Posted on May 9, 2010 - by Editor

Groezrock 2010

Groezrock © Steven Wittevrouw

Groezrock 2010
Meerhout, Belgium
April 23-24 2010

After last year festivities and fantastic band lineup, Groezrock 2010 seemed to somehow raise the bar again and as hard as nature tried to scupper the event in Meerhout, Belgium with its volcanic ash spewing across Europe from the unpronounceable Icelandic volcano preventing all manner of transport and disrupting lives around the globe, fate and an act of the punk rock gods intervened to clear the airspace in the nick of time. Yes there were casualties as some bands were sadly forced to withdraw from the event including most notably Snapcase, Sunny Day Real Estate, Hatebreed, Stick To Your Guns, Oh Sleeper and Saves The Day.

However plaudits must go to the festival organizers for arranging last minute replacements in the form of Ghost Of A Thousand, Funeral For A Friend, and my personal favourite; Millencolin. I will also say that the guys who toil and put blood, sweat and tears into organizing what is quickly becoming my punk rock festival of choice did a great job under these demanding conditions to try and keep festival goers up to date on any changes and dealing with negative press leading up to and during the event. Yes it wasn’t perfect but compare their reaction to those of governments and public opinion will tell you a admirable task was completed very well.

To the festival itself then, the organic growth of Groezrock is one of its redeeming qualities, having started literally with a dream and ample ambition, the festival had its roots in a town hall and now caters to over 30 thousand revelers and boast hands down, year by year, a lineup I’m sure any festival will be envious of. After 18 years of growth, things don’t seem to be slowing down with the addition of a new third stage in 2009, a similar format was adopted for 2010.

Despite all this experience though there is still criticism. On arriving at the festival in glorious April sunshine long queues greeted us

The Real McKenzies © Steven Wittevrouw

as the camping entrance and a very muddled idea of what exactly you were supposed to do (which in the end involved collecting camping bracelets from a dual-manned cubicle cabin before lining up again, separated by gender, to enter the campsite, but not before a tedious bag search of disallowed items.) The whole process is a poorly managed to be honest and understaffed meaning a wait in the sun was far longer than need be and overly cautious. If larger festivals with easily double the campers have a smoother process in place I would say than Groezrock can easily improve. The loud cheers from the lining crowd erupted when after over an hour (and we were relatively early) two festival staff finally placed a banner up to let everyone know the procedure in plain sight rather than leaving people to guess.

That gripe aside, because we had arrive a few hours before the first band and the main festival area were due to open up we inspected the camping site surroundings, quickly filling up, we made our way to the beer tents where again the token for food (and drink) system was in place much like previous years which to newcomers would prove to be an irritation. I’m not sure what the reason for this is rather than cash over bar as per normal festivals is, but it’s something to be tolerated. Great cold and tasting Belgian beers in hand we patiently waited till the opening of the main festival, the sun doing its part in raising festivities.

Once the gates did open; the camping grounds freshly cut and ready for the stampedes arranged similar to the previous year, with the main stage logically closest to the entrance greeted us. Onstage The Swellers were opening up the festival. It’s their first time in Europe and they are on the road for a lengthy tour hitting the ‘Give It A Name Introduces’ circus after the festival. They announce their second song is free download and they play some decent mellow punk rock, tinged with that working class ethic. It’s a good set although plagued by some poor sound issues which would affect a few bands through the weekend and their final song “Do You Feel Better Yet” is a sing along with the early patrons eagerly participating.

The Real McKenzies © Steven Wittevrouw

After a quick reconnaissance of the festival site and topping up the beers, The Real McKenzie’s take to the main stage. The Canadian Celts, kilted and shirtless for the most pay tribute and dedicate a song to a newly married couple with front man Paul McKenzie apologizing for his band mates overweight (and for all to see) state, before heading into another fun punk rock ditty. They announce an old Canadian song in the form of a lengthy ballad which is great and the McKenzie’s know how to bring festive to the festivities. They play a song about the queen of England and tribute a solo song to the Paul’ old nan. They ended off with ‘Drink Some More’ which of course cued the crowd sing along; the party had truly started.

