The Beerfest is problematic. I don't know about the rest of you but I can't stand crowds, parents with pushchairs, screaming infants and those rotten tweens in their leggings worn as pants. At this year's Beerfest I found something I hate more and that is Maltese presenters, promoting brands with ridiculous competitions on a stage. I remarked at their oblivious use of the microphones: why would you yell into a mic? I suppose they were less aware of their sound amplifying tools than the glorious products they were peddling. At this point I realised I was at the wrong stage.
Three Stops to China started off a little late at 9.15pm with an uncharacteristically low-energy track about summer that ironically sounds more like winter. However their second track 'Arcadia' picks up the familiar 90s alt energy, although lead man Kurt Kind does tend to whine through it as though he's very bored of singing it. The third track, 'Following', stars out so promising with a contemporary underlying bass beat pulling the guitars along. If only 3STC sounded more modern. They care about their music and they know how to play their instruments, but they lack a modern sensibility that makes their music sound dated. It's not bad but it's not great --- it's far worse: mediocre. With the fourth track, the band sounds quite like a punk version of Placebo. A little whiny, but that's ok.
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| Three Stops to China |
As I said , the Beerfest is problematic. I get the sense that most people, even at the rock stage aren't here for the music. People talk so loudly it's impressive that the music can be heard. So why are they here? Could it be the 40 different food stalls? The special limited edition mass produced beer mugs? The glorious Maltese night air (read: humid stuffy airless conditions)? perhaps these people enjoy the significantly reduced personal space, or violating the personal space of others. I swear the next fool to knock my handbag is getting a slap.
Dolls for Idols started at 10pm. The guys took over the stage with their cooler than ice image and flashy cover art on the projector screen. I think the crowd is pleased by the music because it has a clubby quality. They burst into their new(ish) electronic style, with Daft Punk inspired digital keyboard effects; which was more advanced than on their last album 'Cut, Paste and Rave'n'Roll'. Weren't they a rock band?? Their performance at the Beerfest shows such an intense progression from the last time I'd seen them live - at Sickfest last year. They've evolved from a rock band into a blend of nu-rave, punk and British indie.
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| Dolls for Idols |
I think the instrumental first track was a gutsy move at this venue, where people could easily be taken aback by something unusual, however they pulled it off perfectly. They play for the crowd as though they're performing at Glastonbury: cocky, confident, in the zone; an energy found in all their music videos.
They maintain the fast-paced digital energy throughout the set. 'Wonderlust', another instrumental, which keeps up the tone with some ridiculous keyboard beats, impressively matched by the guitars and drums (and it's a B-side!). The alternating between vocal and instrumental tracks works really well. Following is 'You' which sounds more like The Kooks or Razorlight on speed - fluffy British indie - because of frontman Clint Spiteri's hunky gruff vocals. This is more like the old Dolls for Idols, and this fusion of punky British indie and electronica gives the impression of a split-personality within the band. Not that I'm complaining - the versatility of this band is impressive, they are clearly overflowing with talent.
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| Stolen Creep |
The ladies of Stolen Creep took to the stage at 11pm to lots of cat-calls. Thank you, men of Beerfest for showing your sexism before the band even begins. By this time, it's pretty obvious that certain members of the audience are drunk.
The regular line-up of Katryna, Martha, Rebecca and Marie are joined by Yasmin Kuymizakis (Yews) on keyboard and vocals. Katryna, Marie and Yews on vocals for this song provide a quiet intensity as Martha and Rebecca match them on bass and drums respectively. They start off very slow, with some light haunting bass that shows the sound engineer's faults all too clearly, as feedback echoes around. This problem was present but far less noticeable through the other bands' performances; the poor sound quality ruined an otherwise good opening song for the band.
As a fan of Stolen Creep I worried that their style wouldn't be suited to the Beerfest as a venue. I couldn't have been more wrong. Perhaps it is the nature of the group that they adapt to their setting and fill it with music, music which is actually very versatile. It would fit well in a bedroom, a pub and an open air venue.
At the end of their opening number, the girls stopped playing to communicate with the sound engineer. After a pause they carried on to the next song which sounded better but far from perfect. The track about escapism uses bright summery chords for a cheerful effect, but it is somewhat dulled by the lacklustre vocals and slow-paced progression. After all this is Stolen Creep's style. They set a tone at the beginning of each track with the bass and throw in just a few vocals allowing the guitars and drums to pick up the pace, building up to the climax of the song and then fading out softly.
As a venue, the National Park at Ta' Qali is... ok. The lighting effects were poor, the sound quality was poor, but there was enough space for people. It's difficult to complain about a free event. My main gripe with the place (and the reason I left before Cable35 performed) was the loutish behaviour of certain people and the intense heat. All three bands put on a good performance, with the Dolls standing out for their outrageous talent.
Images: (1, 2) David Grech Urpani, (3, 4) personal photos
When: 31st July 2013
Where: Rock Stage at the Beer Festival, Ta' Qali National Park
Who: Three Stops to China, Dolls for Idols, Stolen Creep
Price: free
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