fter your tent has been pitched (or you’ve checked in at Ripley Premier Inn, if you’re not one for roughing it in a bunting decked tent), you’ve taken the balmy walk to the Midlands Railway Centre and checked out the site for Indietracks, you always know you’re going to have a great couple of days. There’s just something really special about this little weekend; it’s one of the UK’s most reasonably priced festivals, hands down the best for all ages and more importantly is probably the most well located — on the site of heritage railway heaven with museums and train rides, not to mention the craft workshops, a tent full of vintage, handmade and musical goodies to peruse and genuinely tasty festival food at reasonable prices. And the line-up, well what a feast this year…

Friday night was a low-key affair on the line up. As everyone got acquainted with the location, things kicked off with Indietracks stalwarts Pocketbooks. Since headlining the first festival in 2007 they’ve been key players in the UK indiepop scene. Belle and Sebastian-style jingle jangle at its most heartfelt.

Next band Jonny are comprised of ex-Teenage Fanclub Norman Blake and Euros Childs previously of Gorky’s Zygotic Mynci. With an album released earlier this year they showcased their highlights, proving themselves to be whimsical and experimental at the same time — I sensed a hint of country in the mix as well. All good stuff. Swedish band Suburban Kids with Biblical Names set off the rest of the weekend nicely with their jaunty infectious pop despite a few sound hiccups along the way. With Edwyn Collins-esque husky vocals and a small nod to Jens Lekman on their slower numbers they are undeniably cheery, especially during tracks Parakit and 1999.

Suburban Kids With Biblical Names, Indietracks, 2011

The lack of bands on the first night is almost certainly made up for by the first night excitement at the festival and campsite discos. This year being no exception, a shout out in particular to Team Unpop (http://www.facebook.com/unpopdanceparty). Hailing from Edinburgh they brought more than just their finest indiepop tunes and a cult following, there were also balloons, lollipops, zines and painstakingly prepared mixtapes. Yes, mixTAPES. Only at Indietracks, kids.

A raucous night of dancing did not stop the surge of excitement on Saturday for the Moustache of Insanity gig in the church, so popular that people were watching through the windows. Despite their slightly cringeworthy moniker, they are undeniably exciting for their exciting DIY guitar thrashing and irrepressible softer side. Think Flight of the Conchords, but you know, less of a shambles. Check out their live performance of We Need More Awesome in the merch tent for an example. Their new album comes out on the 22nd, give it a go.

The lead singer of The Firework’s booming voice wasn’t particularly suited to the Indoor Stage but nevertheless there was a huge crowd watching their energetic set with his subdued shoegazey and at times self-deprecating lyrics, which on the whole were well-received.

In stark comparison, Clara the lead singer of mid-afternoon band Just Handshakes (We’re British) couldn’t be more opposite, sickly sweet in just the right measure. However the bassist’s awkward crowd banter cannot disguise the fact that beyond singing so nicely in their songs, she doesn’t say too much. A shame in some ways, because beyond that their set at Indietracks was flawless. Her mute unless singing habits are a bit bizarre and ultimately, not very personable in the world of indiepop, unless she’s really shy when she’s not singing — in which I retract that statement immediately. Besides, her vocals more than make up for it most of the time, they flowed sweetly through the set, sweeping through sombre but twee Brakes and single Falling Over Our Fear in a steady fashion. Indietracks can be like sorting the wheat from the chaff and Leeds-based JHWB are certainly the former, lyrically I can’t fault them, they’re utterly adorable yet intelligent with a band name to match. Plus, their set brought the sun out to the extreme and there it stayed for the rest of the weekend. Worth mentioning are the pop punk chimes of the Sock Puppets, and Help Stamp Out Loneliness –- shoegaze pop at its best.

The History Of Apple Pie – Indietracks, 2011

Saturday night took a turn for the dramatic as, after waiting a super long time for The Hidden Cameras, we were told that a power cut meant that their set moved indoors after headliner Edwyn Collins. That didn’t stop them from deciding to play an impromptu mini acoustic set, showcasing some of their softer tunes (including A Miracle, tantalisingly beautiful when unplugged) in what was a strangely intimate session on the mainstage, with a real calming effect on the already sedated Indietracks crowd, chilling. Regardless of the powercut this turned out to be one of the weekend’s highlights — who needs electric anyway! This was followed immediately by an energy-fueled set by the popular Milky Wimpshake who warmed the indoor stage up nicely for… Edwyn Collins!

Edwyn Collins is something of a legend, with Orange Juice being a staple in every decent indiepop club night setlist and the quintessential 90′s hit Girl Like You under his belt — let alone his personal battle after suffering a brain haemorrhage in 2005. His pragmatic approach to his recovery and re-learning all his old songs as well as finally releasing the album he had been working on, Home Again and his latest album Losing Sleep. Somewhat of a coup for Indietracks then, having indie royalty itself grace the indoor stage. His set was mostly comprised of solo hits, including Losing Sleep itself, all performed with vigour and confidence as he often chooses to introduce each track in a princely manner. We were treated to a gloriously fastpaced Falling and Laughing (it truly amazes me that this is Orange Juice’s first single yet it is completely timeless), and the truly epic Rip it Up was also bellowed out to the crowds glee. All the hits were delivered by the Collins on top form, with that trademark cheeky glint in his eye. Ever the crowd pleaser he also gives us Girl Like You. Fantastic!