Intermittent band breaks included visiting the ever-changing merchandise wares and bumping into bands meeting and greeting fans or a walking around the market stalls or visiting the food stalls (which to be honest could do with some more variety and healthier options).

Sadly this year I hardly visited the other two stages (Eastpak and Etnies) as there was more than enough to keep me excited and glued to the main stage. Millencolin, late replacements and suitable ones too were great! It’s been a few years since I had seen the Swedish punks take to the stage and they were obviously chuffed to be playing, ripping through a energetic set and playing favourites like ‘Mr. Clean’ and ‘Ray’ with the first signs of individuals from the crowd shimmying their way up the festival tent support beams despite the best efforts of the organizers to prevent this with massive wooden panels placed up to over 8 foot high around the supporting

Millencolin © Steven Wittevrouw

structures. The band oblivious to this and although a bit rusty are fun, melodic and much like the rest of the weekend, nostalgic, as a throwback to the 90’s skate punk scene.

We missed Glassjaw, who I would like to have seen but I made sure we were set for Face To Face. The Cali punks on their own revival tour had previously played the festival a couple years ago to signal their “comeback”. Having seen them play a week earlier in London supporting the Dropkick Murphys which was really good they played far better with much improved sound to Brixton. ‘A-Ok’, ‘You’ve Done Norhing’ and others ring loud and the energy is tangible and electrifying with popular hits like ‘Ordinary’ as Trever Keith gives it all. Although there is no new material from a pending new record, the band relying on an already classic backlog.

Face To Face © Steven Wittevrouw

As the night came closer to its end we got the disappointing news that The Mighty Mighty Bosstones cancelled all interviews, no reason given. At least the band were at the festival ending a drought for myself of never having seen them live and pretty much ticking off one of the last bands I wish to see live. They enter the fray in their suited stylish glory and with classic Tartan bulldog logo in the backdrop enter to ‘Dr .D’, ‘Kinder Words’, ‘Devils Night Out’ and play older classics like ‘The Rascal King’ and ‘Where’d You Go’ mid set.

With Dicky Barret strutting across the stage; his recognized gravel tone leading the songs which have been far too absent from the shores of Europe and sadly the band have announced this will be their only European performance this year so everyone savors it while they can. They play at ease and the visual energy came from the horns section, one running between the back and the fore of the stage. They also play a cover of The Clash’s ‘Rudie Cant Fail’ and then ‘1-2-8’ before ending off the nights planned set with crowd pleaser ‘Impressions that I get” and surprisingly Stiff Little Fingers ‘Tin Soldier’. The band returns for an encore with ‘The Old School Of The Bright’ and ‘Holy Smoke’.  It’s a great set list selection and I’ve

The Mighty Mighty Bosstones © Steven Wittevrouw

waited a long time to see the band live but it doesn’t quite meet my expectations and overall a little flat compared to the esteem with which I hold them.

To be honest Millencolin and Face To Face probably stole the plaudits on day one. After a sunny day, the cold night made its way through each one of our individual beer coats and layers of clothing and sleeping bag; a noisy and sleep deprived night waited ahead.

Saturday 24th April

The Saturday morning wakeup was greeted by our loud German neighbors blaring some pop punk on their stereo and beers can popping open. Another beautiful day also greeted us and a busy one at that.

Fist up on the main stage at respectable pre midday are Mute. I don’t know much about them but they played a really good set to wake up the hangovers and get people over a sense of lethargy. Their melodic skate punk with the drummer singer and tight front three guitars come across really well and the crowd warmed to them. The lead guitarist took some lead vocal responsibilities too and they all enjoyed their solo moments on their instruments. They came across as genuine guys and meeting them afterwards in the merch tent seemed to support that.

