Music, whisky and vintage vinyl technology unite in the single malt’s 1940s recording booth.
It’s been 10 years, almost to the day, that I first saw Mumford & Sons play. It was my first Great Escape, the largest festival for new music in Europe that just happens to take place in my hometown of Brighton.
For three days the seaside city is overwhelmed by a throng of trendy, skinny jeans-wearing industry delegates and music lovers, all out to uncover emerging talent, whether that be a gritty, pop-rock indie duo or 16-piece Swedish folk band.
Now in its 13th year, it’s become a popular platform for emerging artists from all over the world to showcase their work; many that perform during The Great Escape often go on to a Brit Award nomination, or a chart-topping hit at least. Past acts have included the likes of Adele, Tinie Tempah, Paolo Nutini, Vampire Weekend, Foals, The XX, The Kooks, Alt-J, Anne-Marie, Rag ‘n’ Bone Man, Stormzy… all unknown acts at the time, performing in their infancy.
Emerging talent: The Great Escape festival attracts new musical acts from around the world (Photo: Victor Frankowski)
Unlike other music festivals, there’s no muddy field, hot, smelly tents or long queues for grubby Portaloos. The Great Escape’s performances are split among Brighton’s many pubs, clubs, theatres and churches (if you’ve never heard The Staves perform in a church, you haven’t lived). There are street performances, acoustic sets in quiet cafes and, in the last couple of years, a pop-up beach club with food vendors and multiple stages for those missing the traditional festival atmosphere. Most of these venues have tiny capacities, and it was on one of the smaller stages in May 2009 that a relatively obscure four-piece band from London played.
Mumford & Sons weren’t even headlining. I’d turned up to see Laura Marling (another Brit Award winner) perform at the Sallis Benney Theatre for her final gig with her band, Noah and the Whale. Mumford were the warm-up act, having been Marling’s backing musicians on the award-winning Alas I Cannot Swim, but their catchy, upbeat folky sound and progressive anthemic numbers were refreshingly rousing for this new genre of west-London folk.
The following year they played Brighton again, this time in a small room above the Prince Albert pub just down from the train station. There were so few people in the audience, no more than about 20, and we ended up having a drink with the band at the bar afterwards. These really were Mumford’s early years.
From tiny local pubs they quickly began selling out theatres and arenas nationwide, with mosh pits (yes – really!) a common occurrence. Their sound manoeuvred from fresh, toe-tapping folk to sell-out pop, and were frustratingly overplayed across radio and television. I’d call it the Ed Sheeran effect but Mumford got there first. Their early music is still perfectly enjoyable, but for me the thrill of discovering a relatively unknown band, in a genre largely unrecognised at that time, had been blown apart by overzealous disc jockeys and a thirsty record label with dollar signs in their eyes. Mumford had become mainstream, their fresh, quirky edge watered down to appeal to the masses.
Sell-out success: Mumford & Sons went from playing in pubs to selling out arenas
Like so many others, I’d shared my discovery of this fun new folk band with friends. In doing so I’d contributed to the mass-appreciation of Mumford and their evolution into something unrecognisable from the humble four-piece I’d shared a beer with in a room above a Brighton pub. I have no regrets. The thought of keeping them to myself, playing them quietly on my iPod rather than aloud among friends at a party, is saddening. A lonely experience.
There’s nothing quite as exciting as being among the first to discover something new, which is a major draw of The Great Escape. It’s the same for whisky shows where new expressions – particularly those ‘under the counter’ – and little-known distilleries are discovered. It’s the new that keeps us returning year after year. Curiosity gets the better of us all.
But imagine discovering that gem, that wonderful, sublime, ethereal whisky that makes the hairs on the back of your neck stick up, only to keep it to yourself. God forbid that others might enjoy it too and snap it all up, or allow it to become so mainstream that it’s not trendy anymore.
It’s the joy of sharing that glass with a friend – ‘you have got to try this’ – that unites us in a moment of mutual realisation that you’ve stumbled onto greatness. You’re in it together. The bursting pride of seeing something you love, loved by another is far more rewarding than keeping it a secret.
Mutual passion: There’s greater joy in sharing whisky with friends
Yet stock shortages and a finite number of old and rare bottlings have created a sense of defensiveness among some whisky enthusiasts intent on clinging tightly to their own discovered gems. ‘Whisky newcomers are welcome to try the mass-produced brands, but stay away from my beloved rare/limited edition/collectible whiskies. They’re far too good for your mainstream palate.’
But everyone has that light bulb moment when it comes to discovering new whisky, or a new band. Even the most die-hard malt enthusiasts among us. That thrill of tasting something new that blows your mind and makes you realise why whisky is so beloved by so many. ‘This is what everyone’s been talking about.’ It’s that momentary spark that ignites a lifelong passion for whisky, and turns a dabbler into a devotee.
Rather than lamenting the fact more people are being turned on to whisky, let’s welcome them and share our passion in the hope of witnessing their own light bulb moment. After all, through sharing we can rediscover some of that joy that made us fall in love with whisky in the first place too.
In the spirit of sharing, I’ve created a playlist of my top Great Escape finds this year. Enjoy.
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- Whisky’s curious medicinal history
- New whisky reviews: Batch 209: Daftmill 2006 single casks
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