MAID OF STONE FESTIVAL - PART TWO SATURDAY 20TH JULY 2024

After all that jumping around, it’s time for a drink, and conveniently, Connor Selby is by the bar in the VIP area, giving an exclusive acoustic performance. Sadly I’ve missed most of his set, but catch ‘Love Letter to the Blues’ and ‘Emily’. There’s a bit of noise spilling in from one of the nearby stages, but not enough to detract from Connor’s wonderful, rich voice and his elegant, blues guitar playing. With eyes closed, you’d never believe you were listening to a man in his twenties, so sophisticated is his take on this timeless genre. 

I’m very torn between Blind River and Scarlet Rebels, but opt for the latter, largely because I’m a bit nearer the Inferno stage. There’s clearly a bit of a buzz around this Welsh foursome, who attract a very decent audience and play rousing, anthemic rock with wide appeal. The singles from upcoming album ‘Where the Colours Meet’ sound fantastic and the Rebels are evidently proud of them, opening with ‘Grace’, but also including the infectious ‘Secret Drug’ and impassioned ‘Streets of Fire’. It’s testament to their clever songwriting that the choruses can be picked up quickly, always an advantage in a festival setting. 

The Commoners are a brilliant surprise, a Canadian group who look and sound delightfully retro, from their flared trousers and exposed chest hair to their rootsy, old school rock. Proving my belief that the keyboard is a seriously underrated instrument in rock music, these guys have got some serious groove and more than a bit of a Black Crowes vibe. Chris Medhurst is a frontman in the truest sense; grateful for the love he’s been receiving from UK audiences, he assures us it’ll be “given back in spades” and promptly delivers on that promise. ‘Devil Teasin’ Me’ is a truly great song that has deservedly been celebrated as a Planet Rock track of the week; but make no mistake, The Commoners have got plenty more where that came from.   

It’s not really my intention to watch South of Salem, but having seen many T-shirts bearing the logo and heard a lot of murmurings, I know it’s wrong not to take a look. I’m immediately very taken with the stage set up (complete with coffins!) and notice the huge crowd forming. The Halloween theme music strikes up and there’s a real sense of anticipation building as the band take their places. It’s certainly a spectacle, flames burst, smoke billows and scantily clad cheerleaders dance at either side of the stage. Guitars are brandished like dangerous weapons and singer Joey Draper succeeds in getting everyone riled up. South of Salem prove they’ve got the songs to back up the image, the likes of ‘Jet Black Eyes’ and ‘Death of the Party’ more accessible than you might expect with big, catchy choruses to be found amongst the metal riffs. 

I’m really looking forward to When Rivers Meet, having been impressed by the husband and wife duo previously, but it becomes clear that something’s up. There’s a lengthy delay (apparently the result of some patching issues… whatever they are!), eventually becoming so lengthy that compère Pete K Mally steps in to try and keep us entertained. It’s a relief when Grace and Aaron Bond finally appear on stage, augmented today by a drummer and bass player to fill out the live sound. And what a sound. Yes, it takes a minute for Aaron’s guitar to kick in during ‘Did I Break the Law’, but when it does, it’s met with jubilation. Grace is blessed with a wonderful voice, beautifully cutting through the big fuzzy riff of ‘Seen It All Before’; the chemistry with husband Aaron giving their performance another dimension. Once the sound issues resolve, the rhythm section is one of the more formidable of the day, the drums adding real punch to ‘Play My Game’. 

I have to rush off to catch Tyketto, a band who play the kind of sumptuous, melodic rock that I just adore. With my place on the barrier secured, the band begin with ‘Remember My Name’. I’m struck by Danny Vaughn’s incredible vocals; It’s easy to forgive his self-professed dad-dancing with a voice that still delivers so much power - unbelievable that he has just turned 63. It’s a flawless 50 minutes, the band playing with precision, proving they can do the romance of ‘Reach’ and the driving rock of ‘Strength in Numbers’ with equal conviction. Vaughn brings special attention to bassist Chris Childs whose solo at the end of the bouncy ‘Lay Your Body Down’ demonstrates why he is a cut above. Tyketto’s timeless songs produce some of the biggest singalongs of the weekend, ‘Wings’, ‘Burning Down Inside’ and, of course, ‘Forever Young’ getting us all trying to hit those high notes. 

