Festival Review: Europavox 2015– overviewJune 11, 2015

Words: Adrian Borg

Photo credit: Inconscients Collectif

Clermont-Ferrand

Clermont-Ferrand, is an innocuous, modestly-sized city

that sits pretty in the heart of south-central France. Truth

be told, this commune is not of much renown and hardly a

tourist magnet either. Except for the corporate

headquarters of tires tycoon Michelin and its blacker-

than-midnight-on-a-moonless-night Gothic cathedral,

remarkably built with volcanic rock.

Nevertheless, an international musical event called

Europavox Festival is held annually here and this May it

celebrated its 10th edition.

Festival overview

First and foremost, Europavox is not your typical mud-

drenched, rain-soaked European festival. Held in a town

square with easy-access concert halls, the whole

experience feels like a walk in the park.

experience feels like a walk in the park.

Secondly, most of the performers booked are not of a

high-profile – purposely so – as the organisers opt to

shine a light on emerging European talent, as opposed to

safer bets like readily established acts.

It is clear even to the most casual of onlookers that the

drive behind the setting up of this event is not

commercially driven, where the sole intent is that of

hoarding profits. It is true that every year they get a

crowd-puller to grace the main stage – be it The Hives,

Stromae or this year’s headliners, Placebo. French big

name acts, like Dominique A, FAUVE and Izia were also

added to the list. It stands to reason that every balance

sheet has a final figure. However, the quality control

exercised by the curators in selecting the line-up is very

much discernible.

This edition also saw its first ever heavy metal stage,

which featured Igorrr (FR), Avulsed (ES) and Gojira (FR); a

decision that paid dividends as metal heads flocked to the

site in droves.

Independent venue promoters and journalists from the

European music industry circuit were flown in to attend

panel debates and media events to help create ties across

national borders.

Here’s a random fun fact: it is very likely for someone to

bump into the band they saw performing the night before

in the hotel corridor or lobby.

To sum it all up, what I witnessed during this three-day

bash felt like a cross between a family picnic and a

countercultural gathering, with plenty of curious musical

discoveries along the way. Many of which I will review

right here.

Live shows

Pre-opening show

Friday, May 22

Carl Barât & the Jackals (UK)

Barât’s latest post-Libertines formation played for an

intimate audience. The Jackals album release was subject

to media underexposure (probably the fact that they

shamelessly duplicate The Clash did not help much).

Former excess seems to have taken less of a toll on Barât,

Former excess seems to have taken less of a toll on Barât,

than his one-time partner-in-crime/musical soulmate

Pete Doherty, as he was very much in good shape and

high spirits. The band’s set list also covered Libertines and

Dirty Pretty Things highlights – guaranteed crowd-

pleasers.

Barat’s humbleness was touching to witness, as

performing in a modestly-sized venue did not seem to

hurt his ego. On the contrary, he was brimming with

enthusiasm and energy. He sang at the top of his lungs

and hit his guitar strings with fervour. Shenanigans

showing brotherly affection also ensued, like when he

amicably piggybacked the guitar tech.

Carl Barât and The Jackals - Glory Days

Copyright 2011 Stagedive Malta.

Festival Review: Europavox 2015– Day 1June 12, 2015

Day 1

Saturday, May 23

Selah Sue (Belgium)

This young lady played her Motown meets reggae fusion

to a full house on the festival’s largest stage, without

batting an eye that is, as she was at ease in the spotlight.

During a solo number with just an acoustic guitar in hand,

she still managed to engage her audience. Her precocious

talents, drive and focus were in full evidence.

In 2011 her self-titled debut album remarkably cracked the

European market, especially France. But with new

territories yet to be conquered a question inevitably

crosses my mind… Her radio-ready soul was über-trendy

in 2008 (think Mark Ronson-assisted songstresses Amy

Winehouse and Adele or Duffy). Thus, is she now late to

the party?

Then again, this being a rhetorical question, it would be

totally acceptable if in the end she proved me wrong.

SELAH SUE - Live Deezer Session

FùGù MANGO (Belgium)

An unexpected discovery were FùGù MANGO, a band

whose spiritual home is 1979 downtown New York.

Comparing their worldbeat shtick to that of the Talking

Heads is unavoidable. Their live set was solid, even better

than their recorded output. With shakers or cowbell in

hand, the frontman kept working the stage, while his

bandmates made for technically able musicians.

Clearly part of a generation finding inspiration in Paul

Simon’s seminal album Graceland, FùGù MANGO are

kindred spirits with contemporaries tUnE-yArDs and

Vampire Weekend, who also merge afro-pop with indie.

