Wish You Were Here

A series of experiences to hold some of the magic of being together, when we were apart.

In spring 2020, when the world was in lockdown, we decided to do an experiment. What could we share with you, our audience, that kept hold of some of the magic of being together, and which celebrates the work of the brilliant artists that would have been part of Mayfest 2020, but that we could do while we’re apart? The result was a series of new experiences, plus some things we dug out of the archive.

 

This is (not) a party

On Thursday 7 May 2020, when we should have been smashing a bottle of champagne on the bows of another Mayfest, instead we were in at home. But we couldn’t let the moment pass un-marked. So we asked you, our audience for requests and dedications for a live Spotify playlist. Here’s what we wrote:

We won’t be standing in front of a microphone announcing with joy and pride that the festival starts here. We won’t be raising a glass to the extraordinary community of brave and curious artists gathering here in this brilliant city for the next little while. Because we can’t.

We won’t be queuing at the bar for ‘the last one’ before we head off 'because, I mean, it’s a school night after all', and then staying until the early hours.

We won’t ask you for a lighter for that cheeky cigarette out the front because ‘we gave up last year but sometimes you’ve just got to let your hair down haven’t you’. 

We won’t be really, really going for it to that song, that guilty pleasure, the one we shouldn’t love so much, but... We won’t be doing that.

We won’t meet the person we eventually fall in love with.
We won’t hold our friends.
We won’t sit at the side watching because we prefer it that way.

We will be at home where we need to be.

But on Thursday night we will be dancing. And we think that somehow we might just be able to do that together in a different sort of way. It’s not a new normal, it’s frightening and deeply weird – but shall we attempt to remember and celebrate together in this unusual time?

Let’s call it a house-party. We’ll provide the music. You can play it as loud or soft as you want. You can hide in the other room if you want. Dress up or down.

We will have the volume up. We’ll be thinking about the empty spaces and filling them with memories. And hopes for the future.

And we’ll keep going. If we can. Even though we’re just dancing in the dark.

Until Soon

Kate and Matthew and all at MAYK

This is (not) a party

Our live playlist, featuring your requests and dedications. All killer, no filler.

Now into the early morning

With 5 hours & 45 minutes of song requests the music must play on. A compilation of dedicated tunes - we’ll keep dancing if you will…

  • Loaded by Primal Scream Gill Simmons

    “Many years ago when I was a young drama teacher I got a LOT of kudos from my A-level classes because I requested it on a Radio 1 programme. Pretty sure I've never been cool since.”

    Little Red Corvette by PrinceMAYK “For Impermanence”

    Echo Beach by Martha and the muffinsRachael Clerke

    “Because it's the banger of all bangers!!! Dedicated to Hannah Sullivan who performed her show, of the same name in Mayfest 2014.”

    Yoshimi Battles the Pink Robots by The Flaming LipsAli Robertson

    “The first part, not the second. It reminds me of a Spiegeltent in Cork, which I think is Ireland's equivalent of Bristol, during European Capital of Culture. Just for a moment it felt like the whole city came together and danced to this.”

    I'm Shaking by Jack WhiteBonnie Hewson

    “For Chris from Bonnie - to my lovely Chris because he loves Jack White and a good blues cover. And also because its a great song to dance to, has a great video and is perhaps thematically appropriate if you are running a fever at this time? 😬😁 Thank you Chris for all the amazing support xxx”

    Hounds of Love by The FutureheadsLilli Geissendorfer

    Don't Stand So Close to Me by The PoliceRichard Farrer

    “No personal associations. I just have a twisted sense of humour and unhealthy enjoyment of puns.”

    Moto (feat Kb, Captain Hook and Vianni) – Empire SoundsBeki Bateson

    “Reminds me of very happy times and brilliant talent and creative friends and of course fabulous Tottenham.”

    Nasty Girl by Inaya DayBernie Hodges

    Reach by S Club 7Anna Starkey

    “For Redders with love, and also coz we all got each other and need a proper cheesy happy dance.”

    Sing it Back by Mousse T.'s FeelluvdubJonathan Harper

    “For Claire and I. It feels like exactly the track that I've heard deep into a Mayfest party, played really loud on the sound system.”

    Autobahn by KraftwerkMAYKFor Kid Carpet

    Work It by Marie DavidsonDanny Prosser and Rachael Clerke

    “Because it's the banger of all bangers!!!”

    Dreams by the CranberriesDanny Prosser

    “In dedicated to the Brunswick Club, for a time the best place see art in town!”

    Pata Pata by Mariam MakebiSarah Madden

    “Totally joyous and never fails to put a smile on my face. First time I heard it was at the end of Doctor Brown's show in 2011(?) in the caves at Edinburgh fringe.”

