Biggles - review by : HJP

Glastonbury Festival 1999

Friday 25th to Sunday 27th June 1999
Worthy Farm, Pilton, nr Glastonbury, Somerset, England
£83

Croissant-Neuf Stage, Sunday 27th June

"If you've never seen us before" asks frontman Joc " How do you know it's us then?"

Huge applause from the growing army of Biggles fans.
These new converts swelled the ranks during the previous two days of the bands phenomenal debut at Glastonbury. We all arrived that evening hungry for the crazy, surreal yet curiously comforting experience that is Biggles. Born out of expert showmanship and serious musical talent with a generous dash of audience participation Biggles provide more than 100% entertainment, leaving fans feeling that they belong to a special club, a cult, almost a religion- more of that later!

So Joc arrives at the door, with a fanfare from his garden hose and funnel. Dressed in his cowboy outfit (for want of a better description), he is followed by a huge bearded, kilt wearing, wild looking creature, crashing together a pair of cymbals. What a way to attract attention!

On mounting the stage the band smoothly broke into the jug band classic, Salty Dog, immediately followed by their own distinctive version of the Bonzo Dog favourite, Jollity Farm. This was the audiences first chance to join in, and they didn't need any persuasion - Biggles had them hooked from the start.

The band then proved that they are more than just a jug band. Turkey in the Doobreys is a fine fiddle tune, followed by San Fransisco Bay Blues. An up-dated version of the laughing Policeman, based on that classic fairytale about the West Midlands Regional Crime Squad showcased the collective writing talent of the band. We were then treated to a truly amazing example of Cajun music, Cajun Mumbles. This Cajun tune, based loosely on an old standard, features Father Green (known in French speaking Cajun country as Pere Verte) on the washboard. It is a true delight to the ear and the soul when you realise that while playing superbly these guys are also unashamedly taking the piss!

Aunty May, a self penned punk song had us all joining in again. Biggles version of Jilted John, sung in finger-in-the-ear folk style caused quite a reaction and is one of my personal favourites. Midnight Special then followed and the old blues number, Highway 61, showing the bands talent for interpretation once again - this was copied from an old 78, complete with visual and musical needle sticking!

Wimpey Bar Lil, another original, in country style has some seriously funny lyrics. By this stage in the show the crowd are completely hooked and can't believe it can get any better. Then comes the Biggles classic Then She Kicked Me, sung by Joc in surreal falsetto. Delilah, with words provided for the eager audience was followed by Glue Sniffin, with a hilarious sniffng chorus.

King of the swingers was followed by Are you Lonesome Tonight, converted from 3/4 to 4/4 time, completing the set in the mad Biggles style that won them hundreds of new friends. Mama Don't Allow, the encore, proved that the band keep pushing the boundaries of sanity to the very end. Surely this was the only example of Line Dancing at Glastonbury, in true Biggles style and impossible to describe in polite language! This introduced us to the amazing Joc on vocals, Phil in sparkly suit and top hat, playing one man band and Pere Verte, the priest, playing washboard and other bangs and horns. Steve on the fiddle, looking completely at home in Glastonbury and lederhosen- clad Jake on the sousaphone were surrounded by Big Graham with his kilt and banjo.