Castlepalooza Festival at Charleville Castle, Tullamore on 2nd-4th August 2013

Words: Justin McDaid & Jonathan Klein  

After Friday’s opening night in the Metro Herald tent, Castleplooza proper kicked off on Saturday morning, with the Courtyard Stage and Main Stage now in full effect. We sent Jonathan and Justin along to check out the sights and delights, and if anyone can clarify if it was that one same scobe wasp that was after everyone’s pints, or a squadron of the bastards, we’d love to know.

Jack Worrall

Jack Worrall and his three colleagues are tasked with opening the festival on Saturday afternoon. They’re still without a band name, having only been playing together one month, but something tells us Worrall’s suggestion of Fleetwood Jack won’t take off – we like it anyway. They begin with a cover of Kid Cudi’s Pursuit Of Happiness, a sax blast leading off into the singer’s deep vocal on a lively version. Another cover follows soon after, a somewhat less successful take on The Jackson 5’s I Want You Back that broaches crooner territory. The spits of rain that come during it do change the gig for the better, though, as bodies fill the covering canopy under the main stage somewhat solidifying the crowd. The band move from country shuffles to a final lounge jazz, folky number, rounding off a set distinguished by an assured vocal delivery from the singer. (JMD)

Old Hannah

Two rows of deckchairs line the woodchipped floor in the middle of the Metro Herald stage in advance of the first of ten acts chosen via John Murray’s RTE radio show. Four piece Old Hannah specialise in a type of rootsy country that seems perfectly suited to the reclining crowd still easing into the day. Singer Lucie takes lead on the acoustic folk of Irish Boys, backed by gentle harmonies from her guitar slinging bandmate. In The Country livens things up after this; the band’s triple vocal attack is their triumph, leading the gospel-like Saro Jane, a song that needs only the slightest touch of instrumentation as the three singers complement each other. A short but undeniably sweet set ends with Sail Away, an upbeat wind down to a well received selection in a tent abuzz with atmosphere. (JMD)

September girls

Noise-rockers September Girls’ charm lies in their exceptionally tight rhythm section, with wonderfully catchy beats on drums allowing for the melody instruments to intertwine beautifully. The tunes vary from the gleefully upbeat Hells Bells to the downright sinister and scary Green-Eyed. The vocals can be a bit insubstantial at times, and with two guitars and a synth all clamouring for the main melody line, the songs occasionally sound a bit crowded. Nevertheless the group’s overall performance is highly impressive. (JK)

Familiar Creatures

This London-based group at first seem like the moniker of one man, as Brian Kelly walks onto the main stage alone with an electric guitar and sings a brief folk tune. Four bandmates then appear to chip in on a funky dub workout that sets the stage skanking – we’re off to a good start. Timepiece continues the funk/soul/ska fun, with the fantastic trumpet lines of Jessie Barnard seemingly chasing the rainclouds away for a time. Measure Of Our Enemies goes out “for the attentive media”, and a few tentative dancers make themselves known – the rest are getting there though, and the wind whips up a mini dust clowd as if sympathetic to the attempts of all concerned. A minor technical hitch during Over The Line is masked with a brief improv piece, before the heavens open once more for the last tune. A few people go for it at this signal, leaping around in the soaked space in front of the stage. It’s a great set, with a crowd gradually brought onside from the off. (JMD)

Liza Flume

Liza Flume’s quiet, minimalistic set struggles with external noise levels on the main stage, but those who listen are treated to the best of Flume’s atmospheric tunes. Using loop pedals to layer her vocals, Flume creates exciting soundscapes that are quite spectacular. Poison is a haunting and mysterious performance, while Burns features some soft guitar playing that perfectly complements her light, expressive vocals. The soft songs are constructed so delicately that it feels as if a light breeze might blow them away, but this is all part of the charm of Flume’s tracks. (JK)

SOAK

Like Liza Flume’s performance, Derry based singer/songwriter SOAK’s ambient songs have to compete with the noise of the surrounding area, but this does not deter her. The melancholic beauty of Explosion is impressive, and the sparse guitar arrangements are the ideal accompaniment to her wispy vocals. Her manner on-stage is assured and friendly, and her performance is a highly enjoyable one. (JK)