    Hang on to Your Love by SadeCheryl Douglas “For Peter from Chere”

    I'm on Fire by Bruce SpringsteenCaroline Williams

    “Dedicated to Nick Hunt in memory of a barn on a hill and much dancing. x”

    I Want a New Drug by Huey LewisAnna Baker

    “I'd love to dedicate Huey Lewis: "I Want a New Drug" to my partner Brendan, because he inspires the crazy lovelust chemicals within me, and also because it's an irresistible party classic!”

    Lean on Me by Bill WithersRuth Hecht

    “Appropriate for the times we live in… a great funky song… easy to sing along to…x”

    Human Touch by Bruce SpringsteenRoger East “Because I miss it”

    Wish You Were Here by Pink FloydJon Dovey

    Dance Me to the End of Love by Leonard CohenJohn Lee from Fuse Performance

    Salt of the Earth by Rolling StonesNick Green

    Dancing with Me by Nouvelle VagueClare Reddington

    “A toast to you and to us, and to tomorrow's clearer heads and heavy hearts. As the none-dates of May go by and we take them from our diaries, I will pretend to be bundled up all awkwardly with you, touching you with sticks. Until soon.”

    Going up the Country by Canned Heat Sarah Madden

    “First dance at my wedding. Great to dance to. Has a flute solo”

    Water Me by FKA TwigsMAYK “For Sleepdogs”

    Something for Myself by Dark Dark DarkMAYK “For Raquel Meseguer”

    Florian Schneider by Stop Plastic PollutionNick Green

    Sexual Healing by the Hot 8 Brass bandRaquel Meseguer

    Echo Beach by Martha and the MuffinsOnce in a Lifetime by Talking HeadsRiver by Joni MitchellWe are the Champions by Queen Suzanne Rolt

    Ready to Start by Arcade FireKerrie Avery “for Nicholas (and Dee Dee)”

    Young Hearts Run Free by Candi StatonAnnie Siddons

    Like Sugar by Chaka KhanJaz Woodcock-Stewart: “Impossible not to dance to”

    Raspberry Beret by PrinceClaire Stewart

    September by Earth Wind & Fire Bebhinn Cronin

    Rock the Casbah by the ClashChris Swain

    “This was playing in Mr Wolf's at the closing party of Mayfest (in 2012 I think) is one of the few things I clearly remember about that evening - dancing with all the people that had worked so hard to make the festival a success was a joy. I have so many good memories of working on Mayfest - some truly remarkable shows - Kate Tempest blowing away the audience at BOV, putting an absolutely enormous sound system in the Studio for Beats, Dan's Of Riders and Running Horses making everyone dance on a carpark roof in the rain - too many to mention - as well as the enormous pleasure of working with yourselves, Kerrie, Claire, and all the other lovely people in very warm cramped offices. Won't miss the opening night hangover all that much though.”

    Modern Love by David BowieEllie & Martin (Reid)

    “First dance at our wedding last year - #soppy - but good for a boogie and a reminder of better times. Plus we think it's mostly about slightly weird people trying to find each other and their place - seems Mayfesty to us!”

    All My Friends by LCD SoundsystemKate Yedigaroff “For Matthew”

    Born to Run by SpringsteenMia Gilson “For Mel Scaffold from Mia Gilson – I am beyond proud of you and can’t wait to see what you do next. Loveyoumeanit. X”

    Bootylicious by Destiny's ChildMAYK “For Katie Cooper”

    Grrrl Like - Dope Saint JudeBrownton Abbey

    Sorry by Justin Beiber Amanda Fawcett

    Against All Odds by Phil CollinsGemma & Jim - ActionHero “Dedicated to the Mayfest 2020 audiences we never met. We used to listen to it as part of our van driving love songs playlist.”

    Vogue by Madonna MAYK “For Tom Marshman”

    Hounds of Love by Kate Bush Stephanie Kempson

    Dancing on my Own by RobynJane Hill “Too obvious???? Who cares. It’s appropriate AND a banger.”

    Gold Dust by DJ fresh (FX radio edit)Sarah Madden

    “I don’t know how it happened, but this is my 3 year old’s favourite song. He calls it ‘the fast song’ and I am summoned to dance in the kitchen with him whenever it comes on.”

    Thos Moser by Gupi and FraxiomPeter and Julia

    “We like how many changes there are in the song. It’s an abrasive banger. We also feel it is representative of the show in some way. Gupi is Tony Hawk’s son. This song is part of the American digital hellscape, which is what 50/50 is drawn from.”

