Ciaran's Threshold 2013 Diary//Saturday at the Festival.

Having been otherwise occupied on Friday my first experience of Threshold Festival came early on Saturday afternoon. With Camp and Furnace already getting busy early on, the festival quickly kicked into life as plenty of artists took to their various stages.

My day started with being the solitary audience member for Make Your Mark, a combination of art and dance. The level of grace and creativity shown be the five artists was very impressive and it was easy to relax and enjoy the individualist styles of the participants.

Following this I made a trip to Elevator, via the Unit 51 cafe, to catch up with some of the acoustic acts. I arrived just in time to catch some of Ronan Boyle’s set, his dulcet tones echoing around the room of smiling faces. He was swiftly followed by the immensely talented Caroline England who’s charming personality endeared her immediately to the crowd. A relaxing acoustic sound combined with a powerful voice could only be bettered with the addition of a mouth trumpet solo in a song proclaiming Caroline’s pride in being ginger. After Caroline, Gary Edward Jones took to the stage and also managed to impress the crowd with his mouth trumpet. A talented singer and guitarist, Gary had a strong presence surrounding him on stage and his upbeat demeanour made it very easy for everyone to get into the atmosphere.

To go and get a sense of the other acts offered by the festival I got down to The Picket for a couple of hours to experience a very different side of the festival compared to that on show at Elevator. I walked in to hear the passionate, local poetry of Gerry Potter. The raw emotion dripped from Gerry’s lips as he talked about the city that he loved, contemplating stereotypes and all aspects of Liverpool culture. Following Gerry was the brilliantly entertaining and off-the-wall T.E.Yates. After laying out his army of worker hamsters, Yates took to the stage accompanied by a trumpet and accordion to tell poetic stories with his very unique brand of humour and art thrown in between. The smile was a permanent fixture across his face as he presented various drawings to the crowd, including a series of dog faces followed by the punchline drawing of a catfish. I didn’t get it either but the attitude of Yates still made me laugh out loud.

Now I wasn’t sure what to expect when I heard that the next act would be a burlesque dancer but Mimi Amore had a wonderful rapport with the crowd as she slowly revealed more of herself. Certainly not one for the younger audience but the humorous way in which Mimi presented herself was very entertaining for all those present. To come across as sexy and hilarious at the same time is a real challenge, one that seemed much easier for Mimi than it would for most. She was followed on the stage by one of the appearances of Impropriety, the improv pairing that would present many of the acts throughout the day. With their abstract humour, as well as the odd groan-able pun, the guys came across really well and made the very most of their environment, utilising audience member’s heads during a fight between one of T.E.Yates’ worker hamsters and a 'pegfish’ (a peg...).

By the time this bit of improv came to an end, Felix Hagan and The Family were ready to take to the stage. Felix is a natural performer and his stage presence and glowing grin made it easy for all who were in the increasingly busy Picket to get into the lively music provided. With a solid band, including two members who had stepped in a handful of days earlier, there was almost a storytelling element to the performance as Felix’s style came across like that of a true musical theatre veteran. Cameos from Louis Barabbas and Mimi Amore helped show the friendly and enjoyable nature of the set, Louis really making himself at home on the stage.

I took a brief trip back through the Camp and Furnace to see what was going on, and to get some sustenance, before heading over to Siren to catch a bit of the Fringe Festival. The act I got to see was Sally Pepper, a University of Liverpool student who performs with a gritty punk attitude on an acoustic guitar. Sally had a good amount of patter with the minimal yet attentive crowd and her powerful voice flooded the room and captured the imagination of all involved. 

My final trip of the day took me to see Mashemon (above) in the Gold Room at Camp and Furnace for their audio-visual spectacular. As the music started so too did the screen behind them that accompanied the music, a live four piece band with an additional soundtrack. Lead singer Ronny had some playful banter with a particular individual who seemed very ‘merry’ and was really getting into the music. The sheer volume and power of the band was enough to impress the crowd and the intricacies of the sound added to the aura of the group.

Not a bad way to get my first taste of the festival, already very much looking forward to everything Sunday has to offer! The atmosphere surrounding the festival is so positive and the friendly and helpful nature of everyone involved made the whole day so much more enjoyable. Here’s hoping for more of the same!