Pour Habit © Tim Tronckoe

Fat Wreck band, and one of the few on their roster I’m not too familiar with, Pour Habit were as energetic as you would like, but they were just ok. They but don’t do much for me, but it’s easy to see why Fat Mike would be a fan; they are a bit crazy and play decent pop fun-time punk rock. High pitched vocals and plenty of antics they reminded me of a pop punk Pepper.

Former label mates but now housed on Bridge Nine Records, Strike Anywhere with one of the nicest men in punk rock leading the way in Thomas Barnett, they vocalised their political messages and awareness of exploitation. The crowd was pretty reactive and engaged and enjoyed songs like ‘I’m Your Opposite Number”. They also talked love and justice and respect before launching into ‘The Crossing’. The last song ‘To The World’” is a great set ender, to be honest its probably the best set I had seen the band play and I look forward to their supporting tour with Pennywise in the weeks to come.

For one of my few sojourns across the increasingly dusty and hard baked fields at the festival I caught a  few songs by A Wilhelm

Strike Anywhere © Tim Tronckoe

Scream at the Eastpak stage, and on the return walk see naked people running away and return to the Macbeths stalls to collect free prizes for their daring runs.

Much hyped about 88 Fingers Louie, with their return from the wilderness played their first show for 11 years in Europe. It was good and although I’m not familiar with the band’s music it did’nt really excite me, or rather the hype was bigger than reality in this case.

The Bouncing Souls, another band who have established a great legacy are celebrating a millstone of their own; 20 years as a band. From the onset Greg Attonito in his smart white shirt, sets the circle pits going with ‘True Believers’; a surprising and bold statement of intent which is accompanied by a massive sing along. With 20 years of music there are some obvious stand out tracks but on the whole the bands melodic punk rock is sublime, ‘The Gold Song’, ‘Sing Along Forever’ and they introduce a new song from the record “Ghosts On The Boardwalk”. The whole set was utter joy and a highlight of the weekend; ‘Lean On Sheena”, ‘Gone’ sing-alongs

The Bouncing Souls © Tim Tronckoe

and ending with the emotional and powerful ‘Anchors Away” The souls left goosebumps on a sunny day.

A quick hop skip and jump to catch a couple tracks from The Aggrolites plying their trade as aggro ska originators; ‘Funky Fire’ was a stand out from the little we saw, the crowd not really getting into the groove though.

The business end of the festival meant interviews with Bad Religion took place between sets, but I managed to catch the almighty packed main stage to see the latter half of pop punks Sum 41, and truth be told they played a great set which drew a slightly unexpected great response from skins, punks, hawks, families and kids. ‘In Too Deep’ was a standout and the voices were massed in singing along, as was the case with ‘Motivation’, before introducing H2O guitarist Tom and a drum solo from the energetic Steve Jocz. They played a little medley including ‘Master Of Puppets’ for the Metallica fans and little solos from each member ensues before Deryck Whibley split the crowd into two halves of a singing competition and broke into the enthusiastic ‘Paint It Black’ cover. The band has massively popular songs and ‘Still Waiting’ and ‘Casualty Of Society’ received massive responses whilst Deryck apologizes for his drunken state, the Belgian

Sum 41 © Tim Tronckoe

beer claimed many victims that weekend!

We headed over to catch the much lauded The Bronx who were incredibly loud, by far the loudest at the festival. Songs like ‘Time to explode’ with the singers shrieking vocals piercing already muffled ears, the crowd crammed in the Eastpak stage but true fans near us say the sound in the tent affects the energetic performance.

AFI , another band whose name I’m obviously familiar with but  are also a band I have never really listened to, are much talked about and opinions seem to vary record by record. Based on their performance I’m an instant convert. The lighting and energy is top notch, best of the festival. It’s almost theatrical but intense as everyone moves about the stage in a flurry, sometime choreographed it seems, but front man Davey Havok is mesmerizing. Like I say I didn’t think I would recognize too much of her material but a number of tracks I knew, ‘Nothing At All’ stands out and the sound is also fantastic as are his vocals. The band has mini platforms from which they perch and also run and interchange sometimes causing

AFI © Tim Tronckoe

near slips on the stage. Song such as ‘The Days Of The Phoenix’ and “Take My Life” both stood out.

