Back for it’s sixth year and in a new ‘venue’ Northern Kin 2024 certainly had some organisational issues to deal with prior to the weekend. Last year the weather caused chaos with the old site turning into a mudbath. This year the festival, on it’s new site at Thornley Hill Farm, was originally scheduled for mid-June but due to excessive amounts of rain in the first part of the year and insufficient drainage on site at the time was moved to this August weekend. Thankfully we were blessed with three days of glorious sunshine and the resulting atmosphere was one of relaxed, chilled out vibes with plenty of opportunities for dancing as well as for relaxing with a cold drink. Unfortunately the rearranged date meant some bands couldn’t reschedule including, sadly, a few on my ‘must see’ list – The Undertones and Black Water County to name just two. But any festival is always more than just the music we know. Meeting up with friends, making new friends, sharing experiences, discovering new sounds are all part of the weekend and Northern Kin did not disappoint on those points. Food and drink fairly priced and better value than some festivals I’ve been to this summer and there was little/no queuing unless you wanted pizza at peak times.
Musically it delivers a massive variety of genres with, to these ears, a definite focus on the retro – well established, fairly middle-of-the-road, older acts. There’s folk, ska, prog, jazz, rhythm and blues, rock, some indie. Nothing too ‘out there’. This is certainly reflected in the 5000 or so clientele who made Northern Kin their home for the weekend with a definite lean towards the more mature generations. There was certainly some youngsters around but it doesn’t seem creating a ‘family festival’ was a priority. No kids activities, no fairground rides. For this ageing reviewer it was a perfect balance between bands I really wanted to see, those I’d not heard of but whose description sounded interesting and those I really wasn’t too bothered about. The latter provided much needed opportunities to grab a drink, a bite to eat or to just sit down, relax and soak it all up. Friday opens with Nine Below Zero on the main stage and a great set of bluesy rock n roll. Impressive guitar and sleek harmonica playing provide a great start to the weekend. On the second stage Rosalie Cunningham brings the first of a few psychedelic rock sounds to the weekend. Back on main stage Death Of Guitar Pop provide the first sounds that get the masses up on their feet dancing. Full on ska, full of attitude and fun, the beats are irresistible. ‘Suburban Ska Club’, ‘Bosh!’, ‘Back Of A Lorry’ and, of course, ‘Ska Is The Bollocks’ see the late afternoon crowd having the time of their lives bopping round the field.
Deborah Bonham (sister of the late John Bonham, Led Zeppelin drummer) delivers some rather excellent blues on stage two but I need to cut my listening short as the Dutty Moonshine Big Band are due on mainstage. Mixing dance, hip-hop, keyboards, big brass sounds, some rap and a ton of infectious beats the Dutty Moonshine Band keep the upbeat atmosphere going throughout their 60 minute set. Meanwhile it’s real throwback time on stage two with The Crazy World Of Arthur Brown. Formed 57 years ago by the now 82 year old Arthur Brown it’s a set of manic keyboards, experimental sounds, costume changes, wild face-paint and, of course, that song everyone has heard of – ‘Fire’ sees Brown walking the stage in a hat topped with serpents blazing away. Still producing new music Brown released his latest album ‘Long Long Road’ in 2022.
7.15 Friday sees one of the absolute highlights of the weekend on main stage. Alabama 3 really are unique in what they do. Fusing country, acid house, trippy pop and blues Alabama 3 draw a crowd of followers wherever they play and Northern Kin is no different. The barrier is packed with people ranging in age from teens to pensioners, all with huge grins across their face, all waving their arms, all emphasising just how much fun Alabama 3 are as a live act. I doubt there’s a single person in the field whose feet aren’t tapping away. Sadly it’s necessary to bail out 15 minutes from the end in order to catch the opening songs of Ferocious Dog on the second stage and another standout of the weekend. Hard-hitting folk punk, strong social messages, a passionate dislike of the Tories, huge supporters of animal rights, a stage presence jammed full of energy and some of the most dedicated fans you’re ever likely to encounter, tonight sees not only a packed out tent but the first proper lively mosh-pit of the festival. It takes only a few songs before the place is bouncing. Fantastic stuff. All of which explains why, just five minutes before the main Friday headliners – Starsailor – are due to walk on stage the the area in front of the barrier is practically empty. It fills up eventually (once Ferocious Dog have finished) and Starsailor do what they do. They’ve had some hugely popular tunes in the past – ‘Poor Misguided Fool’, ‘Four To The Floor’, ‘Silence Is Easy’. All go down well with an appreciative crowd but, for me, they’re not a headline act. Perfect for chilling in the sun to, with a drink in your hand but 9pm on a Friday night at a festival needs something with a lot more bounce. No worries on that front over on the second stage where former martial arts fighter Kris Barra and his band hammer out a hard hitting, noisy, high energy dose of rock n roll bringing Friday’s sounds to a close.
Saturday greets us with more high temperatures, blue skies and sunshine. And just like the previous day it throws up a huge variety of musical genres. Real highlights include the lunchtime wake-up call of brilliant grungy, dirty, alternative rock n roll from Marisa And the Moths, a sublime version of ‘Food For Thought’ by PorkPie, a brilliant afternoon acoustic set from The Men They Couldn’t Hang, the punky/indie/dancy sounds of the Soup Dragons – ‘Hang Ten’ and ‘Whole Wide World’ being perfect Buzzcocks influenced slices of mid-80’s indie and ‘I’m Free’ being one of the most recogniseable sounds from the 80’s/90’s rave scene. Cast remain hugely popular both with old songs – ‘Sandstorm’ and ‘Fine Time’ – as well as new ones – ‘Love Is The Call’, ‘The Rain That Falls’ – going down a storm with those who have chosen to venture out of the evening sun into the second stage tent.
