Grimes, Manchester HMV Ritz, August 30th 2012 7/10

The Guardian newspaper said of Grimes: ‘By sounding a little like everything you've ever heard, the whole sounds like nothing you've ever heard’. The 24 year old from Vancouver has talked about the influence of Napster which came along with she was 11: "I went through my adolescence having this revelatory experience – I can have any music I want and I can get it immediately. For me and for a lot of people I know, there's this musical eclecticism that happened." As a result, her music has an amazingly wide array of influences ranging from industrial, electronic, pop, hip hop, R&B, noise rock and even Hildengard von Bingen, a visionary proto-feminist from 12th century Germany.

We live in a golden age of incredibly democratic and wide ranging access to music, a situation unique in history. Beethoven’s influences were primarily the Viennese classicists that came before him such as Mozart and Haydn. He was revolutionary in his music in developing the formal classical style into romanticism, where feelings and ideas moulded the sounds he made. Yet, he still worked with existing forms (such as the symphony) and orchestra. It’s beyond my comprehension to imagine how he might have developed if he had access contemporary technology. Yet, since Grimes is also a musical genius, she gives some pointers as to what might have transpired.

Claire Boucher became involved in the underground electronic music scene whilst at University in Montreal, spending evenings in the Lab Synthese, an experimental music performance space in an old textile factory. A friend taught her how to use Garage Band, and she became so obsessed with composition that she was thrown off her course for failing to attend classes. She studied ballet for 11 years, and absorbed the western classical music heritage. At the same time, she listened to and admired performers such as How to Dress Well, Swans, Nine Inch Nails and the Cocteau Twins. This culminated in a moment of realisation: ‘One day I was listening to music and it suddenly made sense to me how it was constructed'. Grimes' third album, Visions, released by 4AD this spring is incredibly imaginative: it’s clear that her mastery of the theory of composition has freed her to experiment. Her mastery of the rules of music has allowed her to stretch and manipulate them to breaking point.

Gimes is a famously eccentric character, a slight, edgy presence when she wanders nonchalantly onto the stage. Like her idol Hildegard, she uses fasting and sleep deprivation (also drugs) to achieve a state of higher consciousness before composing. The music can be described as heavy electro pop, predominantly based on synths and drums It combines earth shattering bass with a French delicacy (Grimes is of Québécois descent). It’s a mistake to assume the beat takes centre stage: the emotional centre is Grimes’ remarkable voice, an other worldly falsetto, often looped. She’s a minimalist, stretching and flickering tunes in and out of focus, the ethereal vocals sometimes layered like renaissance polyphony. The effect can be dark and melancholy in the manner of Zola Jesus, but there’s a spiritual light at its core, which is incredibly uplifting and inspiring.

This was my second time seeing Grimes in a week, having enjoyed her amazing Reading Festival performance. This Manchester gig had been upgraded to a larger venue, yet the atmosphere didn’t match that in the Dance Tent a few days earlier.  Performance is a living thing, and thus unpredictable: the audience last night didn’t engage with Grimes in the way the frenzied younger one had done previously. The sound, normally excellent in this venue, had the vocals balanced too far back, whilst Grimes herself seemed more earthbound. By the time she came on stage, I’d been standing on the front barrier for three hours, and endured two support bands who didn’t inspire me at all, so perhaps I was in a less receptive frame of mind too.

Yet you should take a risk and see Grimes live: if the stars are aligned correctly, as in Reading, you will have a magical experience which will fuel your own creativity for days. Even last night, Oblivion and Vowels = space and time felt like a heavenly synthesis of the last 800 years of musical culture. The addition of two dancers who moved like wild, mythical creatures in the dim light added to the sense of mystery, whilst the whimsical look in Grimes' eyes and flashes of mischievous smiles epitomised a sense of freedom. Her recent self directed video for Genesis gives window into her unique thinking: you should take a risk and embrace that which is challenging and different.

