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Or an EPO? This has come up a couple of times and would it? Like, you can mug someone going back to their car for their ticket, band and passout right now but I've never heard of that happening even once. I know you might not get back in if the photo is too different. I dunno, we went to Disney earlier in the year and the system there is pretty good - you scan your ticket (or e-ticket, or magic band) and then put your finger on a fingerprint reader. First time it stores the print against the e-ticket, every other access it checks you're the same person. Don't even have to tap out as it doesn't matter how many times you go in as only your print is authorised. I know there's a fear from the festival of using any system where an IT outage could cause problems, but there's a point at which you just have to jump in and accept that.
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A few more names are missing. Time to seriously start studying and planning. Thanks @kilero
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I’d still expect singers who are putting on a big performance with lots of energetic choreography etc to sing live most of the time, but with support from backing singers and sometimes a backing track. Usually the backing track seems to come in more in choruses where the song tends to become multilayered anyway with more harmonies etc. and that seems fair use of the technology to me. I enjoyed confidence man but their blatant heavy reliance on backing tracks does detract from the performance somehow.. I’ve never been able to figure out how seriously they want to be taken! I’m still rewatching Dua, it’s such a good show, and surprised anyone could miss the breathlessness at the end of most lines, I’d like to see the Honest Vocal Coach dissect her performance , I’m pretty sure she’d confirm she’s singing live and would have some comments about the notes she missed or the improvements she could make to her breath control.
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I was surprised at the prevalence of backing tracks, and I'm not a fan. When I go to see live music I expect the music to be live. I'm there to see something being (re)created in the moment, and accept - and delight in - any imperfection that involves. I couldn't be less interested in the idea of watching someone, however famous, mime a song, however good. Some pop acts, people like Camilla Cabello or Anne-Marie or Sugababes, might be able to get away with singing along to a backing track but Glastonbury is not the Radio 1 Roadshow. Surprises included Remi Wolf, who had a live drummer, a guitarist, and a lot of other sounds coming from nowhere - I can listen to recorded versions of her music whenever I want without leaving home, and I've shelved plans to go to her solo tour in December as a result. I left Arlo Parks' set on BBC Introducing - she seemed to be relying heavily on prerecorded vocals for some songs, and I didn't want to hear them. i understand artists' desire to make their music sound as good as possible, particularly if they're being televised, but a stage is not a studio and I don't expect, or want, the sounds produced there to be identical.
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