John Fell Archives -

September 22, 2017

BREVIEW: Beyond The Tracks… Sunday @ Eastside Park 17.09.17

Words by Damien Russell / Pics by Michelle Martin

Day three of any festival weekend is always a tough one for me. Day one I’m mad for it. Day two is a recover and then get back on it kind of day. Day three is usually spent sober, tired, and can be a very tough sell.

There’s also no pretending I’m not hungover. So, having made it down in time for breakfast a fruit based recovery drink is in order. The city centre feel quiet as Paul and I head on the now familiar journey to Eastside Park. And whilst it takes a little longer to get through the gates with our bags today, the queue isn’t vast.

That being so, it’s a pleasant surprise to see a fair-sized crowd already watching Nadine Shah as she performs a mix of new and classic material; she is good naturedly takes requests and works well with the audience, as well as putting on an expressive performance. Shah is an artist who knows how and when to bring her political agenda into her art, mentioning it, tastefully, toward the end but in a manner that leaves little room for confusion on what her point may be. Nadine Shah and her band put on a good show, and the few times where the saxophone and guitar clash – making the instrumentation a little muddy – can certainly be forgiven.

The next band on are Dorcha, on the second stage. Unfortunately they are absolutely not what my brain needs at the time of day they are on. They play well together, but the sound is high pitched and quite intense, and while I did on-site describe them as the sound I would expect a band to make when falling slowly down a hill, this was largely an expression of how they made my hangover feel rather than a statement on them as a group.

Not one to be driven to drink on a final festival day, I nevertheless relent and get a recovery cocktail – clutching it tightly in my hand, I head back to the stage as Peter Hook & The Light start their set. Peter Hook, being a previous Joy Division member, has brought with him a little slice of the 80’s. No bad thing in my opinion. But I must admit, I’d had never expected to see two bass guitars playing complimentary melodies and with different effects. And yet the result is definitely a positive one.

Peter Hook himself has a great, powerful stage presence. He jokes about being from up north and waiting for his son (being the other bass player, Jack Bates) to get ready. At 61, and with 41 years in the industry (possibly more), Hook puts on an excellent show. The band play a mix of New Order and Joy Division numbers and end with, you guessed it, Love Will Tear Us Apart; a classic, but one that didn’t excessively stand out in an all-round high-quality set.

With little change-over time, Hoopla Blue take to the second stage. I can see straight away that these guys are what I would expect from the term ‘shoegaze’ – although perhaps ‘stargaze’ would be more fitting and would work well with their ethereal, spacey sound. Hoopla Blue have some great songs with ‘Rotten Sodden Loot’ arguably the best of the day.

I must admit that seeing them in a live setting doesn’t work as well for me; having listened to their recorded material, I prefer the records. Not to disparage a good set too heavily, but some bands are just more effective in a studio setting; fact that Hoopla Blue come across as slightly shy, alongside the limits imposed by live sound, make me feel that their recorded sound wins out.

That being the case, I take the executive decision that standing for most of the weekend has made my knees hurt, so I retreat to an area of open space and take a seat where I can still see the stage. I’ve had a message from a friend telling me to be sure to check out both Slowdive and The Jesus & Mary Chain; knowing Slowdive are on next, I prepare to either stay put or make a move to the front.

Staying put it is. Slowdive are continuing what I’m beginning to think might be the theme for the rest of the day: ethereal, slightly psychedelic, rock. They provide a good soundtrack to sitting in the sun sipping an iced drink, and have the kind of trippy visual effects on stage that I was expecting from Friday night – with the video screen working wonders for their live show. It may be unfair to make comparisons, but in some ways Slowdive put me in mind of a The-Wall-era Pink Floyd. No bad thing; music to relax to, a great soundtrack to a Sunday afternoon.

While Slowdive’s ‘When the Sun Hits’ does indeed bring out the sun, the closing of their set seems to encourage the lovely rainbow over the stage to become the considerably less lovely rain. Blackash take to the second stage under a slightly gloomy mix of cloud, rain and sun, all paying Beyond The Tracks a visit in around five minute cycles. Not to worry, Blackash are here to brighten your day regardless.