On ‘Walk On By’ they nod towards Phil Collins’

atmospherics (think ‘In The Air Tonight’). Another homage

to 80’s new wave is their cover of The Stranglers’ ‘Golden

Brown’, minus the harpsichord baroque-isms of the

original. The quartet mostly shies away from harmonic

loading, instead opting to concentrate on exquisite South-

African percussion.

GOLDEN BROWN

Copyright 2011 Stagedive Malta.

Festival Review: Europavox 2015– Day 2June 13, 2015

Day 2

Sunday, May 24

Placebo (UK)

Placebo are one of a number of mid-90’s alt rock veterans

that retained a stable following, at least in some territories

like Italy and France, as confirmed by the strong

attendance of this show.

In 1996 Brian Molko and pals smashed into the charts as

the next post-grunge hopefuls with their self-titled debut.

With 1998’s Without I’m Nothing they triumphed over the

sophomore slump. In typical rock‘n’roll fashion, they then

released the difficult third album Black Market Music,

subsequently followed by a string of meh releases.

The live setup was extended beyond that of the essential

power trio. With too many backing musicians, the sound

made for a smudgy cacophony. A momentary technical

issue led to an amusing incident.

The charismatic Molko, who is fluent in French, started

casually chatting with the crowd to figure out what the

commotion was about. Hilarious leg-pulling ensued as he

passed tongue-in-cheek remarks about the French’s

reputation for complaining. “Ta voix! Ta voix!” – fans kept

yelling, because they couldn’t hear him sing. With the

temporary hiccup finally sorted out to a rapturous

applause, the gig resumed as normal.

Brian Molko "La ferme merde !"

Bror Gunnar Jansson (Sweden)

Raspy voiced bluesman Jansoon brought the house down.

Like a one-man-band he was seated with the guitar firmly

placed on his thigh, while his feet pedalled the hi-hat, the

snare and the empty guitar case. The unexpected racket

commanded the stage.

As someone who is probably disillusioned by

contemporary music, Jansson draws inspiration from the

American roots folk of Robert Johnson and Charley

Patton. File him with Seasick Steve.

Popbrus presenterar: Bror Gunnar Jansson - Ain't No Gr…

Mourn (Spain)

This Catalonian indie rock foursome, made exclusively of

under seventeens, is signed with the trendy label Captured

Tracks, whose roster boasts signees like DIIV and Mac

DeMarco.

The band delivered a set of tight neo-grunge that

sometimes verges on punk sloppiness. Songs like

‘Philliphius’, ‘Misery Factory’ and ‘Squirrel’ were ultra short

and sweet (ok maybe not that sweet) in typical Ramones-y

fashion.

Angst and aggro came in abundance, attributes that might

Angst and aggro came in abundance, attributes that might

be considered passé in this day and age. However, in their

case the cringe factor is null, as being the teens they are,

their dissatisfaction comes from a genuine place.

A journalist from Barcelona, whom I befriended at the

festival, told me about the annoyance he felt when the

band started turning heads as soon as Pitchfork covered

them in a Rising feature, even though he sang their

praises way before. Hence, the power English-speaking

media platforms have in raising the profile of non-U.S.

and non-U.K. bands.

MOURN "Otitis"

Alo Wala (Denmark)

This cosmopolitan project, fronted by rapper Shivani

Ahlowalia, brings together several audio-visual creatives.

Alo Wala nab the ragga-rave of Major Lazer, as well as the

day-glo-meets-tribal aesthetic of M.I.A. (and pretty much

her wacky fashion sense too). It is like Ahlowalia wants to

her wacky fashion sense too). It is like Ahlowalia wants to

be her so, so bad.

As the whole band couldn’t be present for the show, they

kept it simple with the lady MC and her drum pads-

beating sideman taking the stage. With borrowed backing

tracks by Duke Dumont, Mudimbi and more, their set

came across like a mixtape of sorts.

The party vibe and her fluid mic flow worked wonders, as

the crowd warmed up real quick. At one point she yelled

out, “Shake what mama gave ya!” Needless to say, the

audience obliged.

Alo Wala Cityboy  Official Videofrom Jamil GS

03:48

Alo Wala Cityboy – Official Video from Jamil GS on Vimeo.

Copyright 2011 Stagedive Malta.

Festival Review: Europavox 2015– Day 3June 14, 2015

Day 3

Monday, May 25

FAUVE (France)

Collective FAUVE had their numerous followers, mostly in

their teens, going for it with sing alongs and arm waving.

Theirs is a contemporary pop-rock style, at times

remindful of The xx. French spoken word abounds, with

lyrics as dense as a holiday suitcase filled beyond capacity

that is about to blow open.