Reading Festival 2012

Here's a selection of my highs and lows from Reading 2012, my second visit to this leading UK festival (see my previous account here). Although folk and Americana was under represented, the lineup was strong overall, especially in rock. It also has a far more egalitarian, informal atmosphere than Coachella- no VIP area divide, more relaxed security, and less evidence of hipsters there because they want to be seen. It really is a true music lovers' festival. The audience is overwhelmingly young, and hence energetic, giving rise to an amazingly enthusiastic atmosphere.

My Top 10 Sets

1) Grimes 9.5/10

Claire Boucher's set featured an animalistic topless male dancer, and was notable for its other worldly feel. I'm seeing the Canadian again later this week, and can't wait to be transported once more. It's clear that she has an amazingly fertile imagination, and on this evidence is a musical genius. Fantastic sound too in the Dance Tent for this 'future pop'.

2) Of Monsters and Men 9/10

Opening the third day, the 20,000 capacity Radio 1 NME tent was almost full for the Icelanders, staggering for a midday start. Perhaps the teenagers had been partying all night and hadn't bothered to go to sleep. It was a wonderfully uplifting, heart lifting experience, clearly influenced by Mumford and Sons' nu folk revival. It felt genuinely heartfelt though, and was the happiest time of the entire festival for me, evoking the spirit of Edward Sharpe and the Magnetic Zeros, the band who opened my ears to indie music.

3) Florence + Machine 9/10

Florence had the main stage during the only heavy rain shower of a mercifully mud free weekend. This didn't deter the crowd though, who were urged by her to embrace the water. She's skilled at working the audience, and the lighting and set was top notch. Compared to her Coachella set, the enthusiasm and size of the crowd was much greater, and the music is conceived to fit a large scale occasion. She announced after the show that she's taking a year long break from performing: I feel lucky to have seen her Cermonials show three times. Don't believe those who are snobbish about her popular success.

4) Alt-J 8.5/10

The size of crowd for Alt-J was astonishing: they appear to have almost reached cult status, and have broken out in the UK with immense speed so soon after the release of their début album. When I saw them at Parklife in June, the crowd only seemed to know the single Breezeblocks, yet now they went wild from the outset. The music is quirky, off the wall and imaginative: the sort of eccentric creativity that typifies British artistry at its best.

5) Two Door Cinema Club 8.5/10

This set was the greatest surprise of the Festival. I've enjoyed Two Door Cinema previously, yet following the appearance of Alex Trimble at The Olympic Opening Ceremony, they have become hugely popular. Their music is straightforward, upbeat rock, relatively undemanding, but what made this set so memorable was the party atmosphere of the crowd; astounding. It also bodes well for the imminent release of their sophomore album.

6) Metronomy 8/10

This was Metronomy's seventh consecutive appearance at Reading, and their late night set in the Dance Tent lived up to expectations with its moody rhythms which energised the audience. Excellent sound too, yet I was less mesmerised than when I saw them for the first time in February.

7) Family of The Year 8/10

This LA band opened my festival on the BBC Introducing Stage and immediately provided live music magic. Their American folk tinged pop melodies and easy going manner felt so upbeat and I'm not surprised to learn that they've opened for Edward Sharpe and The Magnetic Zeros. Strongly recommended.

8) We Are Augustines 8/10

We Are Augustines' music isn't to everyone's taste, but their set is always sincere and emotionally charged. I've seen them several times this year, and their live act has developed and matured, offering something quite different to the sound on the album. I do wish that they'd had longer on stage.

9) SBTRK 8/10

This UK based producer has moved beyond pure Dubstep to embrace vocals and soften the harder edges, and on this evidence it's captured the popular imagination. The enormous Radio 1 NME Tent was crammed to an uncomfortable degree, with wild moshing. There's a fertile imagination at work, even if Grimes' more ethereal post dubstep experimentation engages my imagination more effectively.

10) Dog is Dead 7.5/10

This Nottingham based band are new to me; they engaged the audience with great harmonies and a little of the quirkiness of Alt-J. The saxophone gave a hint of jazz too. I'm definitely planning to listen to their debut album when it's released this autumn.