The first thing that springs to mind is Assassin’s Creed, as the band are all dressed in partial face coverings and hoods. I was expecting this to some degree, but the image still makes an impact and it’s hard to know how to take them. None too seriously as it turns out; Blackash are a band here for a good time and here to make you have a good time too. They suffer a little with the sound and the vocals are both lacking volume and a little of their trademark distortion.

Nevertheless, they are up-tempo (which I am infinitely glad of at this stage in the day) and good fun – with an appropriate response from the crowd, who, I think, were a little uncertain to begin with. They seem to warm to this surreal bunch and there’s a good bit of dancing and nodding along before Blackash’s set is through. Another band I would definitely see again.

As Blackash finish, Paul and I get chatting to two lovely people who were enjoying the set as much as we were. They heartily recommend Wild Beasts, the next band on the main stage, and furnish us with glow sticks that would probably have been better fitted to Friday night, but will also work perfectly well with Sunday’s space-rock.

I’ve been forced to admit that I’ve not heard of Wild Beasts, but as they come onstage they kick into their set this thought gets pushed aside as they’re good; very good, in fact. Slightly dance oriented, they’re more artsy than Blackash but have a similar head nodding, foot tapping effect on the Sunday crowd. Exhibiting excellent musicianship, each band member seems to play at least two different instruments (excluding the poor drummer who is stuck where he is).

Wild Beasts also have two lead vocalists – both very different, both very good. From all Beyond The Tracks’ Sunday line up, Wild Beasts have the highest number of catchy songs so and ‘Wanderlust’, ‘Alpha Female’ and ‘Get My Bang’ are stuck in my head for quite some time afterwards. They have quite a few songs about… well, as Ben Little says, “Fucking”, and that gives them even more of a dual image.

Funky but ethereal, artsy but obvious, sensitive but direct; it’s the sort of thing that appeals to me, in that my opinion of it can change dependent on my mood. As Wild Beasts’ set progresses, the good run of weather comes to an end and the rain comes down. A good few people retreat to the shelter of the beer tent but I just put my coat on and wait it out. No way am I missing this set for a bit of water.

With the rain slowing but still coming down, it’s time to commit to my no-drinking Sunday. I go and grab a coffee to warm my cold hands and move over to the second stage as Victories At Sea are announced.

And move offstage again.

Well, it had to happen sooner or later. Technical difficulties. Whether the weather is to blame or not is a matter for the event staff alone to determine, but between the rain and the delays Victories At Sea start their set with some ground to make up. And it’s hard to be sure what else is to blame, but to my ear the sound is still terrible. It does get better as their set progresses but not enough to save it for me. (After the effect, I’ve done some research and again Victories At Sea recorded music sounds nothing like the stage show I watched. So I attribute it to water logged or faulty equipment, but bad luck all round)

After this minor downer, and having been given somewhat conflicting opinions of The Jesus & Mary Chain, I keep my fingers crossed for the next hour. As they take to the stage and their set starts, I’m once again pleasantly surprised. The uber-80’s sound I was told to expect fails to materialise and it turns out that The Jesus & Mary Chain are a good up-tempo Country-influenced band. Admittedly, they’re not as entertaining as they could be on stage, and their music isn’t entirely my sort of thing, but they’re solid enough for a Sunday with a 16-song set that is quite varied.

When they’re in the throes of a song, the sound is good and the balance of instruments works well, but for some reason William Reid won’t stop playing between songs making the set seem a little unprofessional. In some ways Jim Reid’s voice sounds a little strained too, but it doesn’t slow him down any and it was always their style in a way anyway.

They kick their Beyond The Tracks set off with the slightly new romantic/punk-esque ‘Amputation’, with the rest of the follows that somewhat heavily guitar led feeling. In comparison to the stargaze space rock mood of much of the day, The Jesus & Mary Chain seem more grounded and more traditional rock oriented.