Edwyn Collins – Indietracks, 2011

The Hidden Cameras are self-proclaimed as “gay folk church music”, a description oft-used in reviews for it pretty much encapsulates them to a tee. Their back catalogue ranges from quiet, possibly melancholic falsetto to something altogether more Architecture in Helsinki at their simplest, and poppiest. It is an interesting set, but as lead singer Joel Gibb said, “It’s hard to follow Edwyn Collins, but we’re gonna try” after being accidentally promoted to headliner after a bit of main stage drama. Also in my mind, and possibly the minds of other Indiekids, is how can they follow the unique cluster of songs they performed earlier? Well, with synchronising dancing on stage, it seems, and performing a song blindfolded — yes every band member whipped out a red blindfold, not that you’d know it from the sheer deftness with which they perform. Not even that seemed to impress the audience as much as it should, and not everyone was up for their participatory efforts with the crowd. While some bands didn’t work well in here The Hidden Cameras sounded fantastic, as if they were a full orchestra — especially during their rocked up version of Boy from their subtle but totally gorgeous strings-heavy album Mississauga Goddam. Lush!

Sunday was punctuated by highlights such discovering the previously not heard of Oxo Foxo. In theory it sounds really awesome, going on a train ride for a performance, but it can be a bit hit and miss and then you realise the band isn’t up to much and you’re trapped on a boiling hot train for about half an hour. Not the case here. Lets hope there is a release soon, but until then I suppose it’s a case of keeping an eye on the blog for new tracks (http://oxofoxo.wordpress.com/) I’m a fool for a loop pedal, you can’t fail to seduce me.

The Hidden Cameras – Indietracks, 2011

Ace Bushy Striptease’s feisty pop punk created an excitable atmosphere in the indoor stage, and I cannot fail to mention the darling Haiku Salut (formerly of The Deirdres), with songs like Secret Forever sounding like a better soundtrack for Amelie if it could be possible. Perfectly suited to the Church Stage, they were nothing but delightful and made me want to go out and get their How We Got Along After The Yarn Bomb EP right away. As the set ended and you exited the church you could hear Japanese band Sloppy Joe covering Aztec Camera and in a dazzling fashion, while they could be accused of being too Smiths influenced as a rule I felt they pulled it off well.

Jeffrey Lewis is a total creative genius and its quite frankly a crime that he isn’t better known in the UK for his music. That being said I am not convinced the long, lofty indoor stage of a train shed is the best venue to appreciate his incredibly witty, omniscient lyrics. He’d be better suited to a dark intimate (read: dingy, cramped) venue such as Oxford Cellar where he played the following Wednesday -– in a way his lack of widespread popularity suits this. Nevertheless he was chatty and upbeat despite his busy tour, plying the crowd with compliments in his own irrepressible manner. My personal highlights were the fantastic Systematic Death -– a kind of protest song with its chorus of “System! System! System!” repeated loud and clear for full impact. Also his rendition of the wonderful Offer Time a Trade, with its lovely advice to “pick some things that you can nicer at” so that when you’re older, you have these skills. His set was interspersed with rocky tracks like the cover of Tom Petty’s classic feel good song Runnin’ Down a Dream alongside much quieter wordy numbers like his own Mosquito Rap. Lewis is known for his organic lyrical style, which ambles along discretely with the odd wow moment when you realize how he can totally encapsulate life in a nutshell. A somewhat abbreviated set, I felt. Perhaps simply because he left me wanting more.

Jeffrey Lewis & The Junkyard – Indietracks, 2011

The weekend ended with a grand perfomance by the arguably obscure Herman Dune back on the main stage — power on with a vengeance! Mr Dune himself gave us a set in keeping with the atmospheric cooling temperature as the sun set on the last night, all while decked out in a rather stylish hat. The sweet natured tone of his lyrics were perfect on Tell Me Something I Don’t Know and the romantic Ah Hears Strange Moosic from their recent album of (almost) the same name. A real treat in particular was the band being joined by Jeff and Jack Lewis for a couple of tracks, including a cover of Sonic Youth’s Dirty Boots. Visually opposites, the two struck an interesting sight, but the raucous nature of the song brought them together for a really exciting performance. Pretty damn cool is a real understatement. All in all a gentle, delectable finish to a whirlwind of twee tunes!

I know that, if you have got this far without giving up and you’re still reading this you were either there or you’re dead jealous and wish you’d gone. Well, if you didn’t go, do go next year. Indietracks would love to have you. Until then there is a mix available at the price you wish to name, available here. http://makedoandmendrecords.bandcamp.com/

Crystal Stilts – Indietracks, 2011

All photos by Mathew Parri Thomas

Math & Physics Club – Indietracks, 2011