Irish indie film Once proves that it doesn't take a monster budget to make a marvel

Once was shot in only seventeen days back in 2006 and, in my humble opinion, the film world is a great deal better off for it. This Irish gem, written and directed independently with a tiny budget, was highly revered amongst critics upon its release, with the hauntingly emotive ‘Falling Slowly’ winning an Academy Award for Best Original Song.

The storyline may sound cheesy and clichéd but the reality could not be more delighfully different. An unnamed busker nervous about performing his own songs meets a Czech immigrant girl who is selling roses on the same Dublin street. They form an unlikely bond through their passion for music, as both attempt to express their feelings and experiences of loss and love to one another through their songwriting. Musicians primarily, lead actors second, Glen Hansard and Markéta Irglová composed and performed the soundtrack together. A little bit of research tells me that folk royalty Bob Dylan was such an avid fan that he invited the pair to support him during some of his world tour shows. The duo also covered ‘You Ain’t Goin’ Nowhere’ for the 2007 film about his life, I'm Not There.

Once is charmingly unpretentious and believable, with an intimate integrity far deeper than so many overstated romantic blockbusters. The honest portrayal of two strangers struggling with inherently human turmoils restores faith in the importance of music and friendship. A rough diamond of a film, its unpolished nature is what ultimately, and somewhat ironically, allows it to sparkle.


Trailer for Once, released in 2006.

Hitting up Guardian HQ!

The video shown below for 'I Heart NY' may feature Samuel riding on the back of a garbage truck, but in real life the 22-year-old found his way into the more glamourous environs of Kanye West's blog with his recent cover of Drake's 'Find Your Love'. 'I Heart NY' could be considered a lyrically downbeat antidote to 'Empire State of Mind', with Samuel paying tribute to the backstreets of the flashy metropolis, where so many are "made to grow up and be famous". Insanely (and almost irritatingly) catchy.

Link to my post on The Guardian's new music blog: http://www.guardian.co.uk/music/musicblog/2010/aug/19/samuel-i-heart-ny

Folky Fusion in India

Whilst touring India last Christmas, British folk treasures Laura Marling and Mumford & Sons experimented with native Rajasthani musicians to produce an irresistibly sensual fusion of the very finest of musical spice. This intriguing collaboration is inventive in its exploration of music as a unique part of a country’s culture and soul. Hypnotism to the ears, the resulting four song EP will enchant and fascinate, as the Dharohar Project paint their Asian opulence upon Marling and Mumford’s soft, soothing, and oh so English vocals. Building, layering crescendos, experimental lyricism and the seemingly effortless merging of instrumental styles (most noticeable during the highly textural climax of ‘Mehendi Rachi’) create that magically ethereal sense of having travelled without physically moving at all. It’s innovative, it’s exotically mysterious, and it works.


Laura Marling, Mumford & Sons and Dharohar Project performing 'Devil's Spoke' live in Delhi, December 2009.

'Mon The Biff!

When a band of beardy, tattooed men kick-start a gig having already removed their shirts, their intentions are clear. Throughout the next hour, Camden’s Roundhouse was to be transformed into a visceral sweaty cave of musical treasures and the true Biffy fans amongst the crowd were expecting nothing less. Storming the stage like primitive wild animals, the three Scotsmen proved the pure yet unapologetically filthy embodiment of masculinity. Simon Neil’s gravelly vocals lent authenticity to his deeply personal and at times hauntingly romantic lyrics, whilst fiery-haired feral James Johnston assumed mastery of the pounding bass.

Cinematic pop-rock singles ‘Mountains’ and ‘Bubbles’ from Mercury-prize nominated ‘Only Revolutions' arguably incited the fiercest adulation from the crowd, many of whom would have been less familiar with the band’s earlier work having won tickets to the show. However, with a substantial and more importantly, impressive, backlog of hits to choose from, anticipation was rife as to what guitar-ridden beast they would unleash next. ‘Who’s Got A Match’ and ‘A Whole Child Ago’, pieces in crucial fourth album ‘Puzzle’ that most definitely fit together, were particularly welcome surprises that helped fuel the already burning fire of their setlist. Despite the distinct metallic shine to their melodies, Biffy Clyro offered the fans a glimpse of both their versatility and softer side with gentler ballads such as ‘Machines’ and personal latest album favourite ‘Many Of Horror’ allowing for a break from the mosh.

Ending the night with ‘The Captain’, the raucous rock trio bid farewell to the full-force armada of fans they now well and truly had on board. Mon’ the Biff!

Biffy Clyro played Camden Roundhouse, 31/07/10.

