season, starting at Wood Festival on 21st May, and moving onto Truck Festival, Port Eliot and of course Glastonbury – where they played on my Climate Camp stage last year alongside Danny and the Champions of the World.


Performing at Wood Festival in 2009.

What to expect from the upcoming record? “There will be drums and a much bigger sound.” But as always all guitar and voices will be recorded together. I can’t imagine there will be much room in their van for more band members, and they agree that it is perfectly sized for just them. Although Trevor jokes that Hannah gets on his nerves it’s clear that this is very much a twosome. What happens when a family enters the equation? “Trevor wants to be a house husband,” laughs Hannah. “It will be a nice quiet time to write!” For now what they really want is a pet whippet. “They are lovely; so skinny and frail,” says Trevor. “It could travel in a hammock in the van.” The main trouble would be taking a dog into festivals, but I’m sure they could find an interesting series of venues that would accept a canine companion. Did someone mention lighthouses?

Trevor Moss and Hannah Lou, all photography by Amelia Gregory

Categories ,11 Nights Under Tin, ,Alison Day, ,Arts Council, ,Bella Union, ,British Empire, ,Bush Hall, ,Cadgwith, ,Climate Camp, ,Cooperative Music, ,Cornish village, ,Cornwall, ,Danny and the Champions of the World, ,Domino Records, ,EMI, ,Emmeline Pidgen, ,Gilly Rochester, ,glastonbury, ,goldsmiths, ,Hannah Lou, ,Heavenly Recordings, ,Heavenly Social, ,Hi 8 camera, ,Indigo Moss, ,Lewis Music, ,LJG Art & Illustration, ,mining, ,Moshi Moshi, ,Port Eliot, ,Port Elliot, ,Reena Makwana, ,Sarah Matthews, ,The Social, ,There’s Something Happening Somewhere, ,Tin Tabernacle, ,Tin Tabernacle Tour, ,Transgressive, ,Trevor Moss, ,Trevor Moss and Hannah-Lou, ,Tripod Stage, ,Truck Festival, ,Universal, ,Village Hall, ,Whippet, ,Wood Festival

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Amelia’s Magazine | A post Tin Tabernacle interview with Trevor Moss and Hannah Lou

Jesca Hoop by Rebecca Strickson
Jesca Hoop by Avril Kelly
Jesca Hoop by Avril Kelly.

I love Jesca Hoop‘s new song City Bird and the accompanying video so much so that I decided to get in touch with both Jesca and Elia Petridis, side effects the director of her recent videos, sildenafil to find out what makes them tick. Elia Petridis runs boutique production company Filmatics in Los Angeles, California. After making several award winning shorts and music videos he is about to start shooting his first full length feature The Man Who Shook The Hand Of Vicente Fernandez. I think his incredibly detailed answers throw an intriguing light on what goes into the creation of a very considered and beautiful music video.

Jesca-Hoop-by-Liam-McMahon
Jesca Hoop by Liam McMahon.

When did you start working with director Elia Petridis?

Jesca: Elia is an old friend. We met in Los Angeles at one of my shows. He would say that he forced me to be his friend, which is kind of true though I would say that he used his clever imagination to lure me in. I’m glad that he did. The Kingdom was our first video adventure together.

Elia: A producer I’m working closely with these days said to me recently that humans are “meaning making machines” (a soundbite from some career seminar) but that phrase really resonated with me. I’m infatuated with screenwriting and personal mythologies, sometimes to the detriment of my own mental health. I grew up in Dubai for 18 years before moving to LA for film school – although Dubai had a lot of its own magic it didn’t have a music scene to speak of so I’m always a little astonished by the talent I find in LA. When I saw Jesca perform live I really felt her music was very special and otherworldly, and tried to do my best to see if, as human planets, we could potentially orbit each other and become friends. 

I would venture to say that the first time I saw Jesca Hoop live was one of the most astonishing musical moments I have ever witnessed. It was the night before Halloween and she came out in a marionette outfit, complete with rosy cheeks, and stood motionless while her back up players wound her up to life. For a visualist like me, a storyteller, it really had an impact. The whole endeavour of courting a friendship with her was kind of a lark for me because I honestly thought she had better things to do. It was just a matter of pushing the boundary between fan and friend and seeing how much I could get away with. Suddenly, unexpectedly, as with most of life’s wonder, we had some mileage behind us and had transformed into friends. I will tell you that the first *official* conversation, the ice breaker, was when she was writing Tulip – from the Hunting my Dress album – and I was writing a screenplay dealing with Tulip Fever in Holland so I leant her my reference material. I knew I had two opportunities to wiggle my way in there – one to give her the book, and one to get it back!   

Hunting my Dress
The Hunting My Dress album cover.

Where was City Bird shot and where did the inspiration come from?

Jesca: It was shot in a miniature haunted house in downtown LA. We both wanted it to be a ghost story and Elia was the one to bring the children’s narrative into it.

Elia: FALSE! The video was shot in a garage in Riverside, Ca. The whole thing was fractal – an infinite amount of information in a finite space, as the garage is attached to an 18th century ‘Painted Lady’ Victorian house owned by my fiance. So in essence, it was shot in a miniature dollhouse inside a bigger dollhouse which made the shoot utterly magic. I think what Jesca is communicating is that the story takes place in a miniature dollhouse in downtown LA. The whole thing was lit using candles and christmas lights. 

Where did the idea for an animated video come from?

