Riding the Wave – Peter’s view and Waves 2024 review

Sunderland’s annual Waves Festival took place on Saturday, 16 November. The multi-venue music festival with the intent to showcase Sunderland’s burgeoning music scene consisted of 45 acts from around the UK.

In the morning, the sun set its gaze on Sunderland as clear blue skies sat above the city; across the day it was sunny for the most part; strong gusts of wind made their way through every nook-and-cranny known to man. It stayed dry and that’s the main thing.

A boxing event took place at The Point. It was a formal occasion; those in attendance were wearing their Sunday – Saturday – best. Updates throughout the day about time changes and all things Waves could be found on the ‘gigseekr’ app.

Klang performers were outside The Fire Station from 1pm; the “brand spanking new” Fire Truck whipped up pizza and donuts as well as ‘Origato’ which offered Japanese street food for those peckish festival-goers. The day’s proceedings got underway at Independent where South Shields’ Slate Label took their chance and filled-in the ‘Apply to play’ set at 1pm.

Slate Label – Independent – 13:00

Smoke slowly fills Indie as Slate Label walk on stage. The band warms into things – and then they GO. Waves Fest was officially underway. Slate Label are quite groovy with a sharp bite. Bassist, Adam Stubbs, is overly cool, nonchalant, unfazed. Sunglasses, a green trench jacket and a Nirvana ‘In Utero’ t-shirt are worn. He’s fit for the roll.

Frontman, Joseph Meston, takes up talking duties: “We are called Slate Label, this is the first single off our upcoming EP which is out in February.”

The band play Before We Die. Drummer, Daniel Nellist, swings his sticks with intent – wild and wonderful, hungry. The cowbell gets a tight whack.

“We’ve only played this next one once. It’s called In It for the Ride. “The drummers got his hi-hat hat on as tight playing becomes the name of the game. The song opens up, loosens, right before diving into the chorus. “We’ve got two more songs for you.” Blue Bin Day is up next with a dirty, chunky, fiery riff. Meston achingly screeches us into the last moments of the song.

“We’d like to take a moment to thank Indie. Cheers for coming along. This is called Night Life. We’re gonna be playing a show here sometime next year; keep an eye out.”

The band ride out on a track which works its way down into a heavy, heavy groove. A huge bass tone, like an organ on a mad one, backs the band. Both guitarists – Meston and James Horwood – know when to put some welly into the guitar; they synchronise very well. Horwood gets down in front of the Marshall amp to bring on feedback. Slate Label thank Independent attendees for showing up.

Over to Pop Recs we go.

Chat – Pop Recs – 13:45

Jordan Miller and Beccy Young, also known as Chat, opened the Pop Recs stage at 1:45 pm. They were joined on drums by Conor Roy of Look Terrified, a duo that also performed on the Pop Recs stage at 3 pm. Miller, on his way up to the stage, spoke to himself and to other members of Chat – “H’way then, let’s gan on.”

A mini-disco ball spins above the stage. The industrial aesthetic of Pop Recs sat diametrically opposed to Chat’s synth-infused sounds – it was a blend that went surprisingly well.

Becky, in her red jacket, cow print shirt, purple pants and purple gloves took control of the stage. She’s got that intentional robotic step; that 80s swagger splashed with a hint of an attitude – the perfect understanding of the assignment at hand. Miller, on synth and guitar duties, and Roy, on drums, coolly play.

“Alright marras.” The crowd warmly respond with “wahayyyy”. Jordan gets my vote for best facial hair at Waves. Chat get my vote for best dressed – smart as you like.

“We’re Chat and we’re both working Waves all day.” Miller as Pop Recs sound man and Beccy as Pop Recs gig rep. “We love Graft” says Miller cheekily.

Jordan chats, pun intended, as Beccy takes a sip of water. “This next song’s called ‘Honesty in Devotion’. It sounds a little bit like Kylie Minogue, but it isn’t a Kylie song, its one of ours.”