    Dancing in the Dark by Bruce SpringsteenStewart Legere

    “I want to dedicate this song to the whole team at Mayfest from Zuppa to you. I also feel like it's what we're all doing now a little bit...dancing in the dark by ourselves, holding the memory of times when we were together tightly in our hearts.”

    Koffi Anan by Yemi AladeFleur Darkin

    Dance Apocalyptic by Janelle MonaeEmma Harvey “Dedicated to my partner in crime Dr Edson *Disco * Burton”

    All Night Long by Lionel Richie Bea Roberts

    “For Jack Drewry - This is from one of my favourite Mayfest party memories when the party was supposed to shut down, there were general grumbles from everyone about the party ending when suddenly Jack started the crowd singing this song. It was past midnight so it was the early hours of my birthday and I just remember looking around at everyone singing their heads off and feeling very lucky to be part of Bristol's amazing arts community.”

    Nothing's Gonna Stop Us Now by StarshipDanny Prosser

    “This song is huge for me and my company Massive Owl, played many times after funding heartbreak, and also performed by myself and Jenny Duffy on karaoke at the end of Mayfest 2016.”

    Get Free by Major LazerMAYK “For Action Hero”

 

This is (not) a Mayfest podcast

We recorded a podcast where MAYK’s Co-Directors Kate Yedigaroff and Matthew Austin discussed what it feels like for Mayfest not to be happening in 2020, and what the future may or may not hold.

  • It's May 2020. And Mayfest isn't happening. And this is not a Mayfest podcast.

    Kate

    Hello, Matthew.

    Matthew

    Hi, Kate.

    We've already spoken twice on the phone today haven't we?

    Kate

    Yeah, we have, so shall we just...

    Matthew

    Just call it a day?

    Kate

    Okay, bye! I've said all I've got to say to you,

    Matthew

    Where's a good place to start? We were talking earlier about the last time we were actually in the same room. So maybe that's a good place to start. Which was mid March, I think. And we were in the office. And we had just cancelled the festival. We were writing emails to people to say that we are going to cancel and you said, 'this might be the last time we're in here for a while' and it really stuck with me. I keep coming back to that moment. And a couple of times I've been into the office to water the the plants, and it feels really eerie. All our post-it notes still on the wall. That's really weird.

    Kate

    Yeah, I'm sort of glad that I haven't – well, obviously, I'm not glad that I haven't been into the office, because I miss that space. But, equally, I'm pleased that I haven't been in there in this time.

    Matthew

    Yeah.

    Kate

    Because the feeling of that day is was a very curious experience. Obviously, as it is for lots of people. And I felt like we had a weird 24 hours of dancing around the idea, but knowing that we had to cancel. Just magical thinking that maybe there will be something which means that we won't have to. But then it wasn't even our decision anymore.

    Matthew

    Yeah.

    Kate

    And so that curious mixture of the unbearable feeling of responsibility and having to do a thing that you just don't want to do. But that you know is the right thing to do. And then that not even being your decision anymore anyway. I don't think there's even a comparable experience for that quickness of turnaround. But yeah, 'we won't be in here for a while'.

    Matthew

    Yes, it's weird.

    Kate

    And how is that for you? Where are you?

    Matthew

    I'm in my flat in my living room, which is also my bedroom. And I'm quite lucky, because I really like my flat. But also it's quite a lot spending all of your time in one room. I've been joined by a mouse recently, so that's nice. He woke me up in the middle of the night last night. I could hear him scratching around somewhere. On the one hand, I've always been able to work on my own and I've never really had a problem with that. But the thing that about being in the office is the people popping in. And that's artists or people we work with, or whoever. So the kind of unpredictability of being in a space with other people. And also that we were saying ... oh! there's a magpie outside my window!

    Kate

    You didn't greet it!

    Matthew

    Hello Mr. Magpie!

    In this moment, when we're now trying to think about what we're going to do in the future, what might be different, blah, blah, blah, that it's really hard. I find it really hard to do that kind of thinking, when I'm not in the same room as you, particularly. Generally doing any kind of big thinking is really difficult when you're not physically with something. Because it's much more difficult to have really long pauses or you feel like you have to fill the air a bit more. And there's just, well, it's just about being the same room, isn't it? So it's that bit I miss. Where are you?

    Kate

    Like, conceptually or...

    Matthew

    Both!

