Brighten The Corners Ipswich - June 2023

BRIGHTEN THE CORNERS – IPSWICH 9TH & 10TH JUNE 2023

Words and Pictures by Chris Perry 14 June 2023

This article was first published on Grapevone LIve! June 2023

Waking to find a heavy sun beating down on the ancient city, warmth in the air at last, I hauled my old limbs into the shower, steeling myself for a long day. I was to be travelling south to trudge around the old port of Ipswich trying to make sense of Brighten the Corners.

This multi-venue festival, has a name that misleads aurally, (Brighten, or Brighton?). It has artists listed appearing at six venues, plus talks at a seventh. It attracts musicians from as far distant as Los Angeles, CA. The whole event brings together the resources of the local university, the post- 16 college, BBC Suffolk and venues, of vastly different styles and a range of capacities. My initial impression was that this is an ambitious event, offering stages for over forty bands and acts, several of them possibly only known to each other.

But festival-goers are not necessarily seeking out established acts. Meaningful talk is often about discovering new bands and meeting new people. Festival-goers are musically-curious people, people with plenty of music-love to share and open to being musically-seduced into long-term musical-romance, or even up for a musical-quickie in a dark room, or perhaps a flirty musical-kiss-me-quick in passing.

Before that analogy gets out of hand, I’ll start in the middle, The Cornhill. That high sun was absolutely battering the streets and zeroing in on the Cornhill square, where a loosely assembled, temporary arena had been set up. Cornhill is the hub of Ipswich’s shopping area.

A large performance stage to the west of the square, a mobile Adnam’s bar to the east and a choice of two hot food stalls at the sides, offered ample choice of sustenance and beverage and there were plenty of people out and about in the town on such a nice day, Lowestoft’s seaside not being the distraction it once was.

The Gabby Rivers Band | Image © Chris Perry

Seating in the arena was limited. More of the long temporary benches, or a few more deckchairs, would have been welcome given the heat, but that left plenty of space for dancing and to move around. Thankfully the artists were well protected from the sun’s glare in the shell of the stage. It was the kind of summer day that falling asleep in a deckchair would likely result in a visit to A&E. Blistering doesn’t begin to describe the intensity of heat that early afternoon. So, who better than Gabby Rivers and her band to boot everyone out of a summer torpor?

Increasingly well-known around Suffolk’s music scene, Gabby Rivers has an irrepressible personality, which resounds throughout her set. She delivers a high energy performance, using much of the stage to express herself as she sings and plays guitar. Rivers engages naturally with her audience. She is welcoming and grateful for their attendance, but totally gets that her job is to entertain. And she does!

The content of her songs cover varied territory. For example, arguments between partners (Boredom Rows), how expensive it is to just live (Moneymaker), the dubious nature of working in retail (Two Face). Each song has an upbeat tempo, a decent melody and a catchy chorus. Gabby Rivers has a strong voice and her lyrics come over clear as a bell. I feel she could easily (and successfully) turn her hand to folk, or country, well as she performs the rocky stuff she revels in.

Her band this afternoon, comprises Nik Booty on drums, Pedro Danger(guesting on rhythm guitar), Stan Horseman on bass (and stepping in with a rap vocal as a stand-in for an absent friend) and lead guitarist, Jan Ashwell. They did a great job, each ably demonstrating their talents during the set. It looked like playing in the Gabby Rivers Band is a lot fun.

As the set progressed, shoppers and families ambled into the arena and quickly picked up on the tunes. The chorus lines, simple and easy to follow, proved very popular. The applause from the crowd was enthusiastic. They had enjoyed the music and discovered a new act in the process.

The Cornhill stage underlined the importance of free street music. Such public platforms for young artists are an important way to share their music. Where else can new musicians cut through to all ages of the population, other than busking? It was great to see. As the day turned to evening, it looked as if the Cornhill was devoted to younger, local musicians. This would clearly be a big day for those making a public debut. Great experience for them and fun for their mates and the local populace. Who knows which of these tyros will have to turn to their parents one day and say, “THIS is a PROPER JOB!” Brighten the Corners certainly ticked a few boxes for organising these youth opportunities.

I set off in search of a wide-brimmed hat to protect myself from the sunny southern weather. A little later, after some decent fish and chips, I fell in with a motley collection of individuals from London, experienced festival goers to a man. They had a plan! I have heard that is the only way to deal with such a variety of acts. I looked up ‘plan’ online. We made our way to the Smokehouse in order to catch Butch Kassidy. I can tell you there was no space for a hat in there. A wall of sweaty heat and a barrage of sound in a low-ceiling room that was rammed to the architraves. WTF! This was heavy.

Butch Kassidy at The Smokehouse | Image © Chris Perry

It was pitch black in there too, so the lighting effects had double impact on sun-drenched retinas. I have to say it was numbing. I could just make out what was happening on stage. The two miniature TV screens to each side of the stage relayed what was happening in this uncomfortably snug venue, which was a credit to the popularity of Butch and his band. Serious stuff, reminiscent of the output of Godspeed You! Black Emperor when they go deep.

Yes, I do listen to that kind of stuff at home, but I can choose how loud I want it and when I want to listen to it. Mid-afternoon, on a sunny Saturday, in a crowded cell, just wasn’t right. However, this is no disrespect to the band, they were damn good at what they do. They had drawn a capacity crowd, who were totally absorbed. I will follow Butch Kassidy with interest. I feel there is room in my life for a musical-dalliance with these guys.

After most of my companions stumbled out of The Smokehouse into the light, we made our way to The Baths. Rod told us that Led Zeppelin had once played there, so for that alone, we trooped along the dusty street, back towards town.

