Hope And Glory Festival Liverpool

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Hope and Glory Festival have just issued this statement HERE .  It appears they have named and blamed everybody else in the world, ever. They also seem more concerned about riders and sandwiches going missing?  Doubtless, they have documentation to back all this up.

So here’s our experience –

It’s one thing to have a Victorian themed festival, quite another to attempt to replicate the era by having an unreliable electricity supply, queues for food, a short supply of sanitation, no drinking water and even reports of pick pockets. The Hope And Glory festival came to Liverpool with big promises and generally failed to deliver on so many levels.  Unfortunately, from the get go it quickly descended into a shambles. There are those who may not have approved of the lineup, but not sharing the same taste doesn’t mean festival goers deserve some sort of karmic payback. Paying punters really should have been provided with a much better experience than the Craggy Island Funland impression the festival gave. It could have been so much better if handled correctly.

We’re not in the business of slagging off events or promoters but when you take punters money you have a responsibility. People appreciate that things can go wrong and are willing to give the benefit of the doubt. Sh*t happens. All festivals have their challenges. They are logistically difficult and it’s imperative you have an experienced team in place and a Plan B. It’s also how you react when things go wrong that can make a huge difference. Hope and Glory’s initial response via social media has been unbelievable, arguing with and insulting your headliner! Petulant come backs on twitter and facebook to quite rightly angry customers and a refusal to apologise, which only adds fuel to the fire. Blame everybody else seems to be the default position.

Upon arrival any reservations about the suitability of the site were quickly confirmed and entering the main “arena” a sloping street with cobblestones, it felt claustrophobic and potentially dangerous given there were still huge queues outside. In fact reflecting back, it’s amazing that the Council actually green lighted this event. An event in a culturally iconic historical place in the heart of the city, one that local promoters rarely get access to. There were no clearly marked emergency exits, people seemed to be easily ‘bunking in’ and the bottlenecks between stages looked like an accident waiting to happen.

Easy access to bunk in

The Pigeon Detectives apologised for the delays and made a comment that it seemed people at this festival didn’t know how to strap down a speaker stack safely. Not something you want to hear when you’re standing under one in the photo pit. Badly Drawn Boy had to resort to playing his set on the keyboard as his guitar cut out. Embrace who were  3 hours late due to everything running over took an age to start and had to go off again as the microphone wasn’t working … basics! Charlotte Church was dropped completely and resorted to going on to twitter to find a ‘guerilla gig’

If it wasn’t for the professionalism of the bands at Hope And Glory who all did their level best in very challenging circumstances, to at least salvage something for the audience then things could have been much worse. James proved once more they are a fabulous live band, The Sex Pissed Dolls were great fun (that drum solo!!) for any festival crowd, with the addition of a guest appearance by Tony Christie who probably wished he did know the way to Amarillo. Lucy Spraggan gave another spirited performance on the grandly named The Ages Of Wonder Stage. Which perhaps should have been renamed The Wonder Of Waiting For Ages Stage.

So the lesson is perhaps for Liverpool Council to listen to the local promoters a little more closely, people who know the scene, who regularly put on big events in the city and do it without such arrant fuckwittery. Yet they often still feel they have to go to LCC cap in hand to get assistance. And perhaps the Council should learn to use the name search facility on Google.

*UPDATE 10/08/17

There seems to be some misconceptions and dissembling in some areas as to how the Hope And Glory Festival came to be and issues around the capacity.  We’re still waiting for Liverpool Council to investigate and what their role in this was. (Hey Angie where are Lee’s rolls ? Doubtless, it will be ‘robust’, ‘wide ranging’  and conclude that ‘lessons have been learnt.’

Here’s some more info –

The Hope And Glory festival was originally going to be a festival with a completely different name headlined by Echo And The Bunnymen in the same area with a maximum 5k capacity. Which sounds about right given the space available.  However, when Lee O’Hanlen came on board a bigger capacity was suggested. The financial arrangements and a Victorian theme replete with fire eaters, jugglers (and quite possibly break dancing elephant men)  gave the Bunnymen’s team pause for thought. To be honest we’re surprised Hope and Glory didn’t suggest the Bunnymen bring on the actual dancing horses as a part of the contract such was the fantastical vision. At this point, The Bunnymen wisely withdrew leaving O’Hanlon to plough on with his unnamed named backers to fashion this most spectacular of debacles. It then became known as the legendary, vaguely Brexity, Empire humping sounding Hope And Glory festival which as we know turned out to be a festival with no backline, limited access to changing rooms, patchy sound and power supply, and bands having to get their own riders but more importantly a festival that could have led to serious injury or worse.

The capacity mentioned by Lee O Hanlon / Hope and Glory festival of 15,000 on the radio and social media was for the WHOLE site including the plateau at the front of St Georges Hall, which was used for logistics and thus not accessible to festival goers. It also did not take into account the fact that stages, bars, sound desk, toilets, backstage, loading areas and media facilities were needed. This would obviously reduce that capacity considerably.

It will be interesting to see whether customers will get full refunds from Eventbrite the biggest ticketing agency involved. According to posts and screen caps on social media, they have apparently told disgruntled customers that before they can refund the public, H&G need to release the funds.

I imagine Liverpool Council and Bradford Council will be following this tale with interest. For very different reasons Wink

 

Danny Mc Namara – Embrace

Nancy Doll – The Sex Pissed Dolls

The Pigeon Detectives

Kitty Vacant, Jilly Idol – The Sex Pissed Dolls

Jilly Idol – The Sex Pissed Dolls

Lucy Spraggan

James Walsh – Starsailor

Stilt Walker

Johnny Borrell – Razorlight

Fashion Blogger Stephi LaReine

Tim Booth – James

Chris Helm (Seahorses)

A rare sighting – Charlotte Church actually on a stage at H&G festival in conversation with Simon Price

Badly Drawn Boy

Nancy Doll – The Sex Pissed Dolls

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Andy Von Pip

ANDY VON PIP - Founder, editor, writer, reviewer, photographer and all-round good guy at the VPME.com. House photographer for The Academy Music Group, Zuma Press, Event Magazine and Rex Features worldwide. You can check out his photography at Andy Von Pip Photography Has been new music tipster on BBC6 Music, Amazing Radio, and DJ on Strangeways Radio (USA.) Can currently be heard on IWFM Radio. His radio work has been described as sounding like Ian McCulloch on ketamine fused with Ringo Starr. New music tipster on Amazing Radio, moderator for BBC 6 Music DJ Tom Robinson's Fresh on the Net, former member of "BBC's Sound Of" panel. Written and photographic work has appeared in The Quietus, Music Week, Record Of The Day, The Guardian, GIITV, The Sabotage Times, Bido Lito, The Skinny, Louder Than War. Media partner and curator for Liverpool Sound City.

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