    Kate

    I'm on my bed. I'm not in my bed. I'm on it. And I don't quite know why I've come to sit on my bed because I think this might be like, maybe the second time I've done that in the last seven or so weeks. So I wonder what that says about needing to be somewhere comfortable for this conversation. Yeah, I'm on my bed. It's a sunny bedroom. My son Joseph is downstairs watching film roles at the moment. But yeah, that. I mean, as you know, I feel really similarly about the kind of the kind of impossible feeling of trying to have meaningful ideas, let alone make meaningful decision in such a solitary space. And although we're, you know, obviously very lucky and able to stay connected, there was something about the two dimensionality of the technology that we have to use to speak to people. And so interesting to think about what being in the room means, it's to do with all of the senses, isn't it? It's what you can see, it's the other peripheral noises that you can hear that kind of feed into your conversation. And yeah, the interruptibility and the smell, and you know, things like that sort of an energy. But I thought it was interesting the other day, when we kind of, we kind of called out the fact that we're aware that we've got a bit of an impasse, still, around the question of 'what do we do'? And as soon as we turn the what into 'how do we talk about what we do', I felt immediately like something had opened up, that, you know, that the change is much more holistic. We can't really rely on the usual systems or structures such as they are, because they don't make sense.

    Matthew

    Yeah.

    Kate

    Maybe that doesn't make sense. But yeah,

    Matthew

    No, I know what you mean. We talked about the day of cancelling the festival and how that felt, and how the decision then was kind of not ours anymore. What I found weird is, for a while it felt like we were watching all the other festivals around the country hold out, hold out and then cancel, or feel like they were making decisions in the days after we did. And then everyone's feeling about, about what the future might be. There was a period where it was changing so quickly - it feels like it's slowed down a bit now - but that at first, it was like, oh, we'll be back again in June or, you know, the festivals that are happening in July could happen. And I think about the Edinburgh Fringe the other day and how for a while they were like, yeah, this is still happening and then that got cancelled as well. And how actually, it now feels quite clear that anyone gathering in any kind of number won't really be possible for quite a long time. So it feels like the kind of initial rush of everyone putting out online films of shows and stuff. That's also now being replaced by people actually trying to think about how we might all start making stuff again, in a different world. I find it hard to be excited about that.

    Kate

    About what aspects of that?

    Matthew

    About thinking about doing a project where everyone in the audience are in cars, or they're all standing two metres apart or whatever. Because so much of what we do in Mayfest and producing our projects is about being really close to other people and thinking about Undersong and SESSION and those shows where they just wouldn't feel as they wouldn't feel as powerful if there was a rigidity to how people were allowed to be in that space.

    Kate

    Yeah, I agree. Of course. That's a really tricky thing, isn't it? Because we can't just stand here obstinately stamping our foot saying no, no, this is the only way we can do things because it's because it's what we care about and what we believe in, which is true. But the culture of the organisation is formed by two people in the life that we've had so far. So that's when I'm like, we've got to be thinking about making art, you know, what does all of this mean in a new world? And that phrase, "in the new world", like I don't even understand that phrase. And nobody does. What does that look like? How do we know what it is until we're in it? Oh, hang on, we're already in it.

    Matthew

    Yeah.

    Kate

    And so the fantastical journey that you can go in and your head about what that may or may not mean. And in any case, the difference of that meaning for different people in society is vast. There are interesting lessons in there. Anyway. So it's hard to think of the next festival, isn't it?

    Matthew

    Yeah.

    Kate

    Because I just kind of just we'll do one like this, but not this, in the future. End of intelligence.

    Matthew

    Because who knows what it will be like in 2022? And what happens to all of the work that we were going to present this year? And when might that be possible to bring as much as we can of that to Bristol? And what's our long term relationships at the festival and all of that stuff, but it does. It has made me feel like I do really miss being at a festival.

    Kate

    What is it about that you miss?

    I mean, it's the kind of thrill of discovering something new, I suppose; the feeling of going into a room and watching something with other people. And there's two things: there's being a pure audience member, but also there's sitting with the work that we've programmed and feeling an audience experience it for the first time, which is a really amazing feeling. I also just miss being in the bar. I miss being out of the front of Arnolfini with my shorts on in the sun or on King Street or coming out of Trinity and deciding to go the Volunteer Tavern. Basically, I just miss alcohol with other people.

    Kate

    I think that's the most important thing to attend to really.

    Matthew

    The other night I went to Tom Marshman's Annette Curtain's Big Night In and after the performance he set up a zoom link for an after party and anyone could go along. And the group of people that went, well, we didn't really know each other very well. And it was exactly the same feeling you have when you go to se a show, and then you go to the pub afterwards and you end up sitting at a table with a bunch of people who've just seen the same show, and you have a little chat and it felt really nice. I kind of miss that. That kind of unexpectedness of the connections you make.

