Reading: Backstage Pass

Laura

The crowd at Krept x Konan’s set was full of young people, with a good mix in terms of gender. But before they got to experience the London-based rap duo, a DJ warmed them up with a trio of songs.

Of course, once Krept x Konan did hit the stage, the crowd went wild and instantly chanted along to every lyric.

Even though I don’t usually listen to this kind of music, I did appreciate the atmosphere and how they hyped up the crowd.

One of the reasons I’m not a fan of their music is because of the lyrics. For example, “On My Life”, may have had the crowd rapping along, but it features so much swearing.

This aside, they did a great job at getting the crowd jumping, and seeing Karl ‘Konan’ Wilson crowdsurf was a great way to end the set.

Finn

Similarly to Krept x Konan, Nadia Rose had a mixed crowd. Not only that, but she also had a DJ open up for her with three songs.

She began rapping as soon as she stepped onto the stage, which sent the energy levels soaring into the top of the tent. 

As she is an up-and-coming artist, the audience didn’t know all the words to her songs unlike most other acts I’ve watched over the weekend. But that wasn’t enough to stop them from dancing along.

Rose asked the crowd, ‘Who is ready to dance right now?!’ and received a huge cheer in return. Her four background dancers kept the audience engaged – pointing, jeering and twerking – and throwing plenty of sass into an already impressive performance.

This was one of the most energetic sets I’ve seen over the weekend, and I was really surprised by how much I enjoyed it.

What did we think overall?

When reflecting on the performances, we think we found more similarities than differences. It was interesting that they both had a DJ on to hype up the crowd. It’s a clever tactic – what better way to ensure you come out on stage to a warm welcome?

I’m the type of person who wants front row seats to everything, and I will happily wait hours and hours to be touching the barriers right at the very front. As fun as this is, it can be extremely exhausting, not to mention a very long wait for something that is over so quickly!

I had the amazing opportunity to go into the main stage photography pit during Krept & Konan’s performance. I can’t put into words how incredible this was. I didn’t know what to expect – and I wasn’t expecting much – but it was a very pleasant surprise.

I walked straight in – no queuing for me! I felt like absolute royalty. I then headed into a separate area that’s exclusively reserved for professional photographers. I assumed this area would be very busy, but there was so much room! It meant I could move around freely and get the best angles of the artists.

Delving a bit deeper, I’ve discovered the numbers are truly shocking. According to the latest research, one in five British festivalgoers have been victim to sexual assault or harassment at an event, with 43% of women under 40 experiencing unwanted attention. Even worse, only 2% of festival goers who experience sexual assault actually report it to the police.

Drugs, alcohol, or the flawed belief that “boys will be boys” should never be an excuse for this kind of behaviour. And this needs to be made loud and clear. Because only then can the stigma against reporting and challenging sexual harassment be eradicated.  That's why I was pleased to learn Reading Festival has partnered with Safe Gigs for Women, an initiative established by everyday gig lovers.

Based in the green camp, Safe Gigs for Women tackles all forms of sexual harassment – not just when it’s targeted at women. They spread the word that groping and intimidating, threatening behaviour will never be tolerated.

In support of this goal, the welfare services team, (located in green camp next to the emergency tent), also tackles issues of sexual health and mental wellbeing, and aids festivalgoers in reporting incidents to the police.

“We thank Festival Republic and Live Nation for their dedication and commitment to the sexual safety of their patrons,” said a Safe Gigs for Women spokesperson. Paul Reed, the chief executive of the Association of Independent Festivals (AIF) sums it up nicely. “Festivals have a duty to make their events as safe, secure and enjoyable as possible.”

What’s your favourite part of the job?

Going out and doing original stuff, interviewing people and filming some more long-form pieces.

Do you have any advice for young aspiring journalists?

I think it depends what you’re going into, because it’s such a broad industry. What I would say – and I hate saying this – is be prepared to do a lot for free to begin with. But once you’ve proved yourself, and you’ve worked your way up the ladder, it gets easier and easier. Once someone trusts you to do something they’ll give you a bigger job, and everything will gradually get bigger from there.

On the other hand, do have the confidence to be asked to pay for something sometimes. But don’t be too arrogant. And if you’re going to do work experience, prove yourself but don’t walk away and expect a call back – but do push those people! Don’t be afraid, because everyone’s been there, so everyone understands where you’re coming from.

Another piece of advice would be to find who the section heads are of things that you’re interested in. Tweet them if you’re really interested in that area, and keep trying until you get a response.

Declan Newcombe, frontman of the band, had an intense stage presence that instantly matched that of Ian Curtis, lead singer of Joy Division. At the same time, the euphoric, jangly guitar notes chimed to form an opening number that that resembled alternative rock and protopunk bands of the ‘80s and ‘90s.

Supporting the complimentary fusion was drummer Patch Morgan, who added a repetitive, catchy beat that transformed the melancholic style. It gave the audience something they could truly engage with.

Newcombe further embraced the punk ethos, by breaking down the barrier between audience and performance. He jumped out into the crowd, circling them while he performed the last few verses.

He returned to the stage, perfectly summarising my own thoughts at the time by stating “all good things must come to an end”, before declaring the next track would be their last.