Jesca: It came out of limitation really. We had very very little money for this video so we just mused about what we could do with what time and money we did have. I set a pretty hard task considering the resources available and I am delighted with what Elia and his team came through with.

Elia: To me, the track is seance folk. That’s the sonic iconography that City Bird evokes – a ghostly seance. When it comes to music and music videos I am not a literal thinker so although my mind knows the song is about the fright and sadness associated with homelessness that’s not what my heart feels when I hear the song, and it’s not what the dream theatre in my mind projects over it either. But here Jesca’s mastery shines through, because the sonic landscape, right down to the very physical shape her mouth is making around the lyric is just as important as what she’s trying to say; the two are organically woven together. The magic of Jesca’s music lies in the alchemy that exists between form and content. All my artistic heroes do this, from Chabon, to Spielberg; they use genre to sugar coat the pill. So here she uses the disguise of seance music to coat the literal message of homelessness she’s trying to communicate. 

Now, narrative is something I am always running away from when directing a music video. Whenever I read a music video treatment from some kid that went to film school it makes me cringe and I think the best music videos come from documentary filmmakers who get a chance to put forward a psychology of form rather than one of narrative. But, having said that, my instincts on City Bird were narrative, perhaps because it’s a kind of lilting waltz so it felt right to have a narrative to pull you through it.  So, for the treatment, I sat down and wrote an entire ghost story from scratch, in the style of Poe or Hawthorne. I even wrote nursery rhymes about the ghost, because ghost stories are mostly aural traditions.

On The Kingdom video Jesca had a ton of input because I quickly realised that it would only reach its full potential if I pretended to be a paint brush and let her grab hold of the crew through me and paint. Once I took my ego out of the equation I realised there was something special there I was meant to service, and honestly, that’s the best method of working with an artist on a music video, that’s what you really cross your fingers for, isn’t it? You can see a little more of that process on the behind-the-scenes doc of the kingdom here:

But for City Bird Jesca was in Manchester and we were in LA shooting. Her schedule was tight, and I was really flattered that she had enough faith in me to let me just go and shoot because I know how much she loves her songs and how much faith it took for her to let go a little. I had originally submitted an entirely different treatment to her and had kind of resigned myself to the fact I wasn’t going to do it, which was cool enough for me because god only knows how many talented people Jesca comes across in her travels. Surely, I thought, she can find people in the UK to make amazing videos, and surely, as an artist, she wants to go and do cool stuff with other cool people. So I thought I would just give it a shot. I submitted this treatment about metaphorical ghosts, which dealt with mis-en-scene of places that had just been left and abandoned – an unmade bed, plates on a table after dinner, a toilet still running, stuff like that, where humans had vacated the frame only seconds ago and you’d just missed them – kind of pretentious honestly. Then I came across my fiancée’s childhood dollhouse and started taking video and snapping pictures and all of a sudden this whole new idea came to mind of the dollhouse and miniatures and stop motion and ghosts. I sent the examples to Jesca and she totally fell for it! 

City Bird house
City Bird house.

Ghost stories are tricky because they are incredibly emotional stories surrounded in gothic imagery. Ghost stories like The Others, The Orphanage, The Sixth Sense, are rite of passage stories – they’re about letting go. About the dead letting go of the living and the living letting go of the dead. They’re NOT about the living being punished for a sin like horror movies, but about forgiveness of that sin from all parties, the relinquishing of unfinished business. And I wanted to nail that, I really did. In City Bird it is the boy who is at the centre of the story and has the rite of passage: the ghost is a sort of Frankenstein or Edward Scissorhands character. 

The boy has nightmares and makes up ghastly stories that paint the ghost as a demon, then something happens to the boy on his bike and he dies. We get those silent movie inter-titles: his tower (the city) is turned to a tomb. Shadows loom over his white coffin and he becomes a ghost, set into the underworld where he is refused and becomes a refugee with nowhere to go. It’s scary out there for a little boy so he returns to the ghost’s house and we realise that’s her purpose – she is a host for waywardly spirits like the dead boy. But he has been so scared of her, will he change? Can he let go of his fear of her? Can he muster up the courage to enter as she beckons him in? The song ends unresolved sonically so I wanted to leave the audience there just as the music does. The theme is that of judging a book by its cover and misunderstanding something: just as we pass the homeless on the street and pretend they are invisible like ghosts when they all have a real inner life. Can we let go of our prejudices and see beyond the stereotypes to see that the issues that made them homeless are ones that could very well come to prey on and haunt us at any time? That’s kind of the metaphor I was trying to get at. 

City Bird ghost
The City Bird ghost.

Who made the puppets and how long did the video take to make?

Jesca: I’m not quite sure actually… I should ask.

Elia: Everyone who was involved in making the City Bird video knew there was a finite time of ten days in which to create this beautiful, creative thing so necessity was to be the mother of invention due to the time constraints, and everyone really fed on that and brought their best to the project. My fiancee, Maranatha Hay, is an Emmy award winning documentary filmmaker who is piped into the most creative, kind, and daring community of filmmakers and her best friend Natalie Apodaca is an artist with experience in installations. I showed her Metropolis and told her we were going to build a monotone city from cardboard and she just went for it. Cosmin Cosma was my left hand man who insisted we use the Dragon Stop Motion software, which honestly was the main reason we were able to get the shots we needed in the time we had. 