    Kate

    But it can't have been exactly like it

    Matthew

    well, no, true

    Kate

    Because otherwise, we're in a circular contradiction of everything we've said so far.

    Matthew

    No, and actually I got tired of it quite quickly. There was a kind of momentary thrill and then you don't have all the rest of the that goes around it in the pub, I suppose.

    Kate

    It's something about the way in to an experience and the way out as well, which is connected to an obsession about what it means to host. I went to a couple of things at the brilliant GIFT festival. Hats off to Kate Craddock for doing a brilliant thing with reorienting of that online. I was really struck by what it felt like at the end. There's no kind of navigating your way out of it. There's no walk home where you can get to process and leave the environment. So for me the kind of bleakness of coming back down to earth afterwards it was really intense. I felt really sad. And I'm sure we'll get used to that a little bit. And there's lots about it which I love. I surprised myself. But that thing about, where does the experience start for an audience at a festival, from the invitation that you make to how they get there, to how they're welcomed, to how you say goodbye is really important. And, you know, what does it mean for us to produce and programme work in a new world, which may or may not be able to pay such attention to that? That doesn't help it a bit. Yeah.

    And tomorrow would have been our opening party.

    Matthew

    Yeah, it would. And in fact, Claire, our Marketing Manager just texted me to say, really looking forward to the first night of 'I'm a Phoenix, Bitch' tonight (crying emoji) and that feels a bit sad. Yeah, it would have been our opening party tomorrow night. And it's weird because I can't really picture it in my head. What I thought it would be like because we were just about to nail where it was going to be before all of this happened. So I don't have an image of it in my head, which is quite weird. I have an image of all the other Mayfest parties that have ever been.

    Kate

    Yeah, same. There's this huge feeling of nostalgia about everything anyway, it's kind of fitting that where our head wanders to imagine tomorrow is actually a long time ago. For me, it's the Bristol Old Vic foyer when it had a purple carpet. Like, that's where I am having my party. I don't know how many years away from that room we need to get for that to not be where the party is.

    Matthew

    The squishy pint glass

    Kate

    But maybe that's maybe that's interesting. Maybe tomorrow in the way that we are having our "not a party" where we're hosting a playlist and inviting people to dance. I wonder if that experience will genuinely become a memory of a Mayfest party.

    Matthew

    Yeah, it will.

    Kate

    It's still part of the legacy of the festival even though it isn't it.

    Matthew

    Yeah, you're right. What were you most looking forward to this year?

    Kate

    You absolute bastard, I knew that that was the next question that you would ask, and I hate you for asking it.

    Matthew

    Because that's the question that every journalist ever asks us...

    Kate

    You just thought you'd be a journalist for a moment...

    Matthew

    ... in an article with a headline 'May the Fest be With You'.

    Kate

    A smorgasbord of tasty, wacky treats.

    Matthew

    That is the worst question, isn't it? Sorry. But you have to answer it.

    Kate

    It's also not a great question for audio because there is going to be a long pause. Unless you have the answer already lined up Matthew, which I think in my might. And then while you talk, I can have a think and then I can try and win.

    Matthew

    I feel like I never have the definitive answer to this question, but the show that I was most scared about in the programme, is 50/50 Old School Animation. That was a show from New York that I saw with Kieran from Arnolfini around two years ago now. So my memory of it is fading. It's an incredibly brutal, difficult, challenging piece of work. But it's the kind of show that you know would do exactly what you needed it to do. Which is in the bar afterwards, people would be having quite intense debates about the subject matter and the show itself. So I was looking forward to the thrill of that show. I think whilst also feeling quite nervous about it. We try and challenge ourselves to ask, what are the shows that would absolutely not come to Bristol as part of anyone else's programme. What are the shows that we can challenge our audiences a bit, and 'take them out of their comfort zone'. And I feel like that show was doing that. So that would be my answer today.

    Kate

    Yeah, I was really looking forward to being in the room with that piece as well. Okay. We're answering the question from the point of view of today. It doesn't need to be definitive. I think I'm missing the idea of being with Raquel Meseguer's A Crash Course in Cloudspotting, because it's such a beautiful and complex project, practically and in terms of what it's talking about, and it's varied ways of reaching people. I was really looking forward to finally being at rest in this beautiful place. And I'm thinking about that today because I just want to lie down. We've chosen two very, very different things there. And the thing that is missed about the festival is exactly that collision. The idea that you could move from one to the other in the real world with real people. And have that sort of expansive and contradictory experience. It just feels like a real gift that we're not able to give people.

