Live Review: Desertfest - Sunday
18th May 2023
Featuring: Khan, This Summit Fever, Bobbie Dazzle, Mr Bison, Slump, Dunbarrow, Rickshaw Billie’s Burger Patrol, Slift, Dopelord, Earth, Famyne
Words: Matthew Williams, Matt Noble
Photos: Jessi Lotti, Tim Bugbee
Day 3 was going to be the busiest, with bands spread across multiple venues, but there was one group that intrigued me more than the rest. Firstly, I made my way to the Electric Ballroom to witness Aussie psych band, Khan. With dry ice filling the stage, their gentle opener was just what I needed to get the day started off. The trio have a nice explosive sound in parts, with plenty of pedal board effects as they pick up the pace on the next track.
The room slowly started to fill and with echoed vocals to go alongside their heavy progressive sound, they are great fun to watch, with loads of nodding heads in approval. “We are Khan from Melbourne, Australia, thanks for coming out”. The bass sound gets better and with songs full of melancholy notes and vocal screams, they mix their set well. With the drummer using an electronic pad at times, it added a deeper sound into the mix, and they are worth checking out when they come back to these shores.
Fleet of foot, I headed the short distance to The Devonshire Arms, to witness Shropshire’s finest, This Summit Fever. After a brief chat with singer Andy Blackburn, they opened their set with the excellent “Hooks”, and they are sounding good. With new drummer Gaz Ayres settling in nicely, they create one hell of a racket for two people, and Andy is clearly revelling in this environment, having grown as a frontman since I first saw them, almost a year ago in Manchester.
“Breathe You In” and “Voices” fly by and sees the black shirted figure jumping across the stage with boundless enthusiasm. He even has time to enquire about the state of people’s hangovers before they start “Partly to Blame”. “This is another one off the new album called Superfluous” and that slower start gives way to the heavier tempo, and it’s another likeable tune.
After a quick guitar change, he’s amazed that “so many have come down to see us” as they launch into the catchy “Currents” followed by “Only Quietness”. “It’s a huge honour to be playing here” as they finish up with “Sometimes a Tidal Wave” and “Messiah”, which receive loud cheers to wrap up a great set.
Bobbie Dazzle opens the Underworld on the Sunday afternoon with kaleidoscopic, glam rock fun to shake off the hangovers with with a dance, rather than a slow headbang. Performing an extended setlist of big choruses, clever musicality and psychedelic interludes, the band groove around the stage with an infectious presence, while Bobbie's theatrical mannerisms evoke the classic 70s rock gods from decades past, brought into 2025. Kicking off with debut track 'Flowers On Mars', as Ms Dazzle brings out her flute for the first time after a few songs - like something out of that bar scene in Anchorman - a sea of phones fill the floor to capture the novelty of the moment, though the use of flute (and keytar) is no gimmick, feeling natural and integral to the band's sound. The more upbeat numbers like 'Antique Time Machine' and 'Revolution' earn the best response from the audience this afternoon, despite the left field musical style for an event such as Desertfest.
With so many clashes happening all over the day, I headed over to catch a brief glimpse of Italian stoner band Mr Bison. Well, I say glimpse, but because they were so popular, I didn’t get to the see the band, so I stood right at the back and listened instead. They are very pleasing on the ear, with lots of progressive parts to their music, with several bluesy guitar parts and evocative soundscapes.
All around me was a sea of heads gently motioning back and forth, as their mix of steady riffs and psychedelic noises was proving to be popular with those in attendance. There was a strange, eerie rumbling for the start of one song, which I think was “I’m The Storm” before the rhythm took over and they carried on with their enthralling set.
Slump are another band I’d wanted to see, as did many others, so I was stood near the back, unable to see the drummer, but with frontman Matt Noble getting straight down to business with opener “Data Rot”. “How the fuck are you doing Desertfest?” he shouts enthusiastically, before they hit us with “Nothing More”. It’s got that impressive slower, yet mighty sound, with a bluesy style section before the intensity levels go up with a cracking solo thrown in. “This is an old song, from an old EP, and it’s called Dust” which has some great changes of pace and direction, and the crowd are lapping it up.