The crew never lost faith in my direction, even when I had no idea how we would do it just ten minutes before the shoot. In the opening shot of the video there is a city cardboard diorama, the dollhouse, the puppet of the ghost AND the moon projected over the city! All those elements came into play because we just broke down the shot we had in mind element by element: that’s real filmmaking in a pure form. 99% of this video was done IN-CAMERA, like The Lumière Brothers! Then it was given that incredible aged look by Dan Geis, our after effects genius.

Jesca Hoop by Emma Lucy Watson
Jesca Hoop by Emma Lucy Watson.

I can tell you how the puppets were made, but I urge you to remember that cinema is like a magic trick. The home made feel is part of the fun of the viewing experience, especially the joy in realising that things like hair are actually twine. The doll’s arms are made of tiny painted tree branches, her spine is metal wire and her dress is made of muslin. Her face is tracing paper and is removable so that we could change her expressions from shot to shot. The part where the fork floats across the table had to be done with tweezers! (nudged lovingly one frame at a time by Maranatha)

The house was a nightmare. It is three feet tall and it took us 3 days to put it together from a flat box. We painted every part, so we had to know what the end product would look like before we even started. Luckily an architect friend, Dannon Rampton, showed up just to check out what was going on and got so enamoured with the dolls house that he ended up putting it together which is just as well since Natalie and I were clueless as to how we were going to do it. We painted it and then we had to DILAPIDATE IT so it looked old and haunted! We scrubbed it with metal brush, we broke its steeple and we stuffed miniature moss in all its crevices so that the ghost story would feel real and lived in. 

My motto is: make movies that can only be movies! Make movies that need that final step of the medium to fully realise the vision, because it’s such an expensive, time consuming endeavour that the content had better deserve and earn the medium. If it can be a song, a book, a play, let it be that. But film, film is reserved for the special stories that need the seven arts to make them whole. SO don’t give away our secrets if you don’t have to. 
Jesca Hoop by Avril Kelly
Jesca Hoop by Avril Kelly.

I love Jesca Hoop‘s new song City Bird and the accompanying video so much so that I decided to get in touch with both Jesca and Elia Petridis, drug the director of her recent videos, hospital to find out what makes them tick. Elia Petridis runs boutique production company Filmatics in Los Angeles, California. After making several award winning shorts and music videos he is about to start shooting his first full length feature The Man Who Shook The Hand Of Vicente Fernandez. I think his incredibly detailed answers throw an intriguing light on what goes into the creation of a very considered and beautiful music video.

Jesca-Hoop-by-Liam-McMahon
Jesca Hoop by Liam McMahon.

When did you start working with director Elia Petridis?

Jesca: Elia is an old friend. We met in Los Angeles at one of my shows. He would say that he forced me to be his friend, which is kind of true though I would say that he used his clever imagination to lure me in. I’m glad that he did. The Kingdom was our first video adventure together.

Elia: A producer I’m working closely with these days said to me recently that humans are “meaning making machines” (a soundbite from some career seminar) but that phrase really resonated with me. I’m infatuated with screenwriting and personal mythologies, sometimes to the detriment of my own mental health. I grew up in Dubai for 18 years before moving to LA for film school – although Dubai had a lot of its own magic it didn’t have a music scene to speak of so I’m always a little astonished by the talent I find in LA. When I saw Jesca perform live I really felt her music was very special and otherworldly, and tried to do my best to see if, as human planets, we could potentially orbit each other and become friends. 

Jesca Hoop by Rebecca Strickson
Jesca Hoop by Rebecca Strickson.

I would venture to say that the first time I saw Jesca Hoop live was one of the most astonishing musical moments I have ever witnessed. It was the night before Halloween and she came out in a marionette outfit, complete with rosy cheeks, and stood motionless while her back up players wound her up to life. For a visualist like me, a storyteller, it really had an impact. The whole endeavour of courting a friendship with her was kind of a lark for me because I honestly thought she had better things to do. It was just a matter of pushing the boundary between fan and friend and seeing how much I could get away with. Suddenly, unexpectedly, as with most of life’s wonder, we had some mileage behind us and had transformed into friends. I will tell you that the first *official* conversation, the ice breaker, was when she was writing Tulip – from the Hunting my Dress album – and I was writing a screenplay dealing with Tulip Fever in Holland so I leant her my reference material. I knew I had two opportunities to wiggle my way in there – one to give her the book, and one to get it back!   

Hunting my Dress
The Hunting My Dress album cover.

Where was City Bird shot and where did the inspiration come from?

Jesca: It was shot in a miniature haunted house in downtown LA. We both wanted it to be a ghost story and Elia was the one to bring the children’s narrative into it.

Elia: FALSE! The video was shot in a garage in Riverside, Ca. The whole thing was fractal – an infinite amount of information in a finite space, as the garage is attached to an 18th century ‘Painted Lady’ Victorian house owned by my fiance. So in essence, it was shot in a miniature dollhouse inside a bigger dollhouse which made the shoot utterly magic. I think what Jesca is communicating is that the story takes place in a miniature dollhouse in downtown LA. The whole thing was lit using candles and christmas lights. 

Where did the idea for an animated video come from?

Jesca: It came out of limitation really. We had very very little money for this video so we just mused about what we could do with what time and money we did have. I set a pretty hard task considering the resources available and I am delighted with what Elia and his team came through with.