    Matthew

    Yeah, it's really frustrating. What are you glad that you're not having to deal with? Obviously, I'd much rather be getting ready to open a festival today. But I had a bit of a lie in this morning. So there's a bit of me that's glad not to have to be dealing with like, cushions.

    Kate

    Yeah. And me too. Not being faced with the reality of delivering something significant with a really small team. That dreadful combination of boring and stressful. Where you've got to do something because it really matters, but the experience of doing it is like, "Really? Again?". But in a way I sort of even miss that. I missed that today because it's a more connected sort of repetition. And God, it does make you realise all of the tiny ingredients that mount up to making something happen. I mean, it sounds a bit saccharin, but you realise when you're at a forced distance how much each tiny bit matters. So I feel like making loads of pledges about how to not get frustrated by the by some of the minutiae anymore. Because if it isn't there the whole thing falls over. In a way I'd rather be like stapling a sign to a railing in a high wind with you right now.

    In fact, I think there's photo evidence of that.

    Matthew

    Yeah, or one of our team calling and saying "I think we might have a problem. I'm afraid they're not happy with their accommodation."

    Kate

    But also the whole concept of a problem has completely changed. You know, it's like, I'm sure it's fine. I'm sure that's probably fine

    I've also noticed how much it's making me think of place, specifically Bristol. And why is that a surprise? Well, because in a way when you're not in any of those places, then it could be anywhere, but it's so here.

    Matthew

    Yeah. Why is that? It's made up of the people in the city, I suppose. Audiences.

    Kate

    Yeah. And the artistic community here, even though a lot of our programme is not based here, but there is something inherent about the culture or the flavour of the festival which cannot be separated from the place in which it comes to life. We've been asked whether we would consider doing a Mayfest somewhere else. And if we did, it wouldn't be a Mayfest.

    And as we consider a different kind of 'somewhere else' over these next few days, how are we thinking to mark this time 'somewhere else'? Does it feel like Mayfest? Or is that actually not the point?

    Matthew

    I don't know. But I wonder whether it will feel like the memory of a Mayfest, even though what we'd like to do over the next few days is celebrate all the artists that would have been in the programme this year. But I feel like people will be viewing that through the memory of what it feels like to be at a Mayfest.

    Kate

    What did you have for lunch?

    Matthew

    I had a bacon sandwich actually. And a few Pringles. Really healthy lunch.

    What did you have for lunch?

    Kate

    I have a tuna sandwiche and crisps. So we're on a similar vibe.

    Is there anything that you wish that we had done differently in that moment? Is there anything that goes through your head as potentially very different responses or feelings? Or does that not really feeling possible to think about?

    Matthew

    Yeah, there's a very specific one for me actually, and it was through being "at" GIFT at the weekend. Maybe it was maybe it was a slight pang of jealousy about the way that Kate had managed to pivot everything into being online. Because when we discussed whether we should do an online festival, I think I had a very narrow image of what that would be, which was basically videos of shows. But Kate had managed to be so imaginative and actually capture some of the experience of what it's like to be at a festival. So if it was March again, with the with the knowledge I have now, I might have thought differently about that. But also, I do really hold on to Mayfest being about people coming together.

    Kate

    And I suppose decisions in that moment can only be led by the specific skills and instinct and experience of the person making the decision, and we don't currently don't have that bank of digital knowledge or expertise. So it would have been impossible to imagine what we now already begin to realise is possible. And that discovery is also quite exciting.

    Matthew

    How about you?

    Kate

    I just think we just did everything perfectly. And I'm just absolutely nailing my response to all of this.

    Matthew

    Who are you? Matt Hancock?

    Kate

    I have a regret, which slightly predates the decision making. It's a degree of blindness that I was carrying around. There was a week or so of being a bit giddy and not taking seriously the feelings and the anxieties that might be around already. I think I'm probably just describing a period of denial. And I mean that more personally than anything. I have a regret being a bit dismissive about about it, feeling like we're going to have to do this rather than this is obviously the right thing. Deciding that we are in service to something rather than part of it.

    Matthew

    Yeah. But there was that weird period where it was like, "wash your hands and sing Happy Birthday twice". Like there was some kind of national denial going on. There was a lot of anxiety, but also a lot of people just saying, "Oh, it's just like the flu. It doesn't matter."

    Kate

    Well, the whole country was led to believe that. An absolute disaster.

    Matthew

    When we were cancelling Undersong, there was a big part of me that was like "this is ridiculous? Why are we doing this? It's completely out of proportion." And of course we had to cancel it. But in that moment there was still that line between make "is this a massive overreaction? Or is it the right thing to do?" And yeah, of course, it was the right thing to do.

    What makes you feel hopeful?