Two to go, meaning sadly I had to give H2O a skip due to the overlapping last two main acts on the main stage; Pennywise and headliners and greatly anticipated Bad Religion.

Pennywise, carrying quite some expectation themselves and a fair share or criticism since replacing Jim Lindberg, who with some shock announced his departure from the band late in 2009, with Ignite’s Zoli Teglas. The band though with the ever intimidating Fletcher Dragge played through some older fan favourites and across the spectrum of their previous releases. ‘Every Single Day’, ‘Can’t Believe It’ amongst others placed high on the set list and despite the best intentions of the new front man, it’s not quite the same. The first bars of some songs instantly invoke a particular voice to accompany the song but it’s not Jim’s and also not quite the same energy.

Fletcher addressed the undercurrent feeling and does most the talking mid-set and said despite what everyone might think or feel

Pennywise © Steven Wittevrouw

Pennywise won’t go away or die. He also ties in beers and police in his ranting and leads in with pleaser ‘Fuck Authority’ and songs like ‘Straight Ahead’ and a enjoyable cover of ‘Stand By Me’.  The band has a tough road ahead of them, they have had to overcome tough ones before but the split opinion will no doubt continue. The set ends with Pennywise classics ‘Alien’ and ‘Bro Hymn’ which does receive great support and a lengthy sing along but there is a bitter sweet feeling to it all.

So with tired bodies, burned heads and a lack of sleep (and possibly too much good beer) the wait for final act and much respected Bad Religion on their 30th anniversary tour had arrived. Having spent a bit of time with a couple of the guys earlier in the day my personal admiration for them had only swelled. The crowd had packed into the main stage but it wasn’t as full as expected, certainly a number of people were still across at the other headline acts on the other stages and also some local Belgians had probably started their way home, and I suppose the band are not alien to the Benelux region, having played this festival alone a number of times.

Bad Religion © Tim Tronckoe

From the onset though the familiar vocals of Greg Graffin on ‘Sinister Rouge’ with the rest of the band in tow but no less hidden from the limelight with Jay Bentley often taking to the fore. The 30 year celebration of the band is not ignored by Graffin either saying that Bad Religion has been playing 30 years of good songs to good people which obviously receives a raucous appreciation from the crowd.

The band has amassed such a class back catalogue that choosing set lists no doubt will always leave a few with songs they wish they could have heard but the band would need to be endlessly playing to appease everyone. Thankfully the set list mixture is one that spans the years though from more recent ‘New Dark Ages’ to ‘Recipe for Hate’. The moshpit is understandably a chaotic mess of limbs and Greg looks on in appreciation and admiration declaring that he had to retire from the pit some years ago but ask for everyone to look out for each other.

The set seemed to fly by pretty quick and very few songs are unfamiliar to most in the crowd it seems, and before you knew it ‘Twenty

Bad Religion © Tim Tronckoe

First Century Digital Boy’ is played and the band walks offstage to loud applause and pending encore. The set has been good no doubt, but didn’t feel as amazing as I thought it might, maybe my fault for building up such expectation.

Thankfully the trio of songs chosen for the encore elevates the occasion with ‘Infected’, ‘Punk Rock Song’ and ‘Sorrow’ all played to a deafening sing along and with lungs bursting, I feel the sense of the occasion for the first time. It’s hard to knock Bad Religion and a braver man than I would do so, but 30 years alone, not just surviving but empowering and pushing boundaries within punk rock should result in endless plaudits for the band long after they do call it day.

Thank you Groezrock, and thank you Bad Religion.

Please see our collection of photo’s by Steven Wittevrouw and Tim Tronckoe on a selection of bands who performed at Groezrock 2010.

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