Elia: To me, the track is seance folk. That’s the sonic iconography that City Bird evokes – a ghostly seance. When it comes to music and music videos I am not a literal thinker so although my mind knows the song is about the fright and sadness associated with homelessness that’s not what my heart feels when I hear the song, and it’s not what the dream theatre in my mind projects over it either. But here Jesca’s mastery shines through, because the sonic landscape, right down to the very physical shape her mouth is making around the lyric is just as important as what she’s trying to say; the two are organically woven together. The magic of Jesca’s music lies in the alchemy that exists between form and content. All my artistic heroes do this, from Chabon, to Spielberg; they use genre to sugar coat the pill. So here she uses the disguise of seance music to coat the literal message of homelessness she’s trying to communicate. 

Now, narrative is something I am always running away from when directing a music video. Whenever I read a music video treatment from some kid that went to film school it makes me cringe and I think the best music videos come from documentary filmmakers who get a chance to put forward a psychology of form rather than one of narrative. But, having said that, my instincts on City Bird were narrative, perhaps because it’s a kind of lilting waltz so it felt right to have a narrative to pull you through it.  So, for the treatment, I sat down and wrote an entire ghost story from scratch, in the style of Poe or Hawthorne. I even wrote nursery rhymes about the ghost, because ghost stories are mostly aural traditions.

On The Kingdom video Jesca had a ton of input because I quickly realised that it would only reach its full potential if I pretended to be a paint brush and let her grab hold of the crew through me and paint. Once I took my ego out of the equation I realised there was something special there I was meant to service, and honestly, that’s the best method of working with an artist on a music video, that’s what you really cross your fingers for, isn’t it? You can see a little more of that process on the behind-the-scenes doc of the kingdom here:

But for City Bird Jesca was in Manchester and we were in LA shooting. Her schedule was tight, and I was really flattered that she had enough faith in me to let me just go and shoot because I know how much she loves her songs and how much faith it took for her to let go a little. I had originally submitted an entirely different treatment to her and had kind of resigned myself to the fact I wasn’t going to do it, which was cool enough for me because god only knows how many talented people Jesca comes across in her travels. Surely, I thought, she can find people in the UK to make amazing videos, and surely, as an artist, she wants to go and do cool stuff with other cool people. So I thought I would just give it a shot. I submitted this treatment about metaphorical ghosts, which dealt with mis-en-scene of places that had just been left and abandoned – an unmade bed, plates on a table after dinner, a toilet still running, stuff like that, where humans had vacated the frame only seconds ago and you’d just missed them – kind of pretentious honestly. Then I came across my fiancée’s childhood dollhouse and started taking video and snapping pictures and all of a sudden this whole new idea came to mind of the dollhouse and miniatures and stop motion and ghosts. I sent the examples to Jesca and she totally fell for it! 

City Bird house
City Bird house.

Ghost stories are tricky because they are incredibly emotional stories surrounded in gothic imagery. Ghost stories like The Others, The Orphanage, The Sixth Sense, are rite of passage stories – they’re about letting go. About the dead letting go of the living and the living letting go of the dead. They’re NOT about the living being punished for a sin like horror movies, but about forgiveness of that sin from all parties, the relinquishing of unfinished business. And I wanted to nail that, I really did. In City Bird it is the boy who is at the centre of the story and has the rite of passage: the ghost is a sort of Frankenstein or Edward Scissorhands character. 

The boy has nightmares and makes up ghastly stories that paint the ghost as a demon, then something happens to the boy on his bike and he dies. We get those silent movie inter-titles: his tower (the city) is turned to a tomb. Shadows loom over his white coffin and he becomes a ghost, set into the underworld where he is refused and becomes a refugee with nowhere to go. It’s scary out there for a little boy so he returns to the ghost’s house and we realise that’s her purpose – she is a host for waywardly spirits like the dead boy. But he has been so scared of her, will he change? Can he let go of his fear of her? Can he muster up the courage to enter as she beckons him in? The song ends unresolved sonically so I wanted to leave the audience there just as the music does. The theme is that of judging a book by its cover and misunderstanding something: just as we pass the homeless on the street and pretend they are invisible like ghosts when they all have a real inner life. Can we let go of our prejudices and see beyond the stereotypes to see that the issues that made them homeless are ones that could very well come to prey on and haunt us at any time? That’s kind of the metaphor I was trying to get at. 

City Bird ghost
The City Bird ghost.

Who made the puppets and how long did the video take to make?

Jesca: I’m not quite sure actually… I should ask.

Elia: Everyone who was involved in making the City Bird video knew there was a finite time of ten days in which to create this beautiful, creative thing so necessity was to be the mother of invention due to the time constraints, and everyone really fed on that and brought their best to the project. My fiancee, Maranatha Hay, is an Emmy award winning documentary filmmaker who is piped into the most creative, kind, and daring community of filmmakers and her best friend Natalie Apodaca is an artist with experience in installations. I showed her Metropolis and told her we were going to build a monotone city from cardboard and she just went for it. Cosmin Cosma was my left hand man who insisted we use the Dragon Stop Motion software, which honestly was the main reason we were able to get the shots we needed in the time we had. 

The crew never lost faith in my direction, even when I had no idea how we would do it just ten minutes before the shoot. In the opening shot of the video there is a city cardboard diorama, the dollhouse, the puppet of the ghost AND the moon projected over the city! All those elements came into play because we just broke down the shot we had in mind element by element: that’s real filmmaking in a pure form. 99% of this video was done IN-CAMERA, like The Lumière Brothers! Then it was given that incredible aged look by Dan Geis, our after effects genius.