Their set does unfortunately feel a little long, so when the last strains of the curiously titled ‘I Hate Rock ‘n’ Roll’ fade away, I head away from the stage and find somewhere to sit down. I can hear Josefin Ohrn + The Liberation starting up on the second stage, but they sadly take a backseat to my desire for pizza as I follow Lazlo’s hierarchy and get food.

The main stage is now a hive of activity, as what look like industrial extract fans are set up and drum kits, pianos, keyboards, and other musical items are brought out; it all looks very exciting. As my hunger is sated and my interest is piqued, Editors begin, striking out with ‘Cold’, ‘Sugar’ and then ‘The Racing Rats’. It’s easy for me to see why they were chosen to headline; the setting they’ve brought is excellent, making maximum use of the stage and the available lighting.

Their performance is musically excellent too, as you would expect from a band of 15 years pedigree, but also very visual with Tom Smith throwing his all into it. It’s a set to rival Saturday night’s Maxïmo Park experience and with the light show to go with it; I’m hard pressed to decide which I think is best. I decide to just love them both equally, and by the time Editors’ set is halfway through and ‘An End Has a Start begins, I’m having a too much of a good care either way. Smith has a warm vocal tone and the 80’s leaning that he is known for, alongside their synthesiser driven backline, ties the day together well.

Editors finish their main set 14 songs in with ‘Marching Orders’ and I can’t imagine what they could possibly do to top it. One cliched pause for applause later and they’re back out, smashing into ‘Open Your Arms’, ‘Bullets’, ‘Munich’ and finally ‘Papillion’ – arguably their most 80’s oriented track. It’s a fantastic encore and an excellent end to the day; Editors come across as the culmination of everything we’ve seen and heard throughout Sunday at Beyond The Tracks and what perfect headliners it makes them.

Slightly sad that it’s all over, but with one eye on work tomorrow morning, the walk to the train station is a swirling mix of emotions. The journey back to Wolverhampton is spent comparing highs and lows, reliving the highlights one more time, and making plans for the next event from this fledgling festival.

As we found out in our recent interview with the festival organiser, John Fell, Beyond the Tracks may not be back in 2018 – but I’ll certainly be keeping an eye out for it in 2019. In the meantime I guess it’s back to normality.

Dorcha – Beyond The Tracks @ Eastside Park 17.09.17 / Michelle Martin

For more on Dorcha, visit www.dorcha.co.uk

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Peter Hook & The Light – Beyond The Tracks @ Eastside Park 17.09.17 / Michelle Martin

For more on Peter Hook & The Light, visit www.peterhook.get-ctrl.com

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Hoopla Blue – Beyond The Tracks @ Eastside Park 17.09.17 / Michelle Martin

For more on Hoopla Blue, visit www.soundcloud.com/hoopla-blue

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Slowdive – Beyond The Tracks @ Eastside Park 17.09.17 / Michelle Martin

For more on Slowdive, visit www.slowdiveofficial.com

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Wild Beasts – Beyond The Tracks @ Eastside Park 17.09.17 / Michelle Martin

For more on Wild Beasts, visit www.wild-beasts.co.uk

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The Jesus & Mary Chain – Beyond The Tracks @ Eastside Park 17.09.17 / Michelle Martin

For more on The Jesus & Mary Chain, visit www.thejesusandmarychain.uk.com

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Josefin Öhrn + The Liberation – Beyond The Tracks @ Eastside Park 17.09.17 / Michelle Martin

For more on Josefin Öhrn + The Liberation, visit www.josefinohrnandtheliberation.bandcamp.com

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Editors – Beyond The Tracks @ Eastside Park 17.09.17 / Michelle Martin

For more on Editors, visit www.editorsofficial.com

For more on Beyond The Tracks, visit www.beyondthetracks.org

September 22, 2017September 22, 2017

BREVIEW: Beyond The Tracks… Friday @ Eastside Park 15.09.17

Words by Damien Russell / Pics by Denise Wilson

The plan is simple: meet my friend, get to The Old Crown – the pub we’re staying in, check-in, pick up the tickets left behind the bar for us, head to Eastside Park, enjoy the event.

