Parklife Weekender 2012: Review

It's another memorable weekend in South Manchester

Published 18th Mar 2013

Saturday 9th – Sunday 10th June 2012 – Parklife Festival @ Platt Fields Park, Manchester

Words: Patrick Davies

SATURDAY

When Parklife festival arrived at Manchester’s Platt Fields Park in 2010, there were a few raised eyebrows. Hosting an outdoor festival, close to the centre of a city that surely holds the title of the wettest in the country, was considered a risky move by some. How wrong they were.

As this year’s main stage openers, THE CUBAN BROTHERS come out to showcase their unique brand of Latino soul there’s a revelation for festival-goers.

The band claim they received a phone call from organisers early on Saturday morning, telling them that Friday’s incessant rainfall had raised serious concerns over whether the festival should go ahead.

But a fleet of buggies bearing a huge collection of straw and sawdust promptly arrives to soak up the swampy mess in front of the main stage- and it soon becomes clear the organisers have everything under control.

Combine this with the opening act’s repertoire of ‘salsa style’ hip-hop covers including PUBLIC ENEMY’s ‘Bring the Noise’ and N.W.A’s ‘Express Yourself’ and the day is off to a flyer.

As the afternoon progresses so does the tempo while drum ‘n’ bass royalty GOLDIE and jungle pioneer DJ HYPE rock the Metroplex Metropolis stage to its core.

But the strength of Parklife is that something completely different is always round the corner. I saunter back to the main stage where disco legends CHIC take to the stage.

Front-man Nile Rodgers has sculpted a reputation as the finest song-writer of his generation. Alongside trademarks ‘Everybody Dance’, and ‘I Want Your Love’ the audience are also treated to unexpected covers of ‘Let’s Dance’, ‘Like a Virgin’, and ‘We are Family’. Little did I know his production skills spawned all three of these mega-hits!

And undoubtedly the biggest cheer of the day is at the end of the set when former SMITHS guitarist, Johnny Marr, emerges to lend a hand on funky disco anthem ‘Le Freak’.

The one source of frustration is the sound quality at the main stage. The thumping bass of the nearby Metropolis tent threatens to drown out Rodgers’ vocals in places. It makes me wonder how headliners THE FLAMING LIPS will cope having to compete with NERO’s earth-shattering dubstep later in the evening.

After leaving the main arena area it’s off to the Now Wave stage to catch two of 2012’s hotly tipped acts. Brooklyn indie outfit FRIENDS,** **arrive to a sparse tent, but this does nothing to quash their tenacity.

By only their second track front-woman, Samantha Urbani, has already launched herself into the crowd. Final track, ‘I’m His Girl’ whips the tent into a frenzy, surely proving that a bigger stage awaits them in the future.

In stark contrast, and still two days before the release of his debut album, Oxford-based electro prodigy TOTALLY ENORMOUS EXTINCT DINOSAURS not only packs the tent but also the surrounding field. Stewards soon have to resort to a ‘one-in one-out’ policy to keep the crush at bay.

And then comes the moment that everyone has been waiting for. A subtle hint of what is to come is provided by a collection of huge inflatable balls that can be seen poking out from behind a curtain at the back of the main stage. A drawn-out sound check slightly delays their arrival, but it matters not as Platt Fields erupts when THE FLAMING LIPS appear.

Famous for their flamboyant live shows, the band ensure that despite the substandard sound, no-one will leave underwhelmed. As they launch into ‘The Yeah Yeah Yeah Song’ cannons either side of the stage blast out confetti and the foreseen inflatables are unleashed into the crowd.

During the proceeding tracks, there’s a twenty-strong posse of dancing French maids, a megaphone that fires swirling trails of dry ice, and of course Wayne Coyne’s obligatory giant hamster ball. As he climbs inside the ball, euphoria ensues as 30,000 revellers hurl the front-man back and forth.

But what catches my eye most are the letters ‘MCA’ emblazoned across the band’s drum skin. Amongst such elaborate stage props it is touching to see the tribute to BEASTIE BOY, Adam Yauch, who sadly passed away last month.