Jesca Hoop by Emma Lucy Watson
Jesca Hoop by Emma Lucy Watson.

I can tell you how the puppets were made, but I urge you to remember that cinema is like a magic trick. The home made feel is part of the fun of the viewing experience, especially the joy in realising that things like hair are actually twine. The doll’s arms are made of tiny painted tree branches, her spine is metal wire and her dress is made of muslin. Her face is tracing paper and is removable so that we could change her expressions from shot to shot. The part where the fork floats across the table had to be done with tweezers! (nudged lovingly one frame at a time by Maranatha)

The house was a nightmare. It is three feet tall and it took us 3 days to put it together from a flat box. We painted every part, so we had to know what the end product would look like before we even started. Luckily an architect friend, Dannon Rampton, showed up just to check out what was going on and got so enamoured with the dolls house that he ended up putting it together which is just as well since Natalie and I were clueless as to how we were going to do it. We painted it and then we had to DILAPIDATE IT so it looked old and haunted! We scrubbed it with metal brush, we broke its steeple and we stuffed miniature moss in all its crevices so that the ghost story would feel real and lived in. 

My motto is: make movies that can only be movies! Make movies that need that final step of the medium to fully realise the vision, because it’s such an expensive, time consuming endeavour that the content had better deserve and earn the medium. If it can be a song, a book, a play, let it be that. But film, film is reserved for the special stories that need the seven arts to make them whole. SO don’t give away our secrets if you don’t have to. 
TM AND HL-Jan 11-photography by Amelia Gregory
Trevor Moss and Hannah Lou, viagra dosage all photography by Amelia Gregory.

Last week Trevor Moss and Hannah Lou held a preview screening for their Tin Tabernacle tour video, viagra sale titled 11 Nights Under Tin. I caught up with them at Bush Hall a few weeks ago to find out more about this talented couple.

Trevor Moss and Hannah Lou, all photography by Amelia GregoryTrevor Moss and Hannah Lou, all photography by Amelia Gregory

The Tin Tabernacle tour followed on from Trevor Moss and Hannah Lou’s Village Hall tour of last year. To pull it off they found approximately fifty churches through the Tin Tabernacles website, got details of about thirty of them and managed to stage concerts in eleven of them. The website often listed the nearest town or they enterprisingly zoomed in on the google street view: sometimes a contact number would be visible on a noticeboard, and at other times they phoned the local pub. Most people were really enthusiastic, but some were overwhelmed by the idea and worried by the commitment. “We wanted to get out into the community and play for people who don’t have much access to music,” they told me when I spoke to them at Bush Hall. “We went to those who were keen.” It seems to have been a successful venture: the audiences were mostly comprised of locals.

Tin Tabernacle by Gilly Rochester
Tin Tabernacle by Gilly Rochester.

The Tin Tabernacle churches all vary in size, though they have a few things in common. They are all made of corrugated iron, and were invented circa 1840, when the scattering of God fearing British citizens across the British Empire hastened the need for an easily transportable place of worship. Mining communities sprung up in all sorts of remote corners of the globe so the churches often had to be carried for long distances overland. “They warm up fast because they are wooden clad inside,” explained Trevor and Hannah, “but some had no electricity so we played by candlelight.” The smallest church held only about 40 people, all squashed into the pews, but the average capacity was between 70-120. What with Trevor, Hannah and their two support acts it was still quite a squish.

Tin Tabernacle by Gilly Rochester
Tin Tabernacle by Gilly Rochester.

I spotted a tin church on my visit to the Cornish village of Cadgwith earlier this year, but sadly this was not one that they managed to include on the tour, despite Trevor’s Cornish heritage. Many were nevertheless located in amazing locations, including on cliff tops.


11 Nights Under Tin, a film by Trevor Moss, can be watched in full above.

Why did they chose such an innovative way of touring? “We had toured the same venues for years and they are all the same, painted black inside.” Trevor and Hannah hope that with their Arts Council funded tours their audiences will experience an event, instead of just standing in the shadows. “It’s no wonder that so many bands’ later records are rubbish when they live in such a strange parallel reality.” So they have chosen places that will open their eyes to other communities. They always stay in independent B&Bs and sometimes with the local vicar – it’s also a carefully considered way for them to have an interesting time whilst peddling an album. “We get to play in places we would never have seen otherwise.”

Tin Tabernacle by Alison Day
Tin Tabernacle by Alison Day.

I can totally relate to this idea – half the reason I was so attracted to fashion photography as a creative medium was the possibility of visiting interesting locations to take photos. During my nascent fashion photography career I went to South Africa and America before I began to realise the environmental problems of excessive air travel.

Trevor Moss and Hannah-Lou by Sarah Matthews
Trevor Moss and Hannah-Lou by Sarah Matthews.

The *world* premiere of the resulting Tin Tabernacle film was shown at The Social on Wednesday 16th March. It was entirely shot on an old 80s Hi 8 camera in three seconds bursts three or four times an hour, so it is basically what they describe as “a collection of moving photos” with mostly in-camera sound.

Trevor Moss & Hannah Lou - Tin Churches by Emmeline Pidgen
Tin Churches by Emmeline Pidgen.

This interactive approach to playing and documenting music is a result of Hannah and Trevor’s art college career. They both met at Goldsmiths, where Trevor was studying fine art and Hannah was doing theatre studies. By the time they reached their third year they were signed as the band Indigo Moss, which we profiled on Amelia’s Magazine. By this point they were spending so much time immersed in music that Trevor had to enlist the rest of the band to help get his degree show up on time.