Cat Dowling

Cat Dowling takes to the main stage around the same time most of the country is watching The Angelus, kicking off with Invisible as the bass drum punches it along and the singer comes stage front with a tambourine. She’s out at the monitors again for Cruel, looping the mic lead around her neck. Dowling is an affable presence through the set, modestly encouraging people to come forward, and even inviting a couple of lads in the crowd onstage to keep the band company – sadly, the invite is declined on this occasion. Come On is slightly more downbeat, but the crowd add percussive handclaps while the guitarist hammers a snare and tom stagefront. A set high comes with Gospel Song, picking up a lovely mid-tempo momentum, and there’s an undeniable buzz in the area as the evening sun creates shafts of light through the tree canopy. Behind her, the band balance squalls of guitar noise with calm instrumentation on The Well Runs Dry and Sing You To Sleep, a perfect accompaniment to this thoughtful selection from ‘The Believer’ album. (JMD)

Ed Zealous

Belfast band Ed Zealous prove to be the surprise act of the weekend, playing an array of exceptionally catchy, high-octane songs. The band ooze confidence onstage, and they certainly have the tunes to match the swagger, with Medicines in particular standing out as an indie-electro classic. The vocals are sung ferociously and leap out from the other instruments, creating something truly memorable. Occasionally swapping the emphasis between guitar and synths, this band show great versatility, and they are an act to keep an eye on in the future. (JK)

Tieranniesaur

Indie pop stars Tieranniesaur appear on stage as darkness falls on Saturday evening. Featuring a wide array of instruments, including guitars, synths, and even a keytar; the challenge for the band is merging these various instruments together as seamlessly as possible to create a coherent sound. The band’s set is full of energetically-performed songs all evening, but they really hit their stride with their last few tracks. Rockblocker and DIYSCO are two stunning party tracks, with catchy sing-a-long chorus. The band’s bassist also engages in some rather enthusiastic cow-bell playing at one point, providing an amusing sideshow from the rest of the band. All in all, Tieranniesaur once again deliver a bubbly, fun set. (JK)

Fight Like Apes

This must count as the most kinetic opening salvo of the entire weekend, as Fight Like Apes’ Mary-Kate Geraghty hits the stage, the spotlights hit the crowd, and mayhem breaks loose for Poached Eggs. The singer rolls, flails and headbangs, flanked by her bandmates, and the crowd aren’t far behind; rain be damned. Lend Me Your Face is as heavy and growling as expected, with all but the drums cutting out for the crowd to have the last shout. Jamie Fox on keys frequently provides howling vocals, taking the reins as Geraghty bounds all over the stage behind him. There’s more crowd vocal for Jenny Kelly, then Geraghty is down with them for a progressively grungier Jake Summers. Dodgy keyboards give the band a few problems, but not to matter, as Fox takes on vocal duties with some nice interplay with Geraghty. Keyboard issues of a different hue materialise for Battlestations as the thing literally comes apart, but again, no matter. The most fun gig of the festival? It’s definitely up there. (JMD)

CSS

A looped intro blasts from the stage as CSS appear from the wings, launching straight into Art Bitch. “Let’s get down ‘til your dick touch the ground” shouts Lovefoxxx, and while it’s just too torrentially soaking for that kind of craic, the sentiment doesn’t go unacknowledged. CSS are old hands at the crowd-incitement party atmosphere, and we have to admit we were delighted when the band was announced in the lead up to the festival. So why does it feel like there is just something missing? Well, there is, we suppose; founder member Adriano Cintra left in recent years, leaving the band down yet another original member. Whether it is this departure, the damp squib of a night, or what feels like a phoned-in performance that doesn’t quite ignite the headline gig is hard to know. Of course, even CSS on a bad day are worth more than most in the good-time stakes – Hits Me Like A Rock is a bouncy delight, while Teenage Tiger Cat, and Lets Make Love & Listen To Death From Above’s strobed, distorted mid-section lift sodden feet everywhere. Silhouetted in blue smoke, the band cut an atmospheric picture, while Lovefoxxx unleashes a massive gold cape during Honey. The debut album tunes are most well-received, but the finale – “a love duet between Anna & me” – the riot grrrl disco of I’ve Seen You Drunk Gurl, is a rowdy triumph. They may not have lived up to the expectation of CSS gigs past, but still, these girls know how to show a crowd a good time. (JMD)