The Films: Oh, Scorpio

I hasten to judge too quickly, but first-listen impressions scream that this is no Don’t Dance Rattlesnake. The retro-pop boys’ sophomore contribution lacks almost all of the intense sexual tension, frenzy and passion that crackled to such an electrifying degree on debut album tracks such as ‘Call It Off’ and ‘Strange Hands’. ‘Holiday’ on their latest record comes closest to reigniting the faintly glowing embers of excitement yet still falls short of the mark whilst ‘Pour It Out’ is a boring, monotonous track with only about three chord changes. The Films have yet to master slower songs as lead singer Michael Trent’s voice begins to severely grate after all of thirty seconds. That said, I raved about the crazed tales of jealousy and betrayal that they unleashed upon my seventeen year old self back in 2007 and, therefore, suspect that my harsh criticism stems primarily from disappointment. I confess to having hoped that The Films would succeed in refuelling some of the thrill I had felt upon listening to them as a teenager. I refuse to blame myself for this; I'm twenteen not twenty after all.

Ellie Goulding Live Chat

I asked Ellie what she would choose (if she had to had to had to) as her desert island disc. Her response was both speedy and firm. 'I would definitely take the Bon Iver record.' I suddenly like her so much more...?!

'And may you stay, forever young.....'

Imagine a typical 21st century festival scene. Now, minus the gangs of overly confident 15 year old boys and pretentious Kate Moss wannabes, minus the exploding gas canisters and tent fires, minus the money-raking branding and sponsorship and throw in a crowd of people who are genuinely there for the music. What you're left with is an image closely resembling Kent’s Hop Farm Festival, hanging above your head in a wonderfully fluffy white cloud.

Later referred to as ‘Her Majesty’ by current rumoured beau Marcus Mumford (do we really need another reason to envy her?), 20 year old Laura Marling enchanted the crowd with her haunting voice and deceptively fragile stage presence. A naturally beautiful figurehead for the modern folk movement, she may well have reminded older fans of a young Joan Baez. Marling’s emotionally complex yet poignantly simple songwriting disarmed her crowd with its honesty, with tracks such as 'Ghosts' and 'Blackberry Stone' leaving them in no doubt as to why she is currently music critics’ most treasured little darling.

Whilst queuing for a healthy dose of locally produced booze, the packed big-top tent caught my ears' attention as new kid on the block Alan Pownall was playing some of his Jack Johnson style guitar pop. The cheery 'Life Worth Living' and chilled out, summery 'Chasing Time' are hotly-tipped songs of success from first album ‘True Love Stories’ released earlier this week. Meanwhile Seasick Steve, the loveable bloke that everyone wants as their grandpa, was clearly revelling in performing to a main stage audience, playing original instruments innovatively created by himself.

Hailing Hop Farm as boasting the best line-up of the summer, Marcus Mumford and his band of bass and banjo yielding ‘sons’ drove the crowd to a palpably high level of folk-induced ecstasy with their rousing rhythms and harmonies. A noticeable difference from other more popular festivals was that the Hop Farm crowd were not ‘too cool’ to jig around like idiots with fellow fans of all ages, a difference which was both refreshing, and fun. The lovely London lads satisfied their audience’s ravenous musical appetite with all the hits from debut album ‘Sigh No More’, as well as unleashing some exciting new material. 'Lover of the Light' and 'Nothing Is Written', previously tried and tested at their Newcastle gig back in March, were well received as the crowd vocally stamped their seal of approval all over them with unanimously crazed applause.

Long time crowd-pleasing king of The Kinks, Ray Davies, played an energetic set of classics including the once controversial 'Lola', and the nostalgic 'Days', which Marcus Mumford was unknowingly caught on camera singing along to, a wistful look in his eyes. Davies stubbornly refused to leave the stage several times, proving a force to be reckoned with, an army of thousands well and truly on his side. A noticeable exclusion from his repertoire was 'Waterloo Sunset', which, as the sun was indeed setting, would have proved atmospherically apt. Nevertheless, the onetime frontman served as a prime example for the philosophy that it’s not the years in your life that count, but the life in your years.

Introduced as the ‘poet laureate’ of the music world, Bob Dylan was received to the stage as the legend he undeniably is. Idolised by young and old alike, he is often criticised for his lack of audience address, yet with a lyrical ability as genius as his, is small talk really necessary? Dylan has never been afraid to step back and let his music steal the limelight. A stand-out moment, as Dylan closed his two hour set with the poignant 'Forever Young', came when I looked to my right to see a middle-aged couple romantically swaying together, barefoot, deeply involved in the music, and clearly very much in love. Halfway through the song, the woman started crying. It struck me that Dylan had most probably formed the soundtrack to her youth and that this bittersweet song in particular was reminiscent of her past. She was looking up at the stage at a man whom, like herself, had inevitably grown older. In what will have been his only UK performance this year, it was a privilege to have breathed the same Kentish air as such an icon of folk music.

Luckily the party continued once the arena music had finished, with the festival’s Camp Acoustic stage showcasing a handful of aspiring young artists, several of whom demonstrated real potential as future main stage acts. Boyishly awkward Andy Robinson started his set somewhat hesitantly yet by the end had roped in a sizeable crowd with his bluesy Tom Waits influenced sound, whilst the charismatic Marcus Bonfanti stole the show with society-slating tracks such as the gritty 'Give Me Your Cash'.

