T in the Park 2010: Daisy Dares You, Darwin Deez and Three Blind Wolves
T in the Park blog
Sat 10th Jul
The day started off with Radio 1 A-lister Daisy Dares You (●●) in King Tut’s Wah Wah Tent, whose biggest hit to date has been the Chipmunk-starring ‘Number One Enemy’ (which she performed as her closing song). Daisy didn’t seem sure what image she wanted to convey – one minute, throbbing electro-pop basslines were the order of the day; the next, she’d pick up a guitar and headbang to some Rage Against The Machine-style riffage. While this would represent an excellent display of diversity in other bands, with Daisy it reeked of a desperation to please a wider demographic; either that, or she’d been pigeonholed as an electro-pop princess against her will, and was using the life stage as a platform for rebellion. In any case, the result was a slightly alarming lack of cohesion, combined with a distinct feeling that (whisper it) she might be miming.
Straight after Daisy was the similarly alliterative Darwin Deez (●●●●●), all the way from New York. Darwin and three bandmates strutted on stage and performed a dance routine to the sounds of a ‘Peanut-butter Jelly Time’/’Theme from Kill Bill’ mash-up, then launched into a set filled with jangly guitar, bizarre-pop hits, interspersed with further (shambolically-) choreographed dance routines. The music was heart-felt, the humour contagious – these guys were a true joy to discover. I managed to get a sniff of an interview with Darwin himself later on – I managed to blurt out a question about dance routines before he was swept away in a wave of PR. Gutted.
After that, it was time for a quick jaunt over to the T Break Stage, to watch Ross Clarke outfit Three Blind Wolves (●●●). Their indie-rock stylings (with occasional touches of folk) were a hit with the audience, to the extent that Clarke beseeched, ‘Someone heckle, for fuck’s sake!’ after a string of particularly obtuse ramblings. Certain elements, such as the vocal harmonies or mental drumming, were brilliant highlights of the gig; on the other hand, it all felt as if it had been done before; the band offered nothing new to the scope of guitar-led indie. Also, in this age of Glasvegas, Biffy Clyro, Sons & Daughters and countless others, is there really any need for faux-American singing accents? An honest Scottish accent would’ve gone down a treat.
Finally before lunch, there was just enough time to head over to the Red Bull Bedroom Jam Futures tent, to catch a couple of songs by Detroit Social Club (●●). Unfortunately, these boys hadn't much to offer beyond a nice white suit, worn by front man David Burn. The general feeling is that these guys are here to fill the void left by Oasis; that they are the second coming of pure, arena-filling, chant-along anthems, undiluted by electronic influences a la Kasabian – but really, is that what the world needs?
Now, time for some ethically produced stovies from the Healthy T area, and some Dizzee Rascal, Jay Z and Ash. Rock on!