Moreish Icons at The Baths | Image © Chris Perry

We arrived to hear the start of the Moreish Idols set. Indie guitars with keyboard effects, a saxophone on some tunes, a flute on others. The musicality of added woodwind and reed to the standard guitar sound was an interesting twist and decidedly moreish. Nice work.

On the way out of The Baths, I stumbled across regular Grapevine contributor Hayley Clapperton who was working as one of the many volunteers that oil the works of this festival.

Typically, the volunteers were enthusiastic, keen to help and worked efficiently in their appointed roles. Charlie, one of the volunteers at St Stephen’s was another whose name I got to know, but any of the team who I had the pleasure of interacting with, did a great job, from security to hospitality. They all played a big part in making this an enjoyable event.

Now firmly bonded with my new friends (and after a refreshing visit to a cocktail bar, The Botanist), we turned into the impressive auditorium of The Corn Exchange.

We had come to catch Triptides and their retro-California, peak-hippy sounds. They were cool. You could hear the sunshine in their music. Perfect for a summer afternoon, but perhaps better outside with a gentle on-shore breeze. The Corn Exchange is a big venue and was not half-full. It felt as if the high ceiling produced a lot of reverb. Does the venue need to invest in the sound dampening discs hung from that impressive ceiling, as per The RAH, to improve sound quality? Triptides put on a great set. Funnily enough, the song Latitudes (now there’s a big festival) was perfection. I enjoyed the feel of this band and like the Cosmic Rough Riders at the turn of the century, Triptides capture what we all believe late-1960s California probably sounded like with, or without, the psychotropics.

Triptides at The Corn Exchange | Image © Chris Perry

Later, The Corn Exchange was where the headliners, The Go! Team went on to smash a closing set for the venue. People in Norwich the next night were still raving about The Go! Team’s Saturday show in Ipswich. Music, the great unifier. It was a pity I could not make it back to for The Go! Team, but by then the momentum had carried me to the impressive St Stephen’s church.

It was here that I had one of those special festival moments – a personal musical discovery.

Joshua Idehen was performing his last show of a UK tour. This was a bit special and with the strikingly backing of Ludvig Parment, Idehen is freed to focus on the drama and exuberance of performance, while the sophisticated, atmospheric electronica backfill with exotic acoustics.

Joshua Idehen, is making waves. His poetry known to those acquainted with The Poetry Society, contemporary spoken-word performance poets and the album Your Queen Is A Reptile, released by Sons of Kemet.

Oh, the irony of Idehen performing in an old church. The man performs with such power in his poetry. He is a Fire and Brimstone performer. What he believes in, what he writes about Love and Hope and Kindness and Humanity are emphasised passionately, but with due regard for his congregation. The congregation can feel the Love, are lifted by his Hope, love the Humanity of his words. If he worked from a US TV-pulpit with a DIAL 800-SendLoveand$ he could be living in a palace for the rest of his life. Luckily for us, Joshua Idehen was live in Ipswich delivering a majestic show. With the modest Ludvig Parment, these two guys made a great combination of talents. Look up the 2023 mixtape Learn to Swim on any of the major online music distributors. There is a hardcopy LP / CD hoped for in the near future.

Idehen is looking at getting together with community choirs and expanding his show. From what was shown on Saturday night, this concept would work beautifully. If anyone asks me about Joshua Idehen, I will just say, “I believe!”

With people clinging to the cool stones of St Stephens to get some respite from the heat, it was time for Karma Sheen.

This band had been getting to as many sets around the festival as possible. They love music, dress like rock stars and enjoyed many conversations with people around the town, often opening with “Are you guys in a band?” Take a look at the pic... “Are you guys in a band!!” C’mon Ipswich, WAKEY! WAKEY!

Karma Sheen and two fans | Image © Chris Perry

I have seen these guys perform a few times in the last year and their audiences love them. The blend of Hindustani Classical music and blues rock is truly exciting. This Raag & Roll is the sound of 21st Century Britain. The cultures of different times and places are transformed by the Karma Sheen musical blender to produce something special.

This is music for listening, for grooving, for dancing, for making love. You are not going to be distracted by the meaning of lyrics, because the voice of Sameer Khan is one of the instruments. Like his sonorous bansuri pipe, or the vintage Harmonium, made more than half a century ago in Kolkata, Khan produces notes in Urdu, not Urdu lyrics. There is no meaning to muse over here, these vocal emanations are essentially music.

Some of the numbers start with Rodrigo Bourganos teasing out the best of his sitar, others fire up from the off with driving rock initiated by Noah Dayan on drums and Grigory on bass. The development of each song demands attention. The gear changes (I mean the tunes, not the threads), are dramatic and thrilling.

Amad Chima is a key man. He contributes so much with his mastery of the guitar, the rock power-chords, the funky rhythms. Each of the band members brings something unique to the show. The throbbing bass of Grigory is given the space to get everyone bouncing around the floor too.

The close of each number was greeted with the ecstatic roars of the audience.

At the end of the set, the buzz Karma Sheen had created was incredible. The audience had become a crowd of happy people, their animated chattering vibrated around the old church nave. What a touring showJoshua Idehen opening with Karma Sheen to close would be!

I felt that I had been blessed to be in that place at that time. What a great evening.

So, thank you to the people behind Brighten The Corners, the professional technicians, the volunteers the sponsors and organisers. It was a huge collaborative effort. I hope that numbers stacked up and made it financially viable. As a one-day taste of the festival, it worked for me.