Tin Tabernacles by Reena Makwana
Tin Tabernacles by Reena Makwana.

The couple have now been writing songs together for 8 years and seem a lot older and wiser than their 25 years of age, a fact which they attribute to having lots of older friends. They met whilst living in halls but did not start going out together until Indigo Moss, and managed to keep their relationship secret from other band members for two months. They got married in 2008.


There’s Something Happening Somewhere, a film by Trevor Moss.

Indigo Moss eventually broke up because they didn’t enjoy it anymore, especially the way the label was pushing the band. Inevitably, they were pulling bigger audiences as a duet. At that point Tom from Lewis Music saw them and they signed a one album deal. After that Jeff of Heavenly saw a couple of shows and as they put it “it all happened quite naturally. We had a cup of tea and the Tin Tabernacle tour really caught his imagination.” Heavenly Recordings have parted ways with megalith EMI and are now part of the Universal funded Cooperative Music initiative which supports independent labels such as Transgressive, Moshi Moshi, Bella Union and Domino. It means they can share PR costs and everyone knows when the others are releasing records so they don’t step on toes, which seems to make brilliant sense. These are amongst my favourite labels and between them they host some fabulous musicians – why would they want to deliberately compete with each other?

Trevor-Moss-Hannah-Lou-by-LJG-Art-Illustration
Trevor Moss and Hannah-Lou by LJG Art & Illustration.

Ever prolific, Trevor Moss and Hannah Lou aim to put out one album a year from now on. The next record will be out in May and then comes the festival season, starting at Wood Festival on 21st May, and moving onto Truck Festival, Port Eliot and of course Glastonbury – where they played on my Climate Camp stage last year alongside Danny and the Champions of the World.


Performing at Wood Festival in 2009.

What to expect from the upcoming record? “There will be drums and a much bigger sound.” But as always all guitar and voices will be recorded together. I can’t imagine there will be much room in their van for more band members, and they agree that it is perfectly sized for just them. Although Trevor jokes that Hannah gets on his nerves it’s clear that this is very much a twosome. What happens when a family enters the equation? “Trevor wants to be a house husband,” laughs Hannah. “It will be a nice quiet time to write!” For now what they really want is a pet whippet. “They are lovely; so skinny and frail,” says Trevor. “It could travel in a hammock in the van.” The main trouble would be taking a dog into festivals, but I’m sure they could find an interesting series of venues that would accept a canine companion. Did someone mention lighthouses?

Trevor Moss and Hannah Lou, all photography by Amelia Gregory

Categories ,11 Nights Under Tin, ,Alison Day, ,Arts Council, ,Bella Union, ,British Empire, ,Bush Hall, ,Cadgwith, ,Climate Camp, ,Cooperative Music, ,Cornish village, ,Cornwall, ,Danny and the Champions of the World, ,Domino Records, ,EMI, ,Emmeline Pidgen, ,Gilly Rochester, ,glastonbury, ,goldsmiths, ,Hannah Lou, ,Heavenly Recordings, ,Heavenly Social, ,Hi 8 camera, ,Indigo Moss, ,Lewis Music, ,LJG Art & Illustration, ,mining, ,Moshi Moshi, ,Port Eliot, ,Port Elliot, ,Reena Makwana, ,Sarah Matthews, ,The Social, ,There’s Something Happening Somewhere, ,Tin Tabernacle, ,Tin Tabernacle Tour, ,Transgressive, ,Trevor Moss, ,Trevor Moss and Hannah-Lou, ,Tripod Stage, ,Truck Festival, ,Universal, ,Village Hall, ,Whippet, ,Wood Festival

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Amelia’s Magazine | Glastonbury 2010 Climate Camp Tripod Stage Review: Friday

Deviating from the subject of Climate Change, viagra 100mg unhealthy Amelia’s Magazine finds ourselves mesmerised by Design Interaction Student, stuff Kjen Wilkens’ Weather Camera.

What is the impact on our relationship with the environment – when existing in a world where sensor monitors constantly interpret our daily surroundings, prescription producing endless streams of data? Are we moving into the final phrase of Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction?

The Weather Camera is Kjen Wilkens response to her search for a human presence within this deluge of electronic readings. Instead of taking a photograph to a record a special moment, the user of The Weather Camera can record the atmospheric conditions, weaving these into autobiographical memory. In time encouraging new methods of narration, titled by the designer as “Sensor Poetics.”

Described as “object of empowerment”, Becky Pilditch‘s prothestics showcase how functional pieces of designs can be both a thing of beauty and an extension of the wearer’s personality. Becky worked and developed the project with Holly Franklin .

Hand 8 the final part of the project, played with ideas of gesture and personality by creating numerous arms that related to Holly’s actions as she spoke or moved around a space. A fantastic aspect of the website is the blog, which can be used by other prosthetic limb users to feed back directly to the project.

In the Animation section of the exhibition Lauri Warsta’s Traumdeutung awaited. A wonderful animation baring the hallmarks (whatever that may mean…) of a “documentary,” the calming, not too dissimilar to the 1940′s DONT PANIC! voiceover narrated the data currently available on the subject matter: The Global Reserves of Dreams. The beauty in this short is it bared the possibility that it was itself entirely a dream.