Young does a bit of shoulder-popping in between singing. Roy keeps things steady. “How does it sound out there. Is it alright?” questions Miller “It’s just I’m doing the sound here today and would like to know.” It sounded and Chat were awesome. My time at Pop Recs with Chat was cut short. House Proud called. Back across Sunderland, back to Independent we go. A swift jog was on the cards.

House Proud – Independent – 14:15

House Proud make their way on stage. The lads pick up their gear and get into their respective positions. Noise rings out as the band sonically fill Independent. House Proud dive sharply into their first track. Bassist, Rory Maclean, and frontman, Ben Martin, meet on the chorus to deliver the agonising refrain of “They never, they never, they never.”

Maclean dons a smart jacket-come-t-shirt-come-jumper type of button-up. The loudest snare of the day goes to drummer Cole Lynch. Feedback worms its way deep into earholes like sonic drills; somewhere in the vague distance tinnitus rubs his wicked hands. James Dryburgh on lead guitar gets in on vocals. The band tend to share and spread vocal duties quite well – it keeps things fresh; there’s a fun sort of vocal interplay to keep up with.

“Cheers for coming down early. It’s gonna be a really long day; not in a bad way. If your partners dragged you down to see us, we apologise.” Warm giggles.

“There’s the boy down there. He’s been queuing since last night.” The crowd chuckles. Two members of the crowd are as close to the band as they can possibly get; only the barrier stops them from becoming the newest members of House Proud. Lynch is certainly working his sweat glands; he’s done the drummers equivalent of a 5K within the first three tracks. He’s got a Dave Grohl demeanour to him – animalistic.

“That was a new composition written by Beethoven and Bach; also known as James and Ben. This is a slow one. Now’s the time to get a drink.” says Martin. Crystalline, twinkly guitar leads the way. Dryburgh wears a ‘Babystep’ t-shirt. It resembles the RCA Victor dog logo, but it’s a baby instead of Nipper the dog.

“We’re gonna play a couple new-new ones now.” Maclean cheekily plays the bass behind what’s being said. All four members foreheads glisten as the heat rises. Lynch takes a quick swig of water and the t-shirt comes off. On one of the “new-new” tracks, the band break off into a highs peed, distortion-swirling breakdown – very dance-punk drums are spread throughout the track. Martin mixes The Cure and Stone Roses in t-shirt/jumper apparel – the signature Roses lemons are on show on his sleeves. “Oh, the weather outside is frightful and inside Indie is warm. I couldn’t make it rhyme.”

The band close out on the one-two of Rescue Dog, the band’s latest single which was released on Serial Bowl Records, and an earlier track of theirs in Dead Eagle. Martin slows things down and goes solo to close the track out – “all the cats go missing on my street, there’s a dead eagle at my feet.” Feedback once again breaches festival-goer’s ears. The guitars are left to blare on and then they cut out abruptly. House Proud receive a hearty applause.

From Independent to the The Bunker, “The Home of Music in The City Since 1982”, we go.

Precious Ink – The Bunker – 15:30

A Precious Ink amp sits at the front of the stage. The crowd fills the Bunker. It becomes pretty tight for space.

Precious Ink consist of two females – Hannah Rose Logan on lead vocals and Bethany Dugdale on bass – and two males – James Critchlow on guitar and Adam Crookes on drums. They start 3 minutes early – they’re eager. The band begin their set. Critchlow, the cheeky-chappy from Waves a few years back, loves it on guitar – he pulls a guitar solo seemingly out of nowhere. “Who hasn’t seen us before” the crowd roars. “That was a low hanging fruit, and it worked. Chatting beans for this gig, anyway here’s Coffee stain’” says Critchlow.

Bassist, Dugdale, has a stern look; a cold-as-ice attitude. Lead singer, Hannah Rose Logan, stands on the amp which we later find out is referred to as the “Box of Doom”. After the song is over she proceeds to state: “I thought I was gonna fall off that.” Elephant-like tones are pulled out of the guitar. “I wrote that last one in a coffee shop.” states Critchlow.