“We are Slump from Birmingham, and we aren’t used to playing to this many people. This is the 7th anniversary of the band” as the crowd spontaneously breaks out into a chorus of “Happy Birthday to Slump” and you can see the beaming smile on Matt’s face. They proceed with a new track called “Lost Our Way”, which has a rumbling bass sound, before they end with “The Line” followed by the dramatic and imposing “Kneel”, so not a bad way to end your debut London show.
It was back to the sweat box that was the Underworld next, for a band that a work colleague had told me that I must see. With frontman Espen Andersen, Norway’s Dunbarrow have a very enigmatic singer, and they win the “Best Range of Shirts” Award for their debonair appearance. They begin with the brilliant “Lucifer’s Child” which sets the tone for a quite exceptional set. With tambourine in hand, Espen plays along to the groovesome melodies and spooky doom ladened riffs, as they kick on with “All Your Secrets” and the supreme “Try and Fail”.
“We’ve never been to London before, so thank you. This is a new song called “No More Tomorrow”, and it dazzles the masses gathered. The audience are paying full attention, as they continue with “The Wanderer”, which is a beautiful song, and follow it with “Please Let Me Be”. It is perfectly paced and has hallmarks of 70’s rock, with the solos and rhythm seamlessly weaved together. They have an ethereal quality about them that keeps you spellbound and fully invested in their performance.
“It really is hot in here, you are all doing well to survive” says Espen, as they start “On Your Trail” and continue with “You Knew I Was A Snake” which has more evocative notes and a prominent bass line from Sondre Berge. Nobody is leaving this place until they finish as they have captured the hearts of everyone. They are full of swagger on “My Little Darling” with a stirring rhythm and Espen informs us that he left his tambourine at home, so had to buy a new blue one in Camden. They bring their set to an end with a cover of Roky Erickson’s “Two Headed Dog” and the exquisite “Death That Never Dies”. A peerless set that was one of the best of the weekend.
The sweat box was about to get even sweatier, as the band that Sunday was built around for me were up next, the tremendous Texas trio called Rickshaw Billie’s Burger Patrol. They have intrigued me a while, with their unique brand of sludgy doom riffs and potent rhythms. From the first notes of “Body Bag” to the final notes of “The Cincinnati Tilt” they had the crowd bouncing and moving all over the place.
As part of their first tour to Europe, and with members of Green Lung watching from the balcony, they take no prisoners, as Leo Lydon and his eight-string guitar leads the assault on our senses. The room was stacked, and their quirky songs are proving an instant hit as they perform “Peanut Butter Bread Sticks” and hype up the crowd with “Whip It Around”. Bassist Aaron Metzdorf adds his own weighty vocals throughout the show, with “Blue Collar Man” and the thunderous “I’m the Fucking Man” getting the Desertfest crowds seal of approval.
The catchy as hell “Clowntown” sees the pit going insane, and by the time “1-800-EAT-SHIT” comes around we get the first stage diver. “It’s our first time over here, so thanks for coming out” says Leo, as “Dickhead” and “Shoo In” get aired. I can’t help but think of Les Claypool when I see Lydon on stage, and they are an absolute joy to watch. “We’ve got a few more for ya” as the huge bass sound slowly builds up “Gravedigger” and aforementioned “The Cincinnati Tilt” conclude a set that in years to come will be one of those “I was there moments”.
It took a while to get out of the venue, and the summer breeze was much needed as I took the short walk to the Electric Ballroom to catch the second half of French space rockers Slift. With brothers Jean and Remi Fossat, joined by Canek Flores, they stunned me with their stage presence and exceptional sound. I had sadly missed “Ilion”, “Nimh” and “Ummon” but walked in when they were playing “Altitude Lake”.