The ambitious visual show, consisting of video art and

lights displays, was at the centre of the attention rather

than the actual musicians onstage. A case in point is the

huge parasol of flashing bulbs installed on the venue

ceiling.

The band’s tour is somewhat of a travelling carnival; their

entourage temporarily transformed the entrance hall into

a fun fair with arcade games, photo boot, graffiti wall,

boxing machine and so forth.

FAUVE ≠ PATISSERIE #18 - VILLAGE

Aurora (Norway)

This tender aged Norwegian pixie/singer-songwriter took

everyone by surprise. I admit that whilst typing this review

I utterly restrained myself from using the cliché adjective

“ethereal”, already applied ad nauseam to artists like Björk

and Joanna Newsom, since it would do her a disservice.

Her voice was reverbed to great effect while her active

gesticulations, as if under a magic spell, made everyone fix

their eyes on her.

Aurora’s vocal drawl may link her with Irish singers like

Dolores O’Riordan of The Cranberries, Enya or Celtic

chanting in general. Similar to current British sensation

Bastille, she shares an affinity for big-sounding floor toms

and majestic choruses.

Her arctic baroque-pop calls to mind Scandinavian snowy

forests, fjords and tall mountain peaks, the same way that

Florence & the Machine’s romanticist art-rock

characteristically evokes the moors of Cornwall.

Song titles like ‘Running With the Wolves’, ‘Under Stars’

and ‘Nature Boy’ further make explicit her kinship with

nature. One may even come to the conclusion that Aurora

is a deliberate reference to the aurora borealis, but in

actual fact, it is her birth name.

Another winner set worthy of praise.

AURORA - Runaway

AaRON (France)

Frenchmen AaRON received a warm welcome as they

were playing on home turf. The ambience consisted of

sparse and downtempo synth-rock fit for stadiums. Low-

sparse and downtempo synth-rock fit for stadiums. Low-

intensity lighting, smoky haze and monochromatic

illumination were some of the simple yet dynamic

techniques used to great effect.

On a side note: I was surprised to notice that hardly

anyone viewed the concert through their smartphone – a

trend that has plagued concerts as of late.

AaRON - Blouson Noir (HD Lyrics Video)

James Hersey (Austria)

James Hersey is the likeable next-door-bloke type of guy.

A sensitive singer-songwriter who probably pens his

music in his bedroom. On stage he is chatty in a soft-

spoken manner. I cannot help but compare him to other

acoustic-based contemporaries like Passenger or Ed

Sheeran.

In-between songs he delved into the personal events that

inspired the song that he was about to play, without giving

too much information. It is not only the dim-lit and cosy

venue that made his set an intimate one, but also the way

how he engaged with the crowd without really trying.

how he engaged with the crowd without really trying.

Female audience members especially seemed to be into it,

as I spotted several gently swaying to and fro to his hushed

delivery. An understated but solid gig. Bravo.

James Hersey - Coming Over (live)

K-X-P (Finland)

The Helsinki trio played to a mostly deserted venue. Oh

that dreaded curse of early slots! K-X-P’s unconventional

setup incorporated two drummers, while the third

member switched between guitar and keyboards. All of

this while donning black capes.

The band glided through lengthy, at times danceable,

instrumentals with plenty of motorik and synth arpeggios.

Think the cosmic kraut of The Emperor Machine meets

the dark drones of Demdike Stare. As the pit was empty

there was no crowd to dampen the sound. Fittingly, the

bass projected from the subs was even more crushing and

menacing.

K-X-P - Flags and Crosses

Kuenta i Tambú (Netherlands)

Hailing from Amsterdam this quintet is the cultural

product of modern-day pluralism. Their sound is self-

product of modern-day pluralism. Their sound is self-

styled as tambútronic – tambú (which originates from the

Caribbean island Curaçao, a constituent country of the

Netherlands) and electronica.

The group consisted of the DJ/beatsmaker and the live

rhythm section, which displayed an impressive arsenal of

percussion instruments, fronted by two exuberant

vocalists. At one point, co-frontman Roël Calister

explained that in the Papiamento language, Kuenta i

Tambú translates as “words and drums”.

Their explosive live set boasted a multi-genre and multi-

lingual blend of past and present musics. The end result

does not sound forced or artificial. Think Buraka Som

Sistema’s kuduro with the carnivalesque multi-percussion

of Brazilian batucada and add in some dubstep bass drops

and freestyling.

All of this making for high energy levels as the crowd rid

of inhibitions and went berserk. The K i T experience

proved both educational and entertaining. The most fun-

loving gig hands down. Diplo needs to discover this band.

Kuenta I Tambu - Lightswitch, live @ 3voor12 Radio

For more info visit www.europavox.com

Copyright 2011 Stagedive Malta.