However, plagued with overdue work the preparations to get to Beyond The Tracks are not going well. What should have been leisurely packing and hearty breakfasting has instead become telephone calls and frantic typing but, nevertheless, through more luck than judgment, at the absolute cut-off of 11:30 I’m closing my flat door behind me with a few mismatched items of clothing and a toothbrush stuffed into a hold-all and I’m on my way.

Step 1: to meet Paul Gallear in Wolverhampton centre, and with timing to a ‘T’ we hop onto a train at Wolverhampton Station. The trip into Birmingham is a good one and we arrive at New Street Station with spirits high. Birmingham is surprisingly busy for that sort of time of day on a Friday and I wonder casually if many more people milling about are here for the festival.

I’m mindful of that John Fell said, in our recent interview, that about 40% of the people with tickets for the Friday are from outside the area; it does seem like too much of a coincidence to discount. We head across town to The Old Crown and check in to find that our tickets are yet to arrive. The decision is made; a warm-up pint is in order.

Our tickets are being brought by Birmingham Review’s editor, Ed King, and our anachronistic EDM expert. Sadly, we are set to experience Beyond The Track’s dance music throwback without him, as Ed is booked at another event. But with a pint prepared for his arrival, we vow to try our best to convince him to join us… Several hours and several drinks later, no avail. Ed is immovable on the subject and despite our best efforts we say our farewells, part ways, and Paul and I head on to the festival.

At this point it’s only fair to address my experience and enjoyment of dance music. Little on both counts, I’m sorry to say. I was too young for the 80’s and 90’s rave scene and coming from Wolverhampton, there was little of that sort of thing around. That being said, I’m always open to a new experience and if the atmosphere is right, it could be great.

So, somewhat delayed but still looking forward to what lies ahead, we find ourselves at the transformed Eastside Park. The site itself is set up as I had imagined; tall solid fencing surrounds the arena with the main entrance on the city side. The entrance is predictably flanked by security and there is the usual ticket collection, ticket inspection, with body/bag search 3-tier entrance system that we’re all largely used to these days. Not as heavy on security as I was expecting given the political climate these days, I must admit, but to my knowledge the event is entirely trouble free all weekend so all’s well etc, etc.

In no time at all we’re in and at the bar. Leftfield are in full swing and with the day still being quite bright it does seem a little incongruous listening to the sort of music usually hear at around 3am. Being the Leftism album performance tour, the music is more chilled out than what dance music can bring to a greenfield site, but with the festival ‘vibe’ still in full force. The field is full, not shoulder to shoulder but comfortably so, and with everyone seemingly very good natured about getting around.

Leftfield’s performance is interspersed with live vocals and songs like ‘Inspection (Check One)’ stand out from the set as having that extra edge because of it. The sky is grey and a bit drizzly but still fairly light, so while the lighting is far from lost the live vocal performances bring a welcome depth to the stage show.

The crowd are warm and receptive but if I’m honest, both they and Leftfield themselves are a little more subdued than I am hoping for. I know that the plaster ceiling of the Brixton Academy was always going to be safe at this distance, but somehow I still find myself wanting a little more. A little more bounce, a little more volume, a little more energy from the audience. I’m not sure which. But something. That said, Leftfield close their set to solid applause and pave the way for Sister Bliss to begin on the second stage.

The second stage is borrowed directly from Moseley Folk Festival, as, I’m reliably informed, are the bar and the catering stands. Not having been to Moseley Folk it’s not something that bothers me, but not giving this new festival more of its own identity seems a bit of a shame, if a forgiveable one given that it’s Beyond The Tracks’ first year.

With the crowd affording us little chance of getting close enough to see Sister Bliss in action, it becomes cocktail time, and as the strains of ‘Insomnia’ float over the field (one of my favourite Faithless songs) I can’t help but smile. I wasn’t sure if Sister Bliss would play it but I’m glad she has. Not the full song, of course, but enough.

