It has been just under nineteen years since Scot-rock outfit The Fratellis published their debut album ‘Cotsello Music’ – an album that, for many, epitomises the post-Britpop soundscapes that defined the noughties. Nearly two decades on the band’s relevance shows no signs of fading; something that was made abundantly clear last Saturday as the indie act visited the Canon’s Marsh amphitheatre for their headline slot on this year’s edition of Bristol Sounds. Now entering its eleventh year, Bristol’s annual harbourside festival has become one of the South West’s most anticipated and coveted events, welcoming world renowned artists, while simultaneously providing an essential stage to the city’s brightest rising stars. This year’s edition continued this legacy, firmly securing its place in the calendars of Bristol’s ardent gigging community, with household names such as Kaiser Chiefs, Supergrass, and Texas providing a powerful midweek undercard. As the weekend acts rolled on, it was soon The Fratellis’ turn to take centre stage and deliver another unforgettable evening at Bristol’s quayside.
As the early afternoon sun beamed down, there was a clear sound that reverberated throughout the streets, bars, and alleyways adjacent to Canon’s Marsh – acting as a rhythmic navigator for the all-dayers’ earliest entrants. Upon entering the day’s venue, fans rushed to escape the unforgiving, twenty-five degree sun, all vying for a space on the stage’s, somewhat shaded, right-hand-side, readying themselves for the day’s opening act: Goldie Lookin Chain. Emerging the nearby Newport at the turn of the millenia, Goldie Lookin Chain brought their unique fusion of satirical lyricism and nostalgic beats to Bristol Sounds with an unapologetic energy for the early afternoon’s spectators. Head-to-toe in bejewelled tracksuits, the five-piece group delivered cult classics such as ‘Your Mother’s Got a Penis’ (2004) and ‘Guns Don’t Kill People, Rappers Do’ (2004) to the sun-drenched harbourside audience. Throughout their set, there was equal parts comedy and chaos, proving that even two decades later, their irreverent charm has barely aged. Exiting the fray, it was clear that Goldie Lookin Chain were to perform warm-up to the day’s proceedings, setting the tone for a day fuelled by more cult classics and anthemic hits.
Now, with the time reaching four-o’clock, the latter trickles of the day’s near capacity crowd began to sweep into the slightly cooler amphitheatre, preparing themselves for the bill’s next act: Stereo MCs. Celebrating their fortieth anniversary as a group, heralding the sounds of London’s early nineties breakbeat rhythms, Stereo MCs arrived on stage with their timeless swagger, back by the bass-filled undertones of ‘Pressure’ (1994) piercing through the summery afternoon haze. Finding sanctuary in the increasingly shadowed harbourside amphitheatre, the ever-increasing crowd’s musical desires were appeased with hit single such as ‘Connected’ and ‘Step It Up’ – two charting hits from the group’s Brit Award winning 1994 studio album. Coalescing Rob Birch’s seasoned hip-hop vocals with the Rowetta-esque vocals of Cath Coffey, Stereo MCs delivered a tight, pulsating set that acted as a perfect continuation to the previous efforts made by Gold Lookin Chain. With three acts still to come and the crowd growing ever larger, anticipation grew for the uncard’s next act – London-based indie icons, Sleeper.
It was undeniable that, following the opening two acts, the all-day indie extravaganza had entered its flow state, with the audience slowly assuming their positions for the evening’s headline act. However, there were still two performances to come before the Glasgow-based trio would be set to make their way on stage – first up was Sleeper. Following a nineteen-year hiatus, 2017 saw the return of the cult icons and further the release of two subsequent in recent years. Walking on stage, one thing was vividly apparent – the group were no stranger to a large crowd, and as would soon be found out, not putting on an unforgettable show. The four-member group, powerfully fronted by the vocals of Louise Wener, wasted no time and burst into ‘Nice Guy Eddie’, a standout hit from the group’s second album ‘The It Girl’ (1996). The set progressed and the audience became increasingly buoyed by the soundwaves that were bouncing around the open-air venue, an emotion that reached its peak with a recognisable cover.
When you think of famous cover tracks, you may turn to Jeff Buckley’s take on Cohen’s ‘Hallelujah’ (1994) or possibly Soft Cell’s reworking of Gloria Jones’ ‘Tainted Love’ (1981), yet one that deserves the same level of praise is undoubtedly Sleeper’s cult classic cover of Blondie’s ‘Atomic’ (1996). Made famous by Danny Boyle for its usage in Trainspotting, Sleeper burst into the guitar driven decrescendo blaring the lyrics “YOUR HAIR IS BEAUTIFUL” across Bristol’s quayside area. Closing their set in a similar fashion to the manner in which the group had started, returning to their 1996 album, the rock quartet left to the soundscapes of ‘Sale of the Century’ – leaving the Bristol stage having perfectly prepared the crowd for the final act. Yet there was one more warm-up to come.