10 More Enjoyable Sets

1) Friends

Friends put on an engaging show, leader Samantha Urbani singing her rhythmic pop right in the middle of the crowd. Certainly a lively set with great audience interaction. The catchy Things Like This was the highlight for me.

2) Bastille

I can't wait for this British band's first album, likely to be released by early next year: their melodic rock is starting to gather mainstream attention, and whilst there's nothing experimental or innovative here, there's much to enjoy.

3) Lucy Rose

I enjoyed Lucy Rose's folk influenced solo set more than Bombay Bicycle Club on the main stage. Her voice has been compared to Regina Spector's, but the impression from this performance was of sensitive delicacy, confirming my positive feelings from the first time I saw her.

4) Veronica Falls

I saw a headline show by this London based group earlier this year, and the Reading set confirmed my view that they're an enjoyable but not life changing indie pop group. This time though, a lack of depth seemed less of an issue: they're an ideal afternoon festival band.

5) The Shins

I'm not convinced that the recent album Port of Morrow is The Shins' finest, and the crowd on the main stage was modest in size. Yet the tunes were catchy, and relatively upbeat, suiting the occasion, whilst James Mercer's delivery was impeccable.

6) Deep Vally

Deep Vally won't win any prizes for subtlety, in either dress or music, but as the duo screamed and pounded drums, you couldn't deny the energy. They're tipped for much larger things, and I admire the intensity here.

7) Gaslight Anthem

The American rockers commanded a large afternoon audience, appealing to fans of the Foo Fighters who were to take the main stage later on. The sound here is problematic from so far back, yet their energy and experience was still apparent.

8) Benjamin Francis Leftwich

The Yorkshire singer made beautiful melodies with great guitar playing and an idiomatically raspy voice. I'd like to see him in a more intimate setting, to assess what's distinctive here, but the simplicity was effective even amongst the crowds.

9) Escapists

One of the joys of Reading is the BBC Introducing Stage- a chance to hear unknown artists. A particularly enjoyable discovery was this UK band who caught my attention by citing The National as a key influence. It’s guitar centric rock, with a layered sound, and whilst there’s a lot more development to do before they have a chance of breaking out, it’s always exhilarating to listen to a promising band for the first time.

10) Mastodon

This hard rock band is here for its raw energy: a messy, uncouth explosion of guitars and vocal screams, and mosh pits. I rather regret watching from a safe distance, as it was surprisingly invigorating.

5 Disappointments

1) The Joy Formidable

Normally The Joy Formidable is reliable fun, but here muddy, indistinct sound ruined the experience (I moved back from the front but this gave little improvement). Certainly, Ritzy Bryan had no shortage of energy, but it was only during the quieter new song Silent Treatment that I was really transported.

2) Spector

Spector's recent debut album has seen mixed reviews; this show confirmed me in the sceptical camp. They weren't helped by technical problems, and Fred MacPherson's act is painfully over blown for my taste.

3) Nikki and The Dove

I've seen this artist before, and was unimpressed, but wondered then if it was an off day. She was included in The BBC's Sound of 2012, and her recent album Instinct has been warmly received, but I found its clumsy strangeness to be contrived. She unfortunately found herself playing to a half empty tent too.

4) Dry The River

Dry The River might not really deserve to be in this section, and they're the kind of folk influenced band which appeals to me. Yet, I was troubled by a feeling of fakery, and a suspicion that it was a little too crowd pleasing and bombastic. The energy seemed calculated and contrived, but perhaps I need to assess them again.

5) The Black Keys

A surprising choice perhaps for this category, even though they played a shorter than billed set. I was someway back in the crowd, and the sound was less than ideal. Garage Rock is meant to sound claustrophobic, difficult to achieve in an outdoor space. Yes, the crowd loved hits such as Gold on The Ceiling, but it seemed emotionally one dimensional to me.