The weather is perfect. Rare at a festival in this country. The sun shines. Occasional clouds pass. There’s a light breeze. Flamingods are on the Charlie Gillett stage. They are a London-based unit of primarily Bahraini origin who make psychedelic-electronic rock tinged with exotica and Middle Eastern flavour. Very WOMAD, in other words.

NME’s Paul Morley reviewed Angelic Upstarts’ debut album, the newly reissued Teenage Warning, in August 1979. He pointed out that they were “seen as the successors to Sham 69.”

SUNDAY 30^th June 2024

It’s late. But not really. Not by the standards of this place. Photographer Finetime and I are in Block9 in the South-East Corner. The so-called “naughty corner”. We take turns juggernauting quomble off a pinecone. Finetime’s right eyelid is twitching. This tic developed today. Nearby is a gigantic head. About the size of a large Victorian house. It’s at an acute angle to the ground. Instead of eyes it has a kind of welders’ mask blitzing white-noise light. Like the haunted, detuned television in the 1982 film Poltergeist.

Lucie Shorthouse is enjoying some high-profile TV action with her roles in Channel 4’s We Are Lady Parts, about the adventures of an all-woman Muslim punk band, and in BBC One’s reincarnated Rebus.

VINYL OF THE MONTH

Ariel Sharratt & Matthias Kom Never Work (BB*Island) + Ella Ronen The Girl With No Skin (BB*Island)

“Moving Away from the Pulsebeat” is the final track – barring the locked-groove return of the two-note guitar refrain from “Boredom” – of Buzzcocks’ March 1978 debut album, Another Music In A Different Kitchen. At five minutes 40 seconds it didn’t cleave to the short, sharp punk template. Also, it was largely instrumental. And it had a drum solo.

Towards the end of the encore, Deap Vally bring on their friend Solon Bixler. Frontwoman Lindsey Troy hands him her guitar. Despite this being their farewell tour, these two songs, she tells us, are new. The duo, now briefly a trio, go ballistic, a punk rock explosion ensues. Drummer Julie Edwards attacks her kit like Animal from The Muppets, Troy stomps like a glam rock loon before rolling about the floor, and Bixler scissor-kicks his way to stand aloft the bass drum.

They’re burning with the right stuff. They have been all night.

Jon Savage's The Secret Public How The LGBTQ+ Aesthetic Shaped Pop Culture 1955-1979 accompanies the titular author/historian/journalist’s book of almost the same name. The Secret Public: How LGBTQ Resistance Shaped Popular Culture (1955–1979) and this 41-track double CD each track exactly what their titles say, drilling into what has often paralleled or underlain yet repeatedly influenced a constantly evolving mainstream.

Before reviewing The Great Escape, we must first deal with the elephant in the room. Or, in this case, the room that’s crushing the elephant, like the trash compactor in the first Star Wars film.

THE ELEPHANT IN THE ROOM BIT

The name, Caron and Michelle Maso explained to Los Angeles radio DJ Rodney Bingenheimer, was a literal description. “We’re both like five feet. We’re all grown up, but we’re still little.”