    Kate

    What makes me feel hopeful? People ... I've got a self consciousness about feeling like I don't have any original thoughts on this subject, because there's a lot of conversation about that. But I'm made very hopeful by the resilience and kindness that we see and feel in the people around us, and the power of attending to your community in whatever way you can. There's a fierceness of feeling around that for me, which makes me feel very hopeful. It makes me understand what we do in a slightly different way. That makes me feel hopeful.

    But also ... It's a podcast, Kate, keep it light ... I don't feel massively hopeful.

    Matthew

    That's okay.

    Kate

    I say this in the context of not being unwell, or having loved ones who are, but there's a kind of almost painful beauty of sitting really still and trying to do the right thing. Like surrendering a bit. But that's not what your question is. What is being learned in this time? The process of slowing down and surrendering and really tuning in to the things that matter. And they're tiny, usually for me in every day. Yeah, there's a hope and a learning in that. And I'm hopeful about the fact that I still believe that artists and the stories that they create and conjure and express are absolutely vital. That we are nothing without the sharing of our experience. So really, the struggle for us at the moment is in the form. It makes me think what the hell is it all for? But also it doesn't. What about you?

    Matthew

    Yeah, I think I feel hopeful and stressed in equal measure about there being a moment for big changes, in the world and in the cultural sector. There's a moment of possibility. I feel hopeful about that. But I also feel really stressed about it because I feel like everyone is in a moment of panic about the future. And so our natural instinct is to do what we were doing before because that feels safe. And I feel like we have to have a moment to sit in it and go, "Okay, this is what this is" and then try and think about what the future could be together. Because also I don't really trust that it will change and I feel like that will be a real missed opportunity. I'm saying all that, not really knowing what I want to see ...

    Kate

    But also what what part we can play in that. What is the change we need to see. What do we do about it? What can we do about it? Or at least say about it.

    Matthew

    I was reading an article this morning about Yanis Varoufakis saying that this is a moment where capitalism could change completely. Thinking things as massive as that as well as what's the division of funding for the arts in Bristol? And how could that change? And they're all connected. But I'd hate to look back on this in 10 years time to look back on this and go, "Oh, bollocks". There was a moment there where we could have done something brilliant, once in a generation, and we actually fudged it and just went back to a kind of shitter version of what we had before.

    Kate

    Yeah, that's a really awful thought.

    Matthew

    A version of what we had before but everyone's standing 2 metres apart. No thanks.

    Kate

    Yeah, I mean, what we had before wasn't safe, obviously, in all meanings of the word. This isn't a safe world for most people ... I'm just watching a child blow bubbles in their garden. It's really dear. In a situation where certainly it feels to me and amongst our peers, that there is a bit of a hurry to articulate, but I just don't think we have the language. So, how to turn waiting and seeing into something which doesn't feel passive and copping out is a form of building resilience for the future.

    Matthew

    And being okay that no one knows the answers. A few people have forward me articles that they say are going to tell me exactly what's going to happen now.

    Kate

    Yeah, yeah until tomorrow.

    Matthew

    Yeah. Okay, so tomorrow night. What's the song that sums up a Mayfest party?

    Kate

    It's probably either Wuthering Heights by Kate Bush. Which I have a specific memory of me dragging Scottie's suitcase around in a bad version of that dance.

    Or All Night Long

    Matthew

    I definitely think All Night Long is up there for me.

    Kate

    If I'm in a situation where that song's being played, it's the the track that everyone wants to dance to. But why is that in some way funny? Do you know what I mean? It's just an absolute banger. It's not funny. It's just a classic. So we can't just let ourselves be like great, of course. Enjoy yourself while simultaneously taking the piss out of yourself. So maybe a benefit of people just being on their own in the kitchen will be that everyone can just be deeply earnest and no one needs to know.

    Matthew

    For some reason I also want to say Rhythm is a Dancer.

    I feel like I've seen Tanuja from Sleepdogs really going for that song.

    Kate

    Yeah, I can just hear the intro and see her waving her hands in the air.

    Podcast produced by Bernie Hodges

 
 

Oh Europa: Postcards from the Edge

Beacons

In the absence of it being possible to be in a room with you live with this extraordinary collection of love songs, we asked Gemma and James of Action Hero if we could consider a way of sharing something of their beautiful project in a different way with you. In characteristically generous form they have curated an alternative way in to this multi-tentacled project – which places the Beacons at the heart of your journey.

Read this as a letter from them, delivered by us and until we can meet again.

Hello,

We have created a network of digital 'radio hotspots' across Europe that broadcast the love songs we collect as we tour with Oh Europa. The songs play 24/7, and will continue to do so forever. All the 'beacons' are situated on borders of some kind: places of meeting or separation, of convergence or divergence.