It’s almost 40 years since I last saw The Waterboys. They were great then and they’re great now. ‘Where The Action Is’, ‘A Girl Called Johnny’, ‘This Is The Sea’ and of course ‘The Whole Of The Moon’. Brilliant show from a band who continue to release new music and worthy Saturday mainstage headliners. However, Saturday isn’t over. Having never seen Hawkwind live I make a small detour from the route back to my van and call back into the cavernous tent housing the second stage. Thinking I’ll give them 10 minutes it’s another 50 before I leave. It’s not their music that keeps me there. I was never a fan. But their lightshow is simply mesmorising. You can barely make out the band on stage but the lasers, strobes, clouds are perfect for their sounds, completely messing with your senses yet grasping your attention and refusing to let go. And it’s not just for a few songs. Their whole set is one huge visual experience. They end with ‘Spirit Of The Age’ and, of course, ‘Silver Machine’ so at least I can say I knew a couple of songs.
Sunday, the weather is still glorious. Musically this is the day I’ve been most looking forward to and it doesn’t disappoint. Lunchtime and it’s The Urban Voodoo Machine on mainstage with their brilliant, sleazy, alcohol fuelled, gypsy blues. With a priest on upright bass, a top hat wearing zombie drummer, red and black flambouyancy across the whole stage this is not your average Sunday lunchtime easy listening. They make no apologies for the content of their songs. Gangsters, murders, lowlife and a ‘Love Song’ opening with “So I fucked your sister, tried it on with your mother, kicked the shit out of your brother, but darling I’ve always loved you”. They’re on stage for just 35 minutes. Those lucky enough to see them will remember The Urban Voodoo Machine for a hell of a lot longer. Toby Lee follows on mainstage with a lot of slick guitar playing before I head off to the second stage for The Alarm. Today The Alarm is just Mike Peters, his guitar, a programmable drum kit and backing music. Today, Mike Peters is another festival highlight. Not only is the music superb with songs from across the band’s 40+ years but Mike Peters is an absolute inspiration. Announcing just a few months ago that his ”29 year old Leukaemia had undergone a transformation into a rare and aggressive form of Lymphoma known as Richter’s Syndrome” Peters continues to live life to the full, to give 100% on stage, to smile and to live with “Love Hope and Strength”.
It’s been a few years since I saw Dreadzone. They never disappoint and today is no exception with the crowd bouncing to their unique blend of dance, dub and reggae. Fantastic to see MC Spee back on stage aswell. A bit of nostalgia is always a good thing. Hearing some of the songs you first heard on record when you were just 8 or 9 years old played live 50 years later can bring back a heap of memories. With just one original member, Stuart “Woody” Wood, The Bay City Rollers turn back time, get arms waving, people singing and a lot of smiles. They cram as many hits as possible into their 45 minute slot. ‘Saturday Night’, ‘Bye Bye Baby’, ‘Summer Love Sensation’ and ‘Shang-a-lang’ taking everyone on a trip down memory lane. Indie legends The Wedding Present smash out possibly the set of the weekend with their raw, jagged guitars, catchy beats, intricate, self reflecting lyrics and, in David Gedge, a frontman who completely loses himself in his performance. And 35 years later ‘Brassneck’ and ‘Kennedy’ are still highlights of any gig. Catching the last 15-20 minutes of Big Country was, if I’m honest, disappointing. Some thought otherwise but to me the sound was poor. Tinny, a lack of bass and vocals far too high in the mix. Probably not their fault but a shame as they have some big tunes and the sound-person got it spot on for every other band.
Headlining the Second Stage Billy Bragg is, as always, bang on point with his articulate lyrics and between songs chat. Mixing politics and pop for over 40 years, supporting workers, supporting unions, anti-war, anti-nazi, pro LGBTQI+ Billy Bragg will always be relevant. Northern Kin closes with a huge performance on mainstage by Jools Holland and his orchestra. Big band sounds, a ton of talented musicians, a visual spectacle with every inch of stage occupied by either a person or an instrument. And a special moment when, as one of the special guests, Pauline Black (The Selector) joins them onstage. ‘Too Much Pressure’ and ‘On My Radio’ sounding great with so many instruments backing them up.
Northern Kin touches a lot of bases. There is music here for everyone of a certain vintage. It’s friendly, well orgainised, small enough to easily get around, relaxed, good value. Of course all of this is made much easier when there’s no rain and the sun shines. Improvements could be made. The small acoustic stage needs to be moved well away from any other stage. Being placed just outside the tent housing the second stage meant it was often difficult to hear the acoustic performers – unfair on them and on those wanting to hear them. There needs to be more than one set of toilets in the arena to avoid the queues at peak times (when a mainstage act has finished) and a couple more food stalls would be appreciated. Staying on the live-in vehicle site there was a long, long trek to the showers/toilets and long waits when you got there. Another block is needed. But these are minor niggles that can be sorted as Northern Kin settles into it’s new home.