For those who’ve never seen them live, I suggest you rectify that asap, as they were breathtaking. Their brand of tripped out psychedelic stoner rock is phenomenal, with accompanying video in the background, making you feel all warm and fuzzy even though my feet were telling me otherwise. I stood there watching with my mouth open at times, as their interplay and tempo changes were incredible. They have a huge sound when needed and when they played the second of two new tracks, it’s like a huge release of energy as they throw themselves across the stage.
“It’s a real honour for us to play on the same stage as Earth and thank you very much” as they launch into the mammoth final track that is “The Story That Has Never Been” which encapsulates everything that is stirring and electrifying about the band. A treat for all in the room.
As the end of Desertfest draws near, my aching body dragged itself to the hottest venue of the lot, The Underworld, for one final time to watch doom metallers Dopelord. Again, the venue was heaving to capacity, so I found a spot, where I could see very little but just being in the same room was good enough for me. They begin with “The Chosen One” and that low end rumbling bass sees the people near me engage their heads in that quintessential slow head bang movement that you only get at these types of gigs.
The hypnotic grooves and swagger that these guys bring is immense. At times they have an early Pink Floyd vocal harmony about them, and you can sense the evil in their music with songs like “Children of the Haze” and of course the epic “Hail Satan” as one punter somehow straddles one of the pillars in the room to get a better view. “Good evening Desertfest, we are Dopelord from Poland, so nice to see you all. Let’s get fucked up tonight” easy for them to say, as most people were already knackered, but the crowd got fully into this last band of the weekend.
With the masses in full voice, they also indulge in some synchronised headbanging to “Addicted to Black Magick” which was wonderful to see as we are slowly strangled by “The Witching Hour Bell” which is full of villainous intent. “We are 15 years as a band, 15 years of sweating” as they increase the tempo with “Headless Decapitator” and the pit responds accordingly, giving it one final effort. “Thanks for being here, we have two songs left. Jesus fucking Christ it’s hot, we only paid for our luggage over here, so you must go and buy all our merch” as they rip us all a new one with “Reptile Sun” and draw a close on proceedings with “Doom Bastards”.
Earth, the cowboys of drone from Seattle, deliver a hell of an auditory experience in the Electric Ballroom to headline the final day of the festival. Earning a healthy audience share for their first show on these shores in half a decade, their influence can be felt over the experimental side of heavy music, including drone and post-metal. Whether attendees had come as disciples of the band, or simply to enjoy the rare occasion of Dylan Carlson playing a UK show, the room is packed out and certainly feels like a headline performance.
Lulling the audience into a transcendental haze with ripples of noise and riffs, Carlson et al faithfully play as much music as can be squeezed into an hour and a half. Despite the sheer sonic power, it's a calming and somewhat euphoric emotional journey to be lost in. The music and the experience is simply placed front and centre, above stagemanship or conducting the crowd. Tonight, Desertfest goes back to basics - it's about nothing else but the music.
Canterbury doom quintet Famyne take the afterparty slot, headlining The Black Heart for one last hurrah for the weekend. Their take on doom is melodic and graceful, dropping the tempo to become earth-shakingly slow at times. With that said, there's no lack of energy, as the gut-punching breakdown in 'Solid Earth' or the hair-windmilling punk break towards the end of 'Slave Ship' prove. Famyne boast an incredible presence, with both guitarists dominating their corner of the stage as bassist Chris and lead vocalist Tom trade off in the centre.
Their energy translates well into the room, with the heavy duty riffs in 'Defeated' for example whipping up the crowd into a mass of hair shaking in time to its beat. However, Famyne's more pensive moments - such as the haunting 'Dreamweaver' - are also received respectfully and appreciatively. They demonstrate their wide ranging influences in way that feels unique yet natural. As plastic glasses are raised for the final drinks of the weekend, they leave the stage triumphantly, ending a memorable weekend on a high - if slow - note.
All photo credits: Jessi Lotti, Sam Huddleston
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