Live Review: The Great British Alternative Music Festival (Sunday) – Butlins, Minehead, UK, 10th March 2019

When I arrived at Minehead in the Friday I put a post on Facebook with the caption “somehow I don’t think we’re in Kansas anymore”, this morning I’m worried this is might become propethic as it’s blowing a gale, and I’m reminded of why outdoor festivals in the UK are a bad idea. After rescuing my car from a small lake that had formed round it, and from a flock of incontinent seagulls, it’s thankfully back indoors to catch The Members, whose best known single is forty years old this year. In a typically unconventional touch they open with, Handling The Big Jets, the b side from Sound Of The Suburbs, and from here on in it’s an eclectic run though their last four decades.

Despite our aversion to cover bands at festivals such as this it has to be said that Midlife supplement the gale outside to blow the cobwebs away. Opening proceedings at noon on a Sunday can’t be easy but their set of classic ska covers has drawn a decent crowd and the bands enthusiasm quickly rubs off on those in attendance. The ska continues with Neville Staples, there’s an increase of people piling into the Centre Stage to see the original rude boy. Opening with Gangsters is guaranteed to bring a bounce to the somewhat jaded crowd, this is felt right across the Centre Stage due to the crowd that, despite the early start, is packed into the venue and when Monkey Man kicks in the entire venue, led by the irrepressible Sugary Staple, is bouncing, whether they want to it not.

When 999 play you know you’re going to have a decent night, or in this case late afternoon. Instantly recognisable, foot tapping tunes delivered with attitude. Guy Days plucks out those distinct riffs on his guitar one minute then points it at you as if he wants to gun you down the next, Arturo Bassick stands stock still wearing a perpetual smirk whilst Nick Cash gives the punters some serious eye contact as his unmistakeable vocals drive home some powerful lyrics. 999 never disappoint and they give the crowd exactly what they want and It’s great to see them on a big stage rather than in a pokey club.

The Introducing Stage resumes for the final day with Tokyo Rankers, who deliver a blast of old school street punk that follows in the path of The Business and Cocksparrer, they warm things up nicely for The Ramonas, whose inclusion on this stage is something of a mystery given their reputation both as a Ramones tribute act and with their self penned material. Something that is reflected by Jumpin’ Jaks being absolutely packed ahead of their appearance. The Ramonas deliver a set of their original tracks, it’s testament to their own material that no one minds, in fact many are glad that their alter egos aren’t present and Jumpin’ Jaks lives up to its name as the venue swiftly hits its capacity and many have to be content to listen from outside.

Unfortunately we mss Resistance ’77 as we cannot live on music alone and we miss all but the tail end of their set, but we have returned in time for Kid Klumsy who happily admit that they’re pissed. Well at least singer Weab does, this doesn’t stop them, in fact it probably encourages them to deliver a set of in your face, noisy punk rock that’s full of fun. Poppy, energetic, playful punk, it’s the first time I’ve seen them and it’s good to note that Weab’s often cutting, sarcastic but always good natured comments feature as heavily here as they did during his tenure with Dirt Box Disco. He misses nothing, just ask the photographer at the front.

Back on Centre Stage The Lurkers open the evenings entertainment with a set of old school punk that Spans four decades. it’s a long time since I’ve heard I Don’t Need To Tell Her and Ain’t Got A Clue played live, not the band’s fault, it’s just a long time since I’ve seen them. Judging by tonight’s performance I won’t leave it too long before seeing them again. The Reds Stage is absolutely rammed for Hazel O’Connor and she doesn’t disappoint. It’s a crowd pleasing set relying heavily on the Breaking Glass soundtrack, including Will You with it’s spine shivering saxophone solo. Hazel O’Connor is mesmerising, an established artist who needs to prove nothing and who holds the attention of those gathered.

Sham 69 reaffirm what everyone here already knows, when they’re on form they really do deliver the goods. With Jimmy Pursey, Dave Parsons and Dave Tregunna it’s three quarters of the original line-up, whilst Parsons and Tregunna provide the incendiary guitar and bass riffs that underly so many punk classics it’s Jimmy Pursey who is the real showman. Walking on in a high vis vest bearing the words ‘Excuse My French’ across the back and carrying a security camera, the Sham 69’s anger and awareness of politics and social situations clearly remains as sharp as ever.

Sham 69 open with What Have We Got and hammer through a set that reminds us just how many blistering, classic punk chants they released, Sham 69 belt out what everyone present wants to hear. Jimmy Pursey dominates the stage, sometimes standing arms out as his lyrics are bellowed back at him. At other times pounding round the stage like someone possessed, there’s not many with his energy 40+ years on. I Don’t Wanna, Ulster Boy, Rip Off, Borstal Breakout, No Entry, the by now obligatory cover of White Riot and, of course, If The Kids Are United, Angels With Dirty Faces and an encore that finishes with Hurry Up Harry. For most of the show there’s little need for Jimmy Pursey to sing such is the audience participation. But he does sing and the crowd love every second.

Whilst Sham 69 are pleasing those seeking classic punk rock there’s just time to dash down to the Reds Stage and catch a little of The Wildhearts blend of punk and melodic hard rock. Vanilla Radio, Greetings From Shitsville and Love You Til I Don’t end their set and, unfortunately, end this reviewers time in Minehead. Outside the weather is shit,  gales, sleet and horizontal rain are sweeping across the site but driving through the night should mean that the journey home should take a good few hours less and sadly as reality beckons it’s time to head back North.

As for the festival itself, nearly 40 bands, excellent chalet accommodation, food to suit everyone, friendly people, fantastic atmosphere, great staff, well organised. Compared to Skegness? Skegness has the introducing stage in an area big enough for people to sit (if they want to), relax and meet up with others. It’s set-up also lends itself to discovering bands you’ve never heard of before just because you’re passing through. Minehead’s Introducing Stage, in Jumpin’ Jaks, is a small, grungy, hot venue providing a more typical gig atmosphere. Both have advantages and disadvantages and, judging by comments on social media, opinions seem to be equally split as to which is the best. For the variety and quality of bands to be seen The Great British Alternative Music Festival has to be one of the best value events on the music calendar.

Tickets for Butlins 2019 Live Music Weekends can be booked here

Photography by Steve White. You can visit Steve White‘s Flickr site here and you can click on any of the photos to view a slide show of the images.

Review co-written by AJ Phink