Thresholds and edge spaces. The borders are sometimes literal borders between countries, sometimes historical borders or edges of lost empires, geological borders, natural borders, philosophical borders....

The love songs play only in these border locations, functioning like a kind of acupuncture upon the body of Europe. Anyone can listen to the love songs at anytime by visiting one of these locations in person and using our Oh Europa app. When they arrive, the app will tune into the love songs. All the songs play at all the locations, so when somebody listens at the Bristol beacon and someone else listens in Finland or Greece, they all hear the same thing at the same time.

One of these beacons is located right here in Bristol, and we invite you to take a (socially distanced) walk to visit it. You’ll find it at New Cut and can locate it by downloading the app here which will take you to the exact location (co-ordinates are on there and a compass & map).

When you’re there why not stop for a moment. Take your time. As you listen to the love songs play out across the world, across the different sites.

 
 

A Night at the Cause and Effect

IT ALL STARTED WHEN…

It’s Friday 22nd May 2020. In a parallel world we’re at the Cube in Bristol all day; setting up, plugging in, and sound-checking for a one-time-only gig for Mayfest. In that parallel world, we’d pulled together a one-time only band, to play songs from a show we’re making called A Million Tiny Glitches. In that parallel world, we’d finished making an album of those songs, with singers who had travelled to Bristol to record vocals, and Tim and I having travelled down to Taunton to get it professionally mastered, like y’know, a real band.

The story of A Million Tiny Glitches follows two friends, Jen and Valentine, who lose someone they love. Valentine responds by retreating into a fantasy city built from scattered, sometimes corrupted memories of their dead friend, CC. Jen follows him into the strange city, seeking connection; each of them taking their own unpredictable, bittersweet journeys through grief.

We started making A Million Tiny Glitches back in 2017, after a few years of being hit hard by some close personal bereavements. One of the things that really stunned me about working through grief was how heightened things suddenly became - like someone just whacked the contrast dial up. Everything was funnier and sadder and brighter and darker than my psyche could wrangle. We’ve tried to capture something of that sensation in the shimmering quality of the songs; in their synthy, electronica, dream-pop vibe.

We’ve often designed Sleepdogs projects to be remix-able between forms. And if we’re being honest, it feels super important for A Million Tiny Glitches to deal with the duality of grief as an experience that is at once universal and always highly individual. We want to make a big and beautiful show where we can all sit with those complex feelings in public, with no shame or embarrassment. And we want to make an album which you can listen to in private, or with whomever feels right. We need to raise a stack of cash before we can make the big, beautiful show… But we had hoped to share the album with you sooner. Today. In a parallel world.

It’s Friday 22nd May 2020. We’re at the Cube, in Bristol, with friends and strangers; doing a one-off gig, with a one-time band, for Mayfest.

We’re also at The Cause & Effect – a dive bar, in a fantasy city, built from certain and uncertain memories, founded in love and grief and terrible jokes we shared; listening to a made-up band trying to put words into shapes that say something of this impossible tide of feeling.

We’re also here (wherever here is) right now; sharing demo versions of some of the songs that form part of a story that’s taking a long long time to tell, for all sorts of reasons that you really couldn’t make up.

So here’s to all you friends, and all you strangers; to you who are here, and you who are not here. Raise a glass. Find your beat. Keep dancing.

 

A Crash Course in Cloudspotting

An intimate storytelling piece crafted especially for a small audience in Bristol in May 2020 as a marker in the sand for a festival that is (not) happening and until we can share the full work.

A Crash Course in Cloudspotting is about care and connection, and we need these things so much right now.

This experience will take place at 6pm for 20 mins on Sunday 24 May and is for a limited audience only.

The experience is now fully booked. Please keep an eye on our website for future opportunities to experience the full work.

 

A Parallel Party

Sleepdogs’ Timothy X Atack’s parallel party, a text that unfolded live over Twitter during what would have been our Mayfest 2020 opening party. Read the full text here.

Arias for an Apocalypse

Songs for the end of the world.

Spanning three years of Mayfest artists, Arias for an Apocalypse was a programme developed for Mayfest Radio. What songs would you choose to hear in the apocalypse?

We’ve dug out all episodes of Arias for an Apocalypse, presented by Jessica Macdonald, for you to listen to in lockdown.

Epic Fail in Lockdown

A short video from Kid Carpet and friends about Epic Fail, which would have been part of this year’s Mayfest.

 
Previous
Previous

WE ARE LIGHTNING!

Next
Next

WOW Festival Istanbul Commissions