Happily hydrated, centre of the arena and far enough back to see the full main stage in all its glory, the night feels like it’s picking up and I watch the crew building the tower of scaffold that is to be Orbital’s lighting rig and stage for the Friday night headline performance.

Orbital, brothers Phil and Paul Hartnoll, take to the stage with trademark specs fully kitted out with headlights and kick straight in with ‘Lush 3’ which to me is a bit of an unusually mellow choice but gives them a long build into their performance. Plus while Sister Bliss has perhaps raised the bar slightly with regards to tempo and dynamic, she is the odd one out and Orbital and Leftfield are both bringing similar performances in many ways.

If I’m honest, I don’t feel their set ever builds much beyond that initial entrance and as track number two, ‘Impact (The Earth Is Burning)’ starts, again it’s more subdued than I was expecting. Somehow I thought there would be 8,000-10,000 people all jumping up and down and going mad but it’s far from the reality. The Hartnolls have some of the old ways still going strong, and I can see their heads bob and their hands raise through the lighting, but whether I’m a few drinks short of where I need to be I don’t know, the set just seems a bit flat.

Orbital’s main set ends with ‘Belfast’ and I expect that to be all for the evening, but to my surprise there’s an encore scheduled in. I think the Leftism experience has thrown me; while an album based set is unlikely to squeeze out an encore, I have assumed that all dance music acts play a fixed set and that’s all. Not so. Not tonight anyway. Orbital have two more tracks on their agenda, finishing with ‘Where Is It Going?’ to a warm appreciation from Beyond The Tracks‘ Friday night crowd.

A very apt track to finish on too, as Paul (Gallear, not Hartnoll) and I are decide that where it’s going now is back to The Old Crown. We’re largely dance-music’d out for the day and a nice warm sit down and a drink is in order.

I remain conflicted on the walk back ‘home’, and Paul and I have a fair old discussion about the EDM evening. A discussion that extends into several G&Ts and some Belgian Beer. In the end, I remain unconverted to dance music and electronica for now. But as the saying goes, tomorrow is another day…

Jagwar Ma – Beyond The Tracks @ Eastside Park 15.09.17 / Denise Wilson

For more on Jagwa Mar, visit www.jagwarma.com

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Leftfield – Beyond The Tracks @ Eastside Park 15.09.17 / Denise Wilson

For more on Leftfield, visit www.leftfieldsplash.com

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Sister Bliss – Beyond The Tracks @ Eastside Park 15.09.17 / Denise Wilson

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Orbital – Beyond The Tracks @ Eastside Park 15.09.17 / Denise Wilson

For more on Orbital, visit www.orbitalofficial.com

For more on Beyond The Tracks, visit www.beyondthetracks.org

September 8, 2017September 8, 2017

INTERVIEW: John Fell – Beyond the Tracks @ Eastside Park 15-17.09.17

Words by Damien Russell / Pics by Eleanor Sutcliffe

Feeling like a lazy Sunday afternoon despite being a Monday (thank you Bank Holiday), sitting in the shade at Eastside Park has got something of a ‘last day of a festival’ feel.

Convenient really as I’ve braved exhaustion and headed out to into the sun to see a man about a festival. That man is John Fell and the festival is, of course, Beyond The Tracks.

I say ‘of course’ but given that Beyond The Tracks (for those who have missed the promo so far) is the newest addition to the Moseley Folk portfolio, it may not be as clear cut as that. This new city-centre, three day event is nestled comfortably alongside the Moseley Folk Festival itself, the Mostly Jazz, Funk & Soul Festival, and the Lunar Festival, all under the Moseley Folk banner.

And John Fell is, “kind of Festival Manager, really, so to be honest I do a lot things from booking the line-up to the marketing, to the press, the finances, I get involved with a little bit of kind of planning the site and things like that. All the staffing. So, it’s a lot there really.” If he does say so himself. And I agree, it is a lot; they’re big events with stellar line-ups and not exactly spread out in either area or through the year.