The subtle block coloring of the animation maintained a ‘warmth’ more similar to hand drawn animation, that can sometimes be lost in 3D animation. An outcome of the animator’s experiments in combining ” two extremes (3D and Handmade) clash and merge. For example; bringing the uncontrollable movement of real hand-held footage to an otherwise sterile computer animation”

Adnan Lalani‘s experiment with augmented reality catches the attention, through being something the viewer can interact with. The action of turning the Pop Up Book’s pages is suplimented by additional narration appearing on the screen placed directly behind the book and inline with the viewers eye.

Below is a video documenting the Pop Up Book’s Prototype. Earlier this week Adnan kindly took a few moments to explain the idea behind combining the narrative structure of a Pop Up Book with Augmented reality: “The pop-up book felt like a natural compliment to augmented reality. I was hoping to see how AR could be used in a more tactile, playful context… i.e. take something we already know and play with, and allow it to be enhanced with animation and digital interactivity.”

RCA Work In Progress Show – Pop Up Book Prototype Documentation from adnan lalani on Vimeo.

Eventually Adnan hopes that as we grow more comfortable with the idea of Augmented Reality, ideas like the Pop Up book ” can allow a progression from the magical, novelty nature of AR, into more of a direct tool by which to communicate narratives and story telling”

The eye catching work of Design Interaction Graduate Louise O’Conner; used experimental dance to convey the movement of the smallest particles, for example: Atoms, in an attempt to connect us to movements that are beyond our physical awareness. Visit the exhibition to watch the film!

A particular lovely idea was the mapping out of the distances of the solar system along Kingsland High Street leading up to Stamford Hill. Eight Shopkeepers were asked if their shop would host one of the planets…

Photography by Mark Henderson

You can find the map and information about the project here:

Katrin Baumgarten’s Aesthetics of Disgust explores humans’ relationship and our reactions; both emotional and physical to the things or materials which disgust us. Using inanimate objects all too often taken for granted, (i.e. Light Switches) Kartin added disturbing features such as goo or hair that moved as the light switch is pressed. By ‘touching’ us back, the presence of these inanimate objects is brought back to the forefront of our attention.

In the installation at the Royal College of Art a screen documents the level of the reaction of each user.

Another subject explored by Katrina is Intimate touch or sexual disgust and how these feelings can be created “merely by inappropriate behaviours in society, such as touching another person in an intimate or sexual way in public, even though that might comfort the two persons involved and is a part of our human nature.” The outcome of which is the Intimate Touch Object, an item which enables you to touch another person secretly…

FINALLY on my second trip (yes second, it’s that big and really worth the time) I came across the brilliant work of Sivaprakash Shanmugam’s Expressive Scribble. Children draw onto the projector screen (this could be the kitchen floor, wall etc…) and an bring their drawings to life by clicking the ‘movie’ button. The idea being to “enrich their visual vocabulary,” sense of narrative and most importantly encourage children’s creativity.

Part two of the RCA show continues until 4th July 2010. It’s open from 11-8 daily at the Royal College of Art, Kensington Gore, London SW7 2EU. Admission is free.

Images Courtesy of the Students and addition photographs by Sally Mumby-Croft

KIRSTY-ALMEIDA-Lisa Stannard
Kirsty Almeida by Lisa Stannard.

On Friday we kicked off with Kirsty Almeida, generic who you can read more about in our interview here. My description of her music as bayou blues meets dub bass might suit her recorded material, but for this small show Kirsty ditched the big band that would later be accompanying her on the Avalon stage and instead took a more stripped back acoustic approach, dressed in a fetching stripy all-in-one pants suit.

KIRSTY-ALMEIDA-Lisa Stannard
Kirsty Almeida by Lisa Stannard.

A particularly creative course of action was required from all the percussionists who visited the Tripod Stage and, in between rattling and banging a wide variety of objects, Kirsty’s drummer once again stole the show… dancing and gurning in accompaniment to her song about the “wrong Mr Right” in a thoroughly endearing fashion.

Glastonbury 2010 Climate Camp Kirsty Almeida
Glastonbury 2010 Climate Camp Kirsty Almeida
cheeky drummer!
Glastonbury 2010 Climate Camp Kirsty Almeida

One of a breed of strong female musicians who have no desire to fit the normal pliable record label mould, Kirsty was relaxed and chatty during her songs: an absolute delight. Her album Pure Blue Green comes out on Decca on 31st August, and she finished painting the album artwork just last night!

Kirsty on the Tripod Stage: I loved how creative yet peaceful the area was. The stage was so beautifully bonkers it brought our bonkersness out of us and gave us a licence to be cheeky too.
Kirsty’s favourite part of Glastonbury: Definitely all the street entertainers. I loved The Dead Weather too but for us as performers the highlight was definitely the chance to entertain and share our music.

Following Kirsty we had a session from Newislands, who despite worries that they would not be able to make a big enough noise managed to wow a small but perfectly formed mid afternoon crowd with their melodic post rock.

Abi Daker - Newislands -Glastonbury
Newislands by Abigail Daker.

It was only after the gig that I discovered they were missing their bassist Bogart…. we are mutual friends of the Mystery Jets and met many years ago at a small festival called Blissfields that we all went to together. Later that night Bogart called on me in my tent with Marina Pepper. I was fast asleep and woke with the fear of God in me…. it wasn’t the best way to be reintroduced but apparently he insisted on seeing me “the nicest person he knows” – I look forward to meeting Bogart again one day when I am wide awake.