The band perform ‘Picture Perfect’. A bright red fan is pulled out by front woman Hannah to cool down. It almost-but-not-quite matches her dyed hair. “I’m the stage manager here,” says Critchlow “so, unfortunately I’ve gotta play this and then go back to work.”

Precious Ink play Disco Biscuit. It’s very Arctic Monkeys Favourite Worst Nightmare era on the guitar front. “You’s are a beautiful crowd like. I’m blown away.”

The band introduce themselves to the audience. “Apologies for the language. We should have taken a 3pm slot into account.”

Precious Ink dip into their next track. Eyeliner looks like a challenge to play on bass; it demands attention, active concentration. Crookes, who also plays in other local act Divine Image, has that straggly hair of extreme focus – wet strands fall over his face. All band members are feeling the warmth; they all intake large breathes. “Is it as hot for you as it is for us?” says Rose Logan. The crowd nod as if to say ‘indeed’.

“You’re all our friends here. Who’s coming round for tea after?” One cheeky gig-goer nods his head; Critchlow can’t help but notice, and laps it up. Hannah heads into the crowd for Shoot the Messenger. Willing participants echo the chorus of “Shoot the messenger, shoot the F’n messenger” into the microphone that she offers up. They play straight into the next track which turns out to be the final song.

It has an air of Punk to it with its “you know, I know, it’s all BS.” lyrics. Critchlow stands on the Box of Doom, Rose Logan can’t help but look upwards and smile and Dugdale plays the bass upright to emphasize the end of the gig. The band converge around Crookes on the drums to close out.

A quick trip to Greggs to get caffeinated was had.

Celadore – Bunker – 16:45

Featuring Elliott Scott of Post-Rome on drums, Ben Richardson of Independent on bass and Brandon Stewart on guitar with Rach Small AKA Celadore of Sunderland leading the charge, Celadore took the tight-for-space stage of The Bunker.

A few taps of the hi-hats and a couple digs of the bass drum are done to make sure things are all in check – they are. A dreamy, distant soundscape gets the gig underway. As the first song begins there are still gig-goers queuing in the hallway of the Bunker – little space is offered up for anyone to move into.

“Hello Waves Festival” says Small. She bolsters a strong voice – soaring, but controlled. The band whip up and venture through breezey tones. Stewart dives into a guitar solo and a few fret-tricks are pulled out as the spirit of Eddie Van Halen enters the Bunker. Celadore are professional – a class act. Richardson, on bass, can’t help but don a grin as Celadore serve up a Grungey breakdown. The band can get heavy as well as keep things nicely light. There are still lots of people in the hallway of The Bunker.

“Its really warm up here. This song’s called All My Life.”

Multi-coloured lights twirl around The Bunker. Scott’s a menace with the hi-hats. An audience member willingly tightens up, or sets, the ride stand – likely a result of Scott’s fiery playing. “Aww thank you“ is said in response by Small. Stewart often plays with his eyes shut – he’s feeling it. Ben gently nods his head side-to-side; in the heavier moments it’s back-and-forth; his dual-finger technique is simple, but effective.

“Waves is my favourite day of the year.” says Small. I too share similar sentiments. Celadore’s closing track has a very Genesis, Prog-Rock like riff – angular, but loose. “Feel free to have a dance.” The Bunker obliges. Scott and Small point to Richardson as he fills in a lil’ bass groove to bring the song back on track and towards its closing moments. “We’ve been Celadore, you’ve been fabulous. Thank you Waves.” Thank you, Celadore.

Tom A. Smith – Ivy House – 17:15

A rumoured “secret gig” was on the cards at Waves. Matti Ohms – Tom A. Smith – would play The Ivy House at 17:15. The performance had already begun by the time I made it to the Ivy. It was calm in there. A nice mix of bar-talk and crowd intimacy, to begin with. It was just Tom and his guitar. Tom seems to notice the noise levels rising and an effort is made to bring things back to a normal level, to some effect. He gives his performance an extra bit of edge in response. An antler chandelier hangs above the crowd. Electric-orange lights twinkle inside said antler chandelier. A deer skull-and-antlers are on the wall behind Tom.