Husky Loops

Over on the Festival Republic stage, Husky Loops started with a promising low, dramatic bass, delivered by Tommaso Medica.

It resembled a heartbeat, creating a tense atmosphere before guitarist Pier Danio Forni pierced through it with a buzzing, space effect on guitar. The shrill, siren-like repetition of the sensitive guitar slides built up, and then dramatically transitioned to raw power chords.

As the sound continuously altered, with the bass turning from a repeated single note to a far more complex funk riff, it became near impossible to fit the range of songs into one genre – you could be forgiven for thinking the band were performing a medley.

Name: Justine Welsh

From: Glasgow

Where’s your outfit from? The shoes are from H&M – I’m on my fourth pair now – the playsuit is New Look, and I bought this jacket from Primark especially for festivals as it’s great to just throw on.

Who are you looking forward to seeing today? Kings of Leon. I saw them two nights ago and they were amazing!

Name: Matt East

From: London

Where’s your outfit from? My hoodie is from Weekdays and the dungarees are Bershka. Also the hat’s from a company called Counterparts.

Who are you looking forward to seeing today? We’ve got Don Broco and Lil Pump to go to today.

Name: Ashton Collinson

From: Kent

Where’s your outfit from? The shirt was from Leeds Festival and it’s the best one I’ve ever owned  – it’s so warm! The trousers are Topshop, the t-shirt is from a Billy Idol concert, jacket is Missguided and I have a New Look bum bag. The shoes are my staple Docs. 

The crowd were hyped up before he even graced the stage. And when he finally did come out, you could almost feel a burst of electricity surge through the atmosphere.

He opened with ‘DNA’, a track from DAMN that explores his black heritage and culture. He then threw it back to his fans. Referring to everyone in the crowd as “real ones”, he jumped full force into his 2012 hit ‘Swimming Pools’.

I also liked that he didn’t shy away from performing his older tracks, such as ‘King Kunta’ from To Pimp A Butterfly. It was a nostalgic event for a diehard Kendrick fan such as myself.

As the end of his set was nearing, the crowd started to chant “One more song” and “Oh, Kendrick Lamar!” He returned to the stage for one final performance, singing his classic ‘Bitch, Don’t Kill My Vibe’.

As the show came to a close, Kendrick dropped a not-so-subtle hint about future releases: “I’ll be back.”

What services does the welfare tent offer?

We provide safe spaces, monitored rest and recovery areas, general information and signposting. Additionally, we offer basic supplies for people who have run out of something or are in an emergency spot. It is quite a broad spectrum of services, and we are made up of volunteers who are mainly from different public sectors.

Why did you decide to work as a volunteer for the Welfare Services team?

I love music festivals and I have been going to them since I was 18. I always used to buy tickets and this year I decided to work as a volunteer instead. I give a little bit to the festival and I get a little bit back, which is great. 

What services do you offer specifically for women?

People come for advice once we establish that they are disclosing sexual assault cases or rape. We give them the advice about speaking to the police and how the medical procedure works. We are a confidential service, but if there are any safeguarding concerns, we have a duty to report it to the police. We have a secluded safe space here, which is a private area for them to talk to the police. Additionally, we just give out basic information or advice. 

Have got any tips to stay safe and happy?

Know who your friends are, don’t go off on your own.

If you are getting intoxicated, be safe, try and be sensible.

Have a plan in case you lose your friends.

Have a phone on charge.

All hands reached for the sky as everybody “praised” Urie during ‘Hallelujah’ and smiled their way through ‘The Ballad of Mona Lisa’.

Changing up the stage formation, Urie jumped onto the piano for ‘Nine in the Afternoon’ but continued to boogie as he declared fully that ‘Dancing’s Not A Crime’. The crowd certainly agreed as they jumped in unison. Switching up the dynamic further, Urie took to the guitar through ‘This Is Gospel’

Before beginning ‘Girls/Girls/Boys’, Urie explained that although the song’s origins lie in a past sexual experience, he’s now proud and overwhelmed that it’s become an anthem for the LGBTQ+ community.

A boy standing in front of me cried as he told his friend that this song helped him through hard times when coming out to his family.

Urie then literally flipped his way across the stage for ‘Miss Jackson’, and the crowd bounced as he well and truly proved he was ‘King of the Clouds’.

Before continuing with their 2016 number one ‘Death of a Bachelor’, Urie thanked the audience for their support and enthusiasm, before recounting Panic! At the Disco’s first Reading Festival experience in 2006.

That performance began with Urie getting knocked out by a bottle. Incredibly, he returned to deliver the full set just two minutes later. And, safe to say, he emanated that same fierce defiance onstage last night.

An amazing cover of ‘Bohemian Rhapsody’ set the crowd alight with torches, and it definitely felt like a Saturday night during ‘Say Amen’.

An impassioned statement followed, with Urie proclaiming to the audience that everyone not only deserves love, but can also make a positive change.

Panic! At the Disco finished their set with ‘I Write Sins Not Tragedies’ and ‘Victorious’, topping everything off with a beautiful display of red fireworks. It was clear proof that the awesome foursome are as strong as ever.