Glastonbury 2010 Climate Camp newislands
Glastonbury 2010 Climate Camp newislands
Glastonbury 2010 Climate Camp newislands

Lead singer David’s best bit about playing the Tripod Stage: Well apart from the lovely stage itself, complete with the best speaker system I’ve ever seen, receiving a cup of tea from yourselves midway through the set, was pretty special.
David’s Glastonbury highlight: Apart from playing two amazing gigs, (one for you and one for BBC Introducing), seeing Thom Yorke and Johnny Greenwood on stage together was ace… “For a minute there I lost myself…”
 
Newislands are playing at Napa Live in Cyprus and then return to the UK to play the Farm Festival. A new single, followed by their debut album, will be released soon. You can watch their other Glastonbury performance here.

We then had our first session from Climate Camp poets Danny Chivers, Claire Fauset and Merrick – all of whom deliver brilliant spoken word commentaries on the state of the world. Danny and Claire have a way of making the environmental/political mess we are in make complete and simple sense, and Merrick takes on the whole system. Why do we work? If you’ve heard Merrick speak you’ll question the sense in ever getting a job.

Glastonbury 2010 Climate Camp Danny Chivers
Danny Chivers.
Glastonbury 2010 Climate Camp Claire Fauset
Claire Fauset by Gareth Hopkins
Claire Fauset by Gareth Hopkins.
Glastonbury 2010 Climate Camp Merrick
Merrick.
Natasha-Thompson-Bristling-Badger
Merrick by Natasha Thompson.

After a somewhat more subdued ceilidh we were then treated to the most extraordinary live set from Danny and the Champions of the World, who decided to ditch most of the electrical amplification and instead sprawl towards their audience in a great acoustic morass.

Glastonbury 2010 Climate Camp Danny and the Champions of the World
Glastonbury 2010 Climate Camp Danny and the Champions of the World

This band was made for live gigs…. myself and Dom, the banjo player in Green Kite Midnight, were so enthralled by the set that we dusted ourselves down after dinner and set off to hear them once more at the Croissant Neuf bandstand. Danny is a massively confident and skilled musician who has clearly been playing for years: talents like his ought to be better celebrated.

donna.mckenzie.dannyandchampions
Danny and the Champions of the World by Donna McKenzie.

Danny liked playing the Tripod Stage because: the audience was really great and there was an atmosphere that seemed very ‘other’ to the mad hustle and bustle of the rest of the festival – like a haven of good vibes and togetherness, like a family or maybe like what my minds eye would conjure up when I think of festivals in the 60′s. We really just love playing and it’s always great to pass the instruments around, have fun with friends and sing a bunch of songs, and it felt like the perfect time for that – we could’ve played for hours. The lentil dal [for supper] was a treat too!  

Danny’s favourite part of Glastonbury this year: I guess the best part of it was getting to play music with friends to loads of folks. We were lucky enough to play on a bunch of different types of stages so we got a pretty broad experience of it all – we played about seven times which was amazing… but my feet still ache! It’s what we live to do: drink a few ciders and pass the guitar around. 

Danny and the Champions of the World on the road: Our band really lives and breathes on the road, meeting good people and having a great time playing tunes. We’re doing… Maverick, Cornbury, Lounge on the Farm, Deershed, Secret Garden Party, Port Elliot, Truck Festival, Summer Sundae and Greenbelt – and maybe a couple more that I’ve forgotten. We’ll probably start to record a new record at the end of the year.

But, it didn’t end there…. like a magic jack-in-the-box, there were more surprises in store. Out of the band popped a duo who’s music I have loved since the very moment their album plopped onto my doormat. Like a butterfly emerging (from a particularly sexy and gorgeous caterpillar) Trevor Moss and Hannah-Lou shed the rest of the musicians to perform a few gorgeous tunes of their own. I was beaming like a motherfucker by this point.

Glastonbury 2010 Climate Camp Trevor Moss & Hannah Lou
A surprise performance from Trevor Moss & Hannah-Lou.

And then… I discovered that the band line up also features the delightful brothers who run Truck Festival, a great independent music festival near Oxford. They also run the smaller and folkier Wood Festival which takes place at the gorgeous Braziers Park, a sustainable community where I have camped on many an occasion. I really hope I can hook up with them some more. A nicer and more talented bunch of folk I have seldom met.

Glastonbury 2010 Climate Camp Danny and the Champions of the World
This man runs Truck Festival.

Moving on, my next blog tackles a very busy Saturday on the Tripod Stage – read it here.

Categories ,Abigail Daker, ,Avalon, ,BBC Introducing, ,Blissfields, ,blues, ,Brazier’s Park, ,Climate Camp, ,Cornbury, ,Croissant Neuf bandstand, ,Danny and the Champions of the World, ,Deershed, ,Donna Mckensie, ,Farm Festival, ,folk, ,Gareth Hopkins, ,glastonbury, ,Greenbelt, ,Kirsty Almeida, ,Lisa Stannard, ,Lounge on the Farm, ,Marina Pepper, ,Maverick, ,Mystery Jets, ,Napa Live, ,Natasha Thompson, ,Newislands, ,Port Elliot, ,Prog Rock, ,Secret Garden Party, ,Summer Sundae, ,The Dead Weather, ,Trevor Moss and Hannah-Lou, ,Tripod Stage, ,Truck Festival, ,Wood Festival

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