The colour, the drama, the nail-biting excitement into the early hours… but that’s enough about Diarmuid Connolly’s last-minute reprieve to play in the Dublin-Mayo replay. There’s another action-packed day ahead in Stradbally, in what is – when you throw in the Euro 2016 qualifiers, the All-Ireland hurling final and the ongoing build-up to the Rugby World Cup – surely the most eventful weekend in Irish cultural and sporting life in living memory.
Undoubtedly, the first band circled on many people’s timetables are Baltimore indie-rockers Future Islands, who have become one of the most beloved cult bands of recent times. Though they initially struggle with sound issues, frontman Samuel T Herring’s trademark dancing and baritone croon delight the afternoon punters. I have to say that while FI’s Tom Wait-goes-synthpop sound has never really been my cup of tea, Herring’s quirky charm and the band’s passionate performance do make them very easy to warm to.
Having stopped into the Newstalk tent to watch a magnificent opening half in the Dublin-Mayo game – where Leo Varadkar and The Coronas’ Danny O’Reilly are among the rapt audience – it’s on to the Electric Arena. “People say the war on drugs is being lost – well, it certainly is in my house,” US political pundit Bill Maher once quipped. There’s no question about it in Stradbally though – The War On Drugs are winning handsomely. The Philadelphia indie rockers are another band who wouldn’t receive regular air play chez Nolan, but again, the sheer passion on display from Adam Granduciel’s troupe makes them a highly impressive live proposition.
Over on the Rankin Wood stage, Battles are pummelling the crowd with their jack-hammer post-rock grooves and, as ever, John Stanier and the boys are thrillingly imaginative and adventurous. A particular highlight is ‘Atlas’, the band tackling the song’s gonzo rhythms with gleeful abandon. Though the post-rock genre isn’t especially renowned for stage-craft, Battles have honed their live chops to an admirable level. They even borrow a move from the James playbook by getting the crowd to literally sit down at one point, before instructing them to leap back to their feet. Result!
Back at the Main Stage, Hot Chip are casting a spell with their infectious disco-punk grooves, with tracks such as ‘Over And Over’ and ‘Ready For The Floor’ proving a big hit with the crowd. In a blistering finale, they deliver a knockout one-two with back-to-back covers of Springsteen’s ‘Dancing In The Dark’ and LCD Soundsystem’s ‘All My Friends’. Talk about ending on a high!
Having earlier popped into the Hot Press Chat Room for a natter with your correspondent, Chvrches are up next in the Electric Arena. The group’s synth rhythms have a mesmeric power, and they skilfully manoeuvre from immaculately crafted pop to hypnotic dance, even throwing in some darker shades of Depeche Mode-like industrial angst for good measure. And, make no mistake, singer Lauren Mayberry is a born star, her compelling stage presence once again proving Chvrches’ ace card in a live setting.
Thus far, we’ve had a most enjoyable day, but EP’s Saturday line-up has definitely saved the best ’til last. After a Lord Of The Rings-style pilgrimage to the far side of the site, we finally locate the Despacio tent, which houses the innovative soundsystem designed by James Murphy and 2 Many DJs. Murphy and co. are stationed where the bar would normally be, leaving the unknowing punter in danger of ordering a pint from dance royalty.
There are several signs in the DJ booth imploring curious revellers to ignore the guys spinning the tunes and concentrate instead on the party behind them, which is eventually where people’s attention focuses. And Christ, what a soundtrack Murphy and co provide. Despacio is without doubt the best club environment I’ve ever experienced, the superstar DJs dropping a sublime mix. As the dancefloor heaves, a sublime house number throbs in the background. The beat is cut out, lowering the tempo and, when anticipation reaches fever pitch, it comes crashing back in to a euphoric response. The track eventually segues into a brilliant vintage funk tune – and so it goes for the evening.
To be honest, there’s only one band who could draw me from such a blissful cocoon and – having checked out an excellent performance en route from haunting post-rock merchants Low in the Crosby tent – I reach the Main Stage in time for their arrival (and once again find myself stationed next to the ubiquitous Danny O’Reilly!) “Cead mile failte!” announces Damon Albarn, and Blur kick into the crunching art-rock of ‘Go Out’.
Though it and other tracks from the band’s number one Irish album, The Magic Whip, are well received, in a festival setting it’s the singalong hits that will provide the high points, and it’s when Blur reach for the back catalogue gems that their set truly achieves lift off. ‘Coffee & TV’ gets the ball rolling and – having informed the crowd that he recently found out he’s “one-tenth Irish” on the back of some investigation into his ancestral roots – Albarn is soon leading the crowd in a mass singalong to ‘Tender’.
‘Beetlebum’ and ‘For Tomorrow’ are similarly well-received, while ‘Parklife’ – during which the band are joined onstage by a bunch of fans – is simply uproarious. Dave Rowntree then commences the drum intro to ‘Song 2’ and, behind me, a bloke says, “Forget about it – game over.” He’s not wrong. Graham Coxon hits the distortion pedal and Stradbally goes absolutely apeshit. During the encore, the whole place again goes totally berserk for one of my all-time favourite songs, ‘Girls & Boys’, before Blur sign off with the anthemic ‘The Universal’.
It was hell of a way to finish an incredible day. Sunday, over to you…