Curious about this, I ask about the rest of the team. “Well, there’s me, full time, and then there’s two directors (Gerv Havill, Carl Phillips) that are kind of more part time on the festivals. They’ve got their other businesses. And we’ve just taken on a new member of staff as well and she’s become a kind of Festival Assistant, so it’s slowly growing but it’s not a big team for all the things we do really”, Fell explains.

Not a big team at all. And with a variety of other events as well as the festivals, it must be a lot to take on. John Fell is a collected man and while he will admit that focusing on so much is “quite difficult”, he quickly adds, “I’ve always been quite good at that really. I’ve always… I don’t sit still very often”. I’m glad we got him pinned down for half an hour to talk to us.

So how did it all begin? And how did it become Beyond The Tracks? “When I joined we’d just created Goodnight Lenin”, Fell says, taking us back to both the start of his band (recently announced to be on hiatus) and his time with Moseley Folk, “and JJ from the band asked me to go round and come and play music at 3 o’clock in the morning because they’d been up all night drinking. Normally I would never do it, not if I hadn’t been out already, and I thought ‘you know what, fine, I’ll go round’. If he wants to play music, I’ll do it, whatever time of day”. And a 3am video became Goodnight Lenin’s application to play Moseley Folk Festival. “Carl who ran the festival rang us up and said ‘I wanna come and see you play’ and he wanted to manage the band and put us as headlining the second stage, the Lunar stage” Fell expands, describing an opportunity most bands would do something their mothers would disapprove of, to get.

It isn’t surprising but it is good to be reminded that Moseley Folk (both festival and company) have always been committed to local talent. And actively looking for it has “always been an ethos of ours, to support that and provide a platform for that. Which is quite cool”. And not just at the festivals. They “do loads of cool shows throughout the year… and because that’s not really our… job, I guess, our festivals are where we kind of scrape our salaries… we can book who we want. We’re not pressured to book gigs, we don’t just put gigs on for the sake of it; we can book who we want”.

An envious place to be. And a powerful place. Free from the constraints of popularity and to a certain extent cost, Moseley Folk remind me of the record companies of old – able to take risks and trail-blaze if they wish, whilst hosting the type of gigs many bands dream of getting to play at.

With such an open opportunity for booking talent, I wonder how the Beyond The Tracks lineup was approached. The answer lies in being different to the other festivals in the Moseley Folk portfolio, “with Folk and Jazz, Lunar’s a bit more psychedelic… we wanted to essentially make three different gigs. I mean, originally we didn’t put weekend tickets on sale because we didn’t think there would be that much demand. Essentially it was an electronic night, an indie night and, I guess, like a post-punk, shoegaze kind of Sunday, which is cool”.

Planning, then combining, three different gigs sounds like an unusual way to approach a festival, but less so when originally it was “going to be an Ocean Colour Scene gig with, you know, Maximo Park or whoever, and it grew into a festival which is, you know…”, John Fell leaves me to offer the rather clichéd ‘really cool’ but charitably goes with it. “It is really cool. So the whole thing has just been, like, a really natural progression”.

Choosing this site, currently just open grass and quiet couples, was also natural progression; John Fell takes us back to 22^nd January 2016, and to the 20^th anniversary shows of Ocean Colour Scene’s Moseley Shoals in Moseley Park. “And that was just incredible”, Fell says, and shortly after those shows “we were just sat outside the pub, the Eagle and Tun, and looking at this space and were like ‘why have we not done a festival here?’ Or at least a gig here” so they decide they should and went full on for Beyond The Tracks.