Alongside Bristol Sounds, Glastonbury, and the usual Reading and Leeds Festival excitement, this year has been subsumed in a further anticipation for the reunitement of one of the world’s most famous band’s: Oasis. While this year’s Bristol Sounds did not have an appearance from the Gallagher brothers, it did give a brilliant insight to what the early parts of the Oasis shows could look like, with support act Cast playing their final warm-up show before the reunion tour. Forming in 1992, following John Power’s decision to leave The La’s, Cast were born into the Britpop landscape and quickly signed with Polydor Records, releasing their debut album ‘All Change’ (1995). With the bravado of a true Britpop group, Power led the live quartet onstage raising his hands as the now packed Bristol crowd preemptively applauded the North West icons. In response to the warm, Bristol welcoming Cast wasted no time, bursting into the bellowing chords of ‘Sandstorm’ a beloved single from their debut album. The spectators joined Power’s actions, placing their hands above their heads and beginning to sway – throwing themselves into a mid-nineties Britpop nostalgia that was perpetuated throughout the unapologetic setlist that followed. Working through their powerful discography, Cast showcased old and new – ultimately appeasing the many long-term members that were adorning their tour merchandise with hits such as ‘Walkaway’ and ‘Alright’. As the final notes of Britpop magic echoed around the amphitheatre walls, it was clear that – as a result of the day’s four supporting acts – Bristol Sound was ready for the main event: The Fratellis.
As many musical critics have noted, there can often be a strange uncertainty about a band’s future if they rapidly burst into the musical consciousness with a hit-single or a one-off album. For The Fratellis, or ‘brothers’ in Italian, this certainly could have been a worry following the release of the group’s debut album ‘Costello Music’ (2006). However, six albums later and these worries have undoubtedly been laid to rest, with the band holding global successes and a cult following wherever they travel. This had been visible before even making it to the day’s venue, as floods of tour- and Scotland-related merchandise walked in unison to the Bristol Sounds entrance. Therefore, when Offenbach’s ‘Galop Infernal’ began to play – signalling the imminent arrival of the Glaswegian group – the crowd was once again sent into a frenzied state, readying themselves for a prime view of The Fratellis. Right on cue, these hopes were answered and the group walked on stage picking up their instruments and taking in their audience. This moment of reflection did not last long though as the opening notes of ‘Henrietta’ (2006) began to play, followed by a brief pause for Jon Fratelli to shout, in conjunction with every member of the crowd, “HELLO!”. As the set progressed, the harbourside continued to bounce to the Scot-rock beats that were belting from the group on stage – as anthemic tunes such as ‘Yes Sir, I Can Boogie’ (2021) and ‘Whistle For The Choir’ (2006) kept the crowd buoyant throughout. With sixteen songs having been played, the crowd could sense that something special was on the horizon, and with that Mince Fratelli burst into the opening drum loop for ‘Chelsea Dagger’ (2006). The central part of the crowd began to split forming a circle, readying themselves for the chorus’ mosh pit. Then, flawless as ever, Jon Fratelli sang “CHELSEA, CHELSEA, I BELIEVE”, reentering the crowd into their indie frenzy. As the final notes of ‘Runaround Sue’ played out as the final song, it was clear that The Fratellis had truly encapsulated the meaning of Bristol Sounds: to celebrate the very best Bristol’s vibrant and ever-present music scene. Once again, Bristol Sounds has proved itself to be a central part of the gig-goers annual calendar, curating all-day lineups that hold unapologetic talent from famous to undiscovered – epitomising the brilliance of Bristol’s musical landscape.
Role - I am a passionate writer with an interest for reviewing concerts and music.
Available For - Gig reviews and artist interviews.
Qualification - Currently I am studying BSc in Politics and International Relations at the University of Bath.
First Concert - The first concert I ever attended was Coldplay at the Royal Albert Hall (2014). It was to promote the release of their ‘Ghost Stories’ album. I will never forget the call my dad gave me to say he had managed to get two tickets for the both of us. The whole experience was just pure joy. The relative intimacy (for Coldplay) of the Royal Albert Hall, will always make that night one of the best (if not the best) concerts I have ever attended.
Dream Concert - In all honesty this is too difficult to answer with just one concert. If I were to select a few artists that I would love to see, it would have to be: Hope Sandoval, feeble little horse, Greg Foat, Kurt Vile, Lucy Dacus (specifically playing ‘No Burden’ in its entirety), Jadu Heart and The Moldy Peaches.
There is also the difficulty of dream gigs that are not able to be done. These would be: Mahalia Jackson, Etta James, Ann Peebles, Karen Dalton, Leon Russell, Mojave 3, The Smiths, and George Harrison (“All Things Must Pass” just from start to finish).
Bio: Professional photographer since 2016, specialising in nightlife and live music photography. I’m passionate about supporting grassroots music venues, with notable experience at venues like Thekla, where I’ve had the privilege of capturing both bands and club nights for over 6 years.
Available for: Gigs & Headshots
First Gig Shot: All Saints at the O2 Academy Brixton, 2016
Dream Gig: Paul McCartney, AC/DC, The Rolling Stones
www.davidjeffery-hughesphotography.uk
Instagram: @david_jh_photography