The title track from masterpiece album ‘Yoshimi Battles the Pink Robots’ has everyone in full voice, but turns out to be a warm-up for the finale. There is a mutual feeling that the audience is in the midst of something special as THE FLAMING LIPS bow out with the meteoric ‘Do You Realize??’

As Coyne cries: “Come on Manchester, let me hear all of you!”- my fears of interference from other stages prove unfounded. A final barrage of confetti is married with a spectacular firework display as the band leave the stage.

The departing audience continue the chorus of ‘Do You Realize??’ until every last person is out the gate. And what’s more? It’s only half-time.

SUNDAY

On Sunday afternoon the sun is out, the shades are on, and intriguingly the festival site appears much busier than the day before. The main stage is bouncing from the word go as local drum ‘n’ bass cartel MURKAGE have the crowd in the palm of their hand.

I explore some of the less prominent features of the site and discover a number of things that eluded me the previous day. The ‘Desperados’ hut is hosting a BMX competition, and the tree-house that looks out on to the main stage is now playing host to a silent disco.

Mercury nominee GHOSTPOET seems humbled as he takes to the stage in the Now Wave tent. “Wow, there’s so many people here!” he says as he emerges.

The audience are treated to an all together more rave-tinged interpretation of his album ‘Peanut Butter Blues and Melancholy Jam’. Debut single ‘Cash and Carry Me Home’ sounds massive, and new track ‘Hampton South’ gives a promising sneak preview of what is to come from the Londoner’s new material.

After this triumphant performance from one of hip-hop’s brightest new talents, there’s a mass exodus back to the main stage to catch stalwarts of the genre, DE LA SOUL. There’s a buzz of anticipation as the stage fills up, but when the clock passes their scheduled arrival time of 7pm, they are nowhere to be seen.

Unfortunately this proves to be the big disappointment of the weekend. The band eventually arrives on stage thirty-five minutes late to a muted reception. The sound is virtually inaudible and almost the only words I can make out are: “Only a coward would throw a bottle” as Dave Jolicoeur dodges a missile from the front row.

A new addition to the Sunday bill is the Hospitality tent, curated by infamous drum ‘n’ bass label, Hospital Records. After the deflation of DE LA SOUL’s set (perhaps through no fault of their own), there is a need for a pick-me-up. Step up HIGH CONTRAST.

The Welshman is often thought of as the jewel in the crown of Hospital, and his set at Parklife shows this reputation is well deserved. With the help of DYNAMITE MC and vocalist JESSY ALLEN, he raises the roof, showcasing tracks from latest album ‘The Agony and the Ecstasy’.

One last visit to the main stage yields what must be the biggest crowd of the weekend. The anticipation reaches boiling point as Sunday night headliner DIZZEE RASCAL appears.

His popularity has rocketed since the release of fourth album ‘Tongue N’ Cheek’. It could be said the move towards his dance-pop infused sound makes him the perfect headliner for a festival like Parklife.

Surprisingly it is the straight grime tracks of his early career that dominate the start of the set, ‘Sirens’ and ‘Jus’ a Rascal’ being particular highlights.

Although the East-Londoner is unable to match THE FLAMING LIPS in terms of his visual show, there is an impressive array of laser beams that shoot from the stage, and the audience** **receive another dose of confetti.

As the set progresses it conspires that what DIZZEE lacks in expensive props he more than makes up for with showmanship. Armed with a plethora of party anthems (and it has to be said numerous expletives) Parklife 2012 comes to a rip-roaring crescendo.

Number one singles ‘Dance Wiv Me’ and ‘Bonkers’ send the crowd into ecstasy, and there is even a rendition of FLORENCE AND THE MACHINE mash-up, ‘You Got the Dirtee Love’.

But there is still time for one last hurrah as DIZZEE gives the festival an exhilarating send-off. ‘Let’s go bonkers, Manchester!’ he exclaims as he belts out ‘Holiday’ and a final reprise of ‘Bonkers’.