The crowd are very responsive. They seem to understand that they’re in the presence of a local hero of sorts. The crowds is split in two – gig-people and bar-people. I have found myself somewhere right in between the two. Tom A’s fighting an uphill battle trying to out-sing the talkative Ivy. He has to control himself to some degree; he does indeed have another gig in two hours time – one where the PA system and setting is a bit more suitable.

From the Ivy to Diego’s we go.

Swindled – Diego’s – 18:15

The five-piece of Swindled are suited-and-booted, smart; fit for a wedding. They find themselves at odds with the aesthetic of Diego’s, it’s quite unruly and free-for-all – Punk. Saying that, they would fit in quite well with the 00’s Post-Punk revival scene – Interpol for a point of reference. The band are in the middle of a soundcheck when I enter Diego’s.

Four members have bowties – three are tied, one, the drummer’s, Felix Walls, is loose. The frontman, Johnny Swindle, wears a tie and is in all-black, the rest of the band are in white. Johnny has a wondering gaze beneath his long fringe. He uses the mic as a prop in his performance; he kind of dances with it in his own way. Someone’s got Windows projected behind the band and are searching for the band’s name to display. ‘The Ilfords’ pops up – they settle on Waves footage from 2023.

It’s quite a tight stage, but no members are fighting for space. They’re a solid unit; they work together. Bassist, Hall, is getting his. His mullet must give him secret, groovy powers – or he’s just talented. Johnny says “guitar solo” and looks off nonchalantly, unbothered as the guitarist does indeed rip out a solo.

“This next song’s going to be our next single, done with Lottie Willie – who’s also from Sunderland.” Hall pumps his fist; he believes in it. It’s a naughty tune – quite crude, but ultimately hilarious. Guitarist, Will Swindle, mimes along to every word; Alex Winn stays cool and composed; Johnny Swindle poses every now and then, as if pondering.

The aesthetic of ply-wood and rough-and-rugged artwork is working in Swindled’s favour. “This one’s for all the sexy brothers in the crowd.” A lumpy bass groove is belted out. People are moving, grooving. Swindled perform an ABBA cover – Does Your Mother Know. A few gig-goers at the front of the crowd know every word.

“I wanna see everyone get down.” The crowd proceed to get as close to the floor as manageable. “If you’re over 60, don’t put your back out.” says Johnny. The drummers tie sways as he plays. “Thanks for coming to see us. Shoutout to Isabel Gray.”

‘Swindleeeeed’ chants ring out.

A very Midwest-Emo riff opens the last song Along the River; it’s very reminiscent of nature, as if it’s reaching out for something. Walls pulls out the big (soft-headed, furry) drum sticks. Will Swindle gets into the crowd for a solo as Johnny Swindle stares into the distance existentially. Swindled close out their set.

Outside the Fire Station before Tom A. Smith – 19:00

Klang: experimental-music-come-DJ-set out of a pizza van, the ‘Klangwagen’. There was a nice, warm atmosphere – even on a fairly chilly November night. Furnaces burnt to offer warmth to those standing outside. Tracks from Boards of Canada’s Music Has the Right to Children play out, as well as some spacious, throbbing, soundscape-y type material in between sets.

Tom A Smith – Fire Station – 19:45

Tom A. Smith, this time with a backing band and proper system to support a performance, takes to The Fire Station stage, after his band mates. He’s fired up. An animal instinct exists within him; control it and you go far; fail to control it and you’re worse for wear. The venue begins to fill as the crowd grows backwards towards the entrance in which the people came.

Tom works much better given the space for an energetic performance – he’s an act of high energy. The opening track comes to a close.

“Sunderland, how’re we doing? It’s good to be back.”

Lead guitarist, Dylan Abbott, hands his guitar to Tom. “He’s guitar tech and also playing the gig. Here we go.” says Tom A. “I’ve had a couple month away and literally wrote two albums worth of songs.”