And what a festival it’s pitched to be. “It’s Birmingham’s, you know, I guess biggest inner city, kind of ‘band festival”, in John Fell’s words. “Obviously you’ve got things like MADE which are doing incredibly at The Rainbow and a lot of other events going on” he continues, “I suppose it’s not like a Great Escape but that kind of inner city festival, Tramlines in Sheffield, that kind of thing. And we thought for the first year we should really celebrate Birmingham music. We already had Ocean Colour Scene; Editors have got strong Birmingham links. So then we just go ‘right, okay, we want to support other bands’ so, you know: Superfood, Jaws, Victories at Sea, Dorcha, Table Scraps. We just added Hoopla Blue and Sunshine Frisbee Laserbeam, there’s so many bands… The Leftfield guys are coming to DJ, Magic Door guys coming to DJ… So it’s a bit of a Birmingham love-in really. It’s gonna be really cool.”

And speaking of Hoopla Blue… I ask John about the sad news that Goodnight Lenin wouldn’t be playing and would be replaced by, you guessed it, “Hoopla Blue. Yeah, we wanted it to be a local band and Hoopla – great band – they just jumped on it straight away. It is a shame but it just felt right to end Goodnight Lenin with Liam rather than playing another show, it didn’t quite make sense”. I don’t ask about the conflict of interest in booking a band you play with; if John Fell began working for Moseley Folk through Goodnight Lenin, it stands to reason Goodnight Lenin would still be one of Moseley Folk’s regular artists.

There’s certainly plenty of Birmingham music at Beyond The Tracks, possibly more Birmingham on the stage than in the audience at times, as to my surprise, “Friday night’s about 40 percent people coming from outside the Midlands. Which is pretty incredible. It’s very similar numbers to the Jazz and Folk, to be honest with you, it’s like, high 30’s from outside the Midlands. Saturday here with Ocean Colour Scene and The Twang, is obviously more localised but it’s still a good 25 percent from outside the Midlands and Sunday as well is about 30, high 30’s. So, we are actually bringing people in,” and in saying so Fell sounds proud. And I believe he is, proud of what Birmingham has to offer and proud to be a part of it.

And not without merit either; four major festivals are not organised through hope alone, that kind of work needs vision. The vision that Beyond The Tracks is “what Birmingham needs really just to kind of give it that other, kind of, star next to its name of what we have here to offer”. The drive to “bring people to Birmingham and actually show them what we do”. And the eye on the future looking to “see what else we can do for the city now”.

But with the rise of Beyond The Tracks, we’ve seen the fall of the Lunar Festival; this yearly switch looks set to continue, as the original three year access to the Beyond The Tracks site has been scuppered by the HS2 development. “We are bringing Lunar back next year and then… we don’t have the land for this (Beyond The Tracks) next year”, Fell explains, taking me a little by surprise. “We were told two years, we could have it… three years we could have it and HS2 is being built on this land. So they’re acquiring the land. So it might be the case that we maybe have a year off Beyond The Tracks, bring Lunar back. We’ve been refining that (Lunar Festival) so we’re quite excited to bring that back. Erm, and then, you know, hopefully we can bring Beyond The Tracks back the year after, maybe”.

Maybe, maybe not; there is always the fear that “it’s four festivals. You do start eating into your own audience as well. People only have so much money”. So maybe one on, one off could be on the cards. Or maybe it’s just a one-off.

Either way, when you think that “Friday night’s going to be crazy with Leftfield and Orbital and the light show they’ve got, here, in the city centre on a Friday night”, then the local focus lineup on Saturday and Sunday, with “Fairground Rides in the middle… a Ferris wheel and everything” it’s hard not to get a building sense of excitement.

And as I walk back across the site toward The Woodman pub, thinking to myself ‘stage there, fairground there, bar somewhere here…’ it’s also hard to disagree with John Fell when he shares the sentiment, “It’s gonna be quite cool. I mean it’s gonna be phenomenal, you know. It’s costing the world, really, so it should be…. But yeah, it gonna be cool, man”. Cool indeed. Phenomenal sounds about right too; I guess we’ll find out soon enough.

Beyond The Tracks comes to Eastside Park in Birmingham City Centre, running 15^th to 17^th September. Tickets for this event are £54.45 for individual day tickets, £145 for a weekend pass, with a host of after parties after each day.

For more on Beyond The Tracks, including full festival details and online ticket sales, visit www.beyondthetracks.org