Admittedly, I can’t see Wayward Sons very well from where I’m standing, but they just sound as good as I remember from Ramblin’ Man Fair a few years ago. Toby Jepson and co. blast through a selection of songs from their three albums to date, including ‘Faith in Fools’, ‘Land of the Blind’ and ‘Crush’. It's solid, uplifting hard rock that's impossible not to enjoy. 

I’ve heard the hype but am surprised to discover The Warning is a band genuinely worthy of it. Three sisters from Mexico who seemingly pay no regard to what is expected of women in rock music, they are quite simply the best live act I have seen for a very long time. Dressed perfectly ordinarily in vests and denim, these unassuming (albeit beautiful) girls play nasty, riff heavy rock that demands you sit up and listen. Opener ‘S!ck’ is a hell of a song, a punch in the face, albeit one that leaves you wanting another. The sisters Villarreal Vélez are an absolute force; all three talented vocalists, posturing with as much swagger as any man. And their songs are perfection - so concise, so perfect and never overstaying their welcome. ‘MORE’ is utterly sexy, ‘Consume’ spits rage and ‘Qué Más Quieres’ is so thrilling that you barely even notice it’s being sung in Spanish. The six string bass rumbles so heavily through ‘Six Feet Deep’ that you can feel it, and doubled with the guitar, these ladies pack some real wallop. 

I don’t think I’m alone in feeling that Those Damn Crows could have headlined this festival. The gathering crowd is the biggest I’ve seen all day, proof of just how popular this band has become. It helps that frontman Shane Greenhall has always been a natural, playing to any room like he’s working an arena, and it’s a method that serves him well again today. Opening the show, as always, with the words “we’re THOSE. DAMN. CROWS” generates suitable levels of excitement before the familiar riff of ‘Who Did It’ kicks in and sends things stratospheric. The audience know every word, filling in the gaps that Greenhall leaves for them with no problem. Songs from the latest album already feel very much part of the canon, 'Man on Fire' and 'Wake Up (Sleepwalker)' more powerful here than their studio counterparts. New single 'Let's Go Psycho!' can only be described as an absolute belter. Of course, these lads can do ballads as well, Greenhall taking to the piano for an overblown and beautiful 'Blink of an Eye'. It's a proper show, from the elevated drum kit, to the billowing smoke and sparkler cannons. 

In contrast, Wolfmother’s headline set feels very stripped back. There’s no spectacle, nothing adorning the stage, bar the three gentlemen who now make up the band. It’s Andrew Stockdale’s 48th birthday today, but he looks unchanged from how I remember him, a mass of wild fuzzy hair atop a skinny body. I’m surprised to hear ‘Dimension’ straight away, a song I assumed would be reserved for the end. I’m immediately transported back to my teenage years, a track that left a mark back then and has lost none of its impact. Stockdale’s foreboding wail is just as I remember, distinctive and powerful. Wisely picking most of the set from the much loved debut, we’re quickly treated to ‘Woman’ and 'White Unicorn', the latter resulting in a broken guitar string which forces an impromptu bass solo from James Wassenaar. Stockdale doesn't say much between songs, simply lifting his hand above his head and thanking us before ripping into another Sabbath-esque riff. A proper power trio, 'New Moon Rising' is an overlooked gem, 'Rock 'n' Roll Survivor' a masterclass in the art of a bludgeoning riff. The encore is a faithful cover of Zeppelin's 'Rock & Roll', a band Wolfmother has often been accused of ripping off. I've never really heard it myself, but have to admit Stockdale does make a pretty good Robert Plant. They may be lacking in flash, but Wolfmother are certainly not lacking in songs. A band I never thought I'd get to see, it's a joy to have the opportunity so close to home.