Stars line Tom’s jumper from neck to wrist. The band dip into a new track called Beautiful Wear – at least that’s what I heard it being called. The track features a chorus of: “I notice you’ve changed the way you feel about it”.

Tom chats about an upcoming Christmas single and merch which is on sale after the gig – he jokes that the shirts feature Christmas trees which resemble car fresheners. Tom describes the next track as “Modern Mackem Punk”. He places his guitar on top of his own speaker as he gallivants around the stage.

“Are we up for a sing song Waves Festival? Can you say ‘man overboard’?” A couple of gig-goers shout ‘Man overboard!’ Tom replies “just like that, gentlemen.” The band perform Smith’s ‘Man Overboard’ track. Tom meets bassist, Katie Anderson, on her side of the stage. They spend some time in each other’s personal space.

“This next one’s my latest single.” I Don’t Want You To Have To Remember Me For Longer Than You Ever Knew Me – short and sweet title – is performed.

“We’ve got one more song left. We’ve got Miles Kane coming up.” Tom introduces the band and invites an extra member to join them on stage. They see out the set as a five-piece with Never Good Enough. Tom pulls the crowd together for the chorus of “I try so hard, it’s never good enough”; they hold their own in singing back the chorus many times over. You can tell Tom feeds off of reciprocated energy.

He walks off stage to a rapturous applause – all earned.

Miles Kane – Fire Sta – 21:40

Waves 2024 was headlined by Miles Kane at The Fire Station. Said headline slot was part of Kane’s ‘One Man Band’ tour and his only date in the North East on said tour.

An elevated drumkit, elevated by a platform, and leopard print ‘Orange’ amps sit on stage. David Bowie’s ‘Rock n’ Roll Suicide’ amongst many others play before Kane takes to stage. The dancefloor, foot-space of The Fire Station begins to fill, the seats surrounding said dancefloor are full long before.

Kane dons a dyed-white-stripe in his hair; a brown Gibson is in hands; a leather jacket and neckerchief is the apparel of choice. As far as I can tell, it’s just Kane and his drummer, Jenny Walinetski, on stage. Kane’s nasally voice makes itself known on opening track Rearrange. A certain son of Liam Gallagher influence, a few pages were taken from the book of Oasis.

The show is stopped as the second song is interrupted by Kane: “Lads. Come on. I want to have it but not be fighting each other.“ A brief break and we’re back into it with One Man Band. A second microphone, to the right of Kane, is used for strange vocal effects – like a general sending his men off to war. The neckerchief comes off.

A quick “thank you very much” is said and we’re into the next track. Kane wipes his face down with a towel – a sign that things have gotten rather warm. His leather jacket is unzipped, but still on. A rendition of The best Is Yet to Come is performed. The sound in the Fire Station is excellent, precise, well-rounded.

The leather jacket comes off and an acoustic guitar comes out. The pace of the set slows down. More mellow and less “havin’ it”. Kane opens up the floor: “Sunderland, I was feeling like you were enjoying the acoustic tunes. Are there any you’d like to hear?” A classic in The Last Shadow Puppets’ Standing Next To Me is pulled out, to popular affect.

The acoustic guitar is put back and we return to the electric tunes. Kane looks at his drummer from across the stage as if to say ‘what a gig’. The gig closes in on it’s final moments with ‘Don’t Forget Who You Are’ and the Sabbathesque riff of Inhaler.

“Thank you, Sunderland. It’s been far too long.” The crowd love it; they soak it up, soak it in. The Rocky theme tune is used as something of an exit song as people make their way out of the venue. Before heading off into Saturday night, a post-gig-jig could be had as electronic tracks of industrial skew were being assembled together at the Klangwagen outside the Fire Station entrance – many let somewhat loose.

Year-after-year Waves proves why it’s one of the best music festivals in the North East and you wouldn’t be wrong to say further afield too. It’s home to that gritty DIY spirit and is held up, bound together, by an essential community ethos.

One thing is for sure: Sunderland is a music city.Did you attend Waves? Let us know who you got the chance to see @SparkSunderland