Various Artists - Festival Anthems (Album)
Despite extortionate water costs, crazy weather patterns, facilities that are below par and bogan fuckwits around every corner, let’s get one thing straight; festivals ARE FUN- with a capital “F.” And clearly record companies have realised the popularity of these events because one in particular has compiled Festival Anthems. It is a two-disc set supposedly containing anthems; but instead, is mainly an anathema to yours truly.
Firstly, I can’t get my head around the fact that if someone wants to package precisely what is the crème of the festival crop, why the listener would want to hear studio versions of the tracks. I admit I felt duped in the same way when I purchased the 3-disc compilation by the Cavern Club, as it is a hastily-thrown together batch of album tracks from artists that have supposedly tread the boards of this iconic venue in all of its incarnations. Therefore, points should be deducted for wanting to create a festival vibe out of studio material, for shame!
Secondly, my other issue is with the choice of line-up and the songs chosen. There are many lesser-known acts (and while this happens at real festivals and they occasionally turn out to offer some pleasant surprises, these are hardly anthems.) Plus, many of the bigger acts’ hits aren’t included, and instead many offer their newer singles (one example being John Butler Trio’s Better Than). And to be honest, if this were a real festival, I could probably only be persuaded to attend on one day (for the acts on the second disc) because I certainly wouldn’t bother with the bulk of the first lot.
Anyhow, on this compilation it must be noted that there are a disproportionate number of acts heralding from the UK. This in itself is fine, because some of the best music has come from this very place. However, a lot of the artists that feature on this compilation are UK indie acts like Just Jack (a male Kate Nash who also appears here,) plus The Twang and One Night Only. So what’s wrong with their Australian counterparts and besides, would many people have even heard of these artists? But they’re supposed to be “anthems?” Moreover, of the Aussies included, do people know Hook N Sling or Mission Control? I didn’t think so. But their inclusion does seem to make a bit more sense when you realise that many of them are signed to either the Universal record label or its subsidiaries or publishing arm. And don’t even get me started on how this set is being released close to Christmas in order to capitalise on the stocking filler market!
The first disc contains many current electro pop favourites with contributions from The Potbelleez, PNAU and Cut Copy, which is indicative of just how many people are coming to revere this style at the moment. However, the same feelings of appreciation cannot be applied to Nickelback or Muscles. Because all I say is that if this were an actual festival you’d find me propping up a bar during these numbers. Ditto Sam Sparro (although I am probably one of the minority of people who finds Black & Gold particularly irksome.)
There is also some inoffensive pop/rock with Kisschasy’s Face Without A Name, The Bravery’s Believe and Keane’s Is It Any Wonder? But let’s now focus on what is good about the release. Personally, disc two is the stronger one (although honourable mentions should go to The Stone Roses’ I Am The Resurrection and R.E.M.’s Nightswimming from the first disc).
On the second offering, silverchair’s Straight Lines sits alongside the Yeah Yeah Yeah’s Gold Lion and the Kaiser Chief’s Love’s Not A Competition. Meanwhile Wolfmother’s Joker And The Thief is present; but I believe many people would be less inclined to sing along to mark II of this band, which presently stands as a solo Andrew Stockdale.
Ian Brown gives us Illegal Attacks which is a good song but could be considered the musical equivalent of slapping a Thom Yorke solo track on here. Sure, Ian Brown’s The Stone Roses were on the earlier disc and people seemed to like Messer Yorke’s solo offering. But let’s not kid ourselves; we all know what we really want to hear. And on that note, where is Radiohead on this release? They are a pretty glaring omission, and I could easily list a bunch of artists that are also noticeably missing in action, but I’m sure you can think of many yourselves.
What redeems this compilation is the golden triptych of favourites that are found sandwiched at the end (and stand out amongst some of the newer fodder). These are James’ Sit Down, The Cure’s Friday I’m In Love and Pulp’s Common People. Needless to say, of all the songs on this set these three are surely the most worthy of bearing the title of “anthem”.
In all, it is hard to find a lot of good things to say about this release, as there are far too many unknown acts, or even more obscure tracks from better-known artists that render the title redundant. However, if they were hoping to achieve the festival equivalent of discovering a bunch of new artists or songs, then this is precisely what they’ve achieved. At the very least the mix of genres is relevant at re-creating the varied line-ups that are offered. Plus, many of the songs seem catchy enough, so maybe it is just a matter of time before the bulk of these are worthy of the reactions that true festival anthems elicit- i.e. a sea of lighters or mobile phones, and people belting their hearts out in appreciation. But before they can do the latter, they’ll need to learn the words first!
