The musical highlight this year was Grace Petrie and the Benefits Culture who roused a damp Monday night crowd with their politically charged folk songs. Grace Petrie is the musical soul of Corbynmania. Heartfelt catchy tunes delivering lyrics of love and protest which sum up her generation of politically engaged youth who despise the political establishment.
I went to Reading Festival this weekend. I've been going virtually every year since my first time in 1989, apart from when I got banned, which is a long story (yes, I really am that old and yes, I really did get banned). And you know what? It was still absolutely brilliant.
So now it's out there, how do we achieve Safe Gigs for Women? Writing this in the week we've seen debate on whether women only carriages on the tube, it feels like the debate around achieving safe spaces for women is difficult at best. But here's my ideal.
Among the more recognised names that will be occupying the stages at this year's Greenbelt festival over the August Bank Holiday, will be a little known Filipino priest called Father Herbert Fadriguella.
Bands there were aplenty of all the metal genres you could throw a stick carved to look like a skull at. Admittedly, pre-arrival the line-up felt a little odd in places - mainly because you could read the logos of the headliners.
I worked on my quads before IOW in preparation for squatting (that's a complete lie). You will want to avoid any kind of physical contact with the toilet seat if you can though, so upper-leg strength will be beneficial. Having a vivid imagination also helps, as it will distract from the sights and smells which surround you.
The current debates around gender bias in live music (specifically festival lineups) are important but people are focused too closely on the big names and headliners. I think we learn more looking at the smaller stages and events specifically aimed at 'emerging artists'. I've done two quick bits of number crunching in that area and found more optimistic results.
If anything festivals are starting to lead the way in demonstrating how deaf and disabled people can fully enjoy the whole experience alongside their family and friends. In my own experience many of the big festivals are going beyond the simple legal access requirements and doing more than paying lip service to accessibility.
Mod was very often routed in class. Working class young men who wanted to look super smart when they went out at the weekend and would save for months to buy the right clothes. Add into the mix a carefully selected mix of music, a penchant for drugs to keep them dancing all night and the desire to prove they were not defined by a dreary office job - and you have a template that can be repeated whatever the year.
Whenever I see an old documentary about the 70s (or the 90s more recently) there always seems to be some old boy, talking-head saying "Well, everything had gotten so stale, people were bored of the same faces and same shit coming out. It was ripe for a shake-up". I feel like that about now.
The banging beats of Leftfield's epic Sonic Stage headline set shall live forever in my heart (sorry Kanye), and I know if we apply the same dedication to recovery as we did to partying last week we'll be back to normal in no time.
A festival of documentaries is an alternative to mainstream media: any world documentary production goes through a process of being topically safe, legally vetted, format censored, content edited, politically correct abiding and fancy entertainment creative before they get mass distribution or shown at all.
It is quite sad, to see the music industry lacking in headline acts. We're just not producing those big names anymore and the ones that are still around have done all the headlining slots for festivals. It is just old news and regulars won't want to see the same people in the same slot, year after year.
Going to 'Hay' doesn't just mean going to the Hay Festival. The 'Hay' experience has become a sum of its parts. When people ask me what 'Hay' is like, I don't just detail the many authors and experts you can see (wonderful as they are), I tell them about the town which positively buzzes during the eleven day period.
The reason so many quote from E M Forster's modus operandi - only connect - is that it works. Connecting is the mainstay of all communication. A direct hit of recognition will elicit laughter.
At a jam-packed London concert when I was 16 years old, a man put his hand on my leg. I knew straight away that it was absolutely not okay. I did not know him, he had not spoken to me, and most importantly, at no point I answer yes to anything like, 'excuse me miss, can I put my hand on your thigh for a while?'.