By Sunday lunch-time I had left my Paddock Wood paradise behind, taking home sublime memories of a weekend of perfectly encapsulated hippy-style bliss, complete with a rather dishevelled flowery garland. Peace and love, I'll be seeing you next year.

Bob Dylan playing Hop Farm Festival, 03/07/10.

'Passion is the genesis of genius'

Forget synthesisers, forget electro/dub-step remixing and watch this. I will happily listen to debates about why the aforementioned styles are actually amazing, but deny that this is real talent and I'll almost certainly from that moment on consider you innately twisted in the head. Sorry. I may well try and have a calm, civilised conversation with you about the issue, but my judgement will have been made.

Perhaps one reason that I find this performance so spine-tinglingly memorable is that this song has special meaning to me, but listen to some other masterpieces from Bon Iver's 'For Emma, Forever Ago' and I trust you will find my adoration to be justified. Heads up for 'Re: Stacks' and 'For The Wolves: Act I and II', especially the realistic firework-like drums at the end of the latter that embody the very explosion of feeling that first attracted me to this band.

Whoever Justin Vernon's 'Emma' is he clearly has a lot of emotions tied up with his memories of her, expressed in the release of these heartwrenching songs. Clearly three months of solitude in a Wisconsin log cabin with only a guitar for company can result in great things. This performance stands out for me because of the raw charge of passion that, regardless of the cliché, genuinely gives me goosebumps. Justin's tortured howl of 'And now all your love is wasted? Then who the hell was I?' towards the end, serves as yet another ruthlessly honest expression of his very human love-fuelled anguish. We've all been there. Enjoy.

'I like them black girls, I like them white girls, and I like them Evolution girls!'

With a line-up to be reckoned with at only £25 for a weekend of live music, the word 'Evolution' had been buzzing around college amidst the haze of post-exam revelry for weeks. An usual setting for a festival, reminiscent of a carpark as opposed to a lush green field, the music was spread between three stages bordering the quayside, encompassing a wide range of genres from hip-hop legends De La Soul to innovative Manchester dance trio Delphic. A mass of excitable teenagers primarily around the age of 15 swarmed over the beer-can littered concrete, upon which two delightful young ladies were sighted engaging in a rather hilariously embarassing catfight. So much for the hippy idealism of 'make love not war'. However, despite the evident downfalls in festival ethos, the atmosphere of anticipation was tangible as the crowd surged forward towards the stage repeatedly in an effort to get that bit closer to the action.

Although acts such as Dananananaykroyd and The Futureheads, with their addictive up-beat rhythms, created a distinct level of hyperactivity, it was the charismatic Calvin Harris who stole the show with lively hits such as 'Ready For The Weekend' and 'I Get All The Girls'. Compared with earlier acts, Calvin proved himself a real showman with an on-stage energy that transformed his fans into a whirlwind of screaming, dancing, jumping lunatics, myself most definitely included. Paolo Nutini followed as the Sunday headlining act, toning down the atmosphere created by his support with chilled out guitar pop that perfectly accompanied the summery vibe as the sun set over Newcastle.

Monday saw starry-eyed girl of the moment Ellie Goulding drawing a large crowd of adoring 'Lights' lovers whom she did not remotely disappoint. Despite some technical microphone problems at the start of her set, Ellie powered through her top-selling latest album with 'Guns and Horses' and 'Under the Sheets' inciting a huge singalong response which almost drowned her own vocals out, rendering the microphone somewhat unnecessary anyway. Wearing an unpretentious outfit of blue jeans and a black strappy top, Ellie clearly wanted her music to speak for itself. Banging her drum with passion and looking like she was born to perform, she roused envy in the vast majority of females watching her set. A natural and likeable performer, Ellie proved herself as one of those people we could all so easily hate but just can't help loving.

Upon being turned away from the dance stage where Delphic were to headline due to rioting over crowd limits on the bridge, it was time to investigate arguably the most 'festival-like' of the stages, Ballast Hills. Here, folk and roots music was the order of the day and shockingly there was real grass to be seen. The Swedish three sisters Baskery showcased their talent on the acoustic guitar, banjo and upright bass, with cheery songs easy to indulge in a bit of country-style jigging to, whilst in another tent a circus act wowed its audience with acrobatic and dance acts.

Overall the weekend was a memorable one for all the right reasons, as fun was undeniably had with several artists performing exhilerating sets. However, Evolution's 'urban' nature regrettably denied music-lovers that vital spark of magic found at the likes of the more traditional festivals. Admittedly you can't really expect too much from a festival based in a city, but I'd swap the tarmac for the muddy fields any day.

Calvin Harris playing Evolution Festival, 30/05/10.