Words by Ciaran Steward. Image by Scattershot Photography. 

Threshold Day Three - A Spectacular Finale!

As I woke up on Sunday morning, buzzing for the day ahead, I had no idea of just quite how wide a variety of acts I would spend my day seeing. The previous day had now started to blend into one big memory and I felt the need to go out and immerse myself in various other events to create similar lasting thoughts of the festival.

Arriving just before the crack of noon, I was sent down to cover some of the fringe highlights at the Albert Docks. After a quick perusing of what was on offer, I started my day’s entertainment down in the basement of Baby Blue where Top and Tale were putting on a variety show to a rather minute Sunday morning audience. Presented by ‘The Sirens’, the showcase included abstract sketches, plenty of ukelele, women with beards, and a wonderfully told story from the thoroughly entertaining Daniel Serridge. 

Whilst I was at the docks, I also took the opportunity to pop into PanAm to see some of the acoustic treats on offer, standing out rather obviously from the Mother’s Day crowd. I managed to catch a few artists performing a couple of songs each, the most memorable being a young woman named Alex (she didn’t give any further information) who, upon starting, announced that this was her first gig. The opening night nerves were visible but she was very much a consummate professional who held herself together long enough to keep the crowd’s attention until she departed the stage.

Eventually I managed to pull myself away from the fringe and back up to the Camp and Furnace, just in time to see Artaud On Cruelty. Having no prior knowledge of the subject, I went in bright-eyed and bushy tailed, hoping to learn something from the event. Actor Julian Waite was the perfect presenter of such an event and the combination of his delivery with the visual art of Richard Molony kept the audience aghast throughout, except for a fair few giggles when the screen behind Waite starting to show various different animations of CGI cows. 

Following this performance I made a frantic dash to the Elevator Bar, just in time to catch Matt Kerr perform on ever-changing guitars. Kerr was able to show off his sublime technical knowledge to the slowly growing crowd and by the end of his set most of the bar were hoping for a couple more songs. Returning to the Gold Room, I managed to catch a portion of The Ghost Of Piramida, a harrowing film by Danish director Andreas Koefoed with music supplied by Efterklang. Documenting the band’s visit to the Russian mining town mentioned in the film’s title, the film was able to get emotions flowing with an abstract format combined with the wonderfully dark and menacing music of the band making for a more than suitable accompaniment.

After this I managed to grab a quick coffee at Unit 51 before heading into the talk Reflections of Giants in which a panel discussed the marvellous giants that the city played host to last year. This was probably my highlight of the weekend as the very enthusiastic panel revelled in discussing their fond memories of the event in front of a not quite double-figured crowd, making you feel like you were almost out for lunch with the group. Led by Simon Hedger, the panel consisted of those who had operated the figures (Trevor Fleming and our very own Chris Carney), the dog’s stage manager (Ema Quinn), and Jean Luc Courcoult’s interpreter (Polly Moseley). The hour flew by in a flash and all involved seemed satisfied with the overall discussion.

Next up for me was my good friend Mr Thom Morecroft, performing with band in the Furnace. Thom has got such a brilliantly powerful voice that as I entered the venue during his first song I was able to immediately identify his unique, impressive sound. The 4 members on stage all seemed to be thoroughly enjoying themselves and the audience could be easily seen enjoying themselves and getting involved in the music. Following Thom, I headed into the Blade Factory to watch Jazzhands, an altogether very different experience. 

Not knowing anything about the band, the excessive percussion sections and the use of masks amongst other costumes immediately caught my attention as the heavy handed funk style group proceeded to blow the audience away, perhaps a little too loudly for the small-sized room yet an astonishing impact was still certainly made. After crossing the lobby and pulling myself away from all the marvellous food-y smells on offer I camped out in the Camp to end my day. The Creative Community Choir were incredibly impressive, the range of harmonies filling the space and the identifiability of the songs chosen helped endear them to their audience. 

There was such a positive nature to the choir that seemed to lift everyone’s spirits, particularly those of the new weary volunteers who were starting to wilt after such a hectic weekend. The final curtain for me was drawn by Operation Lightfoot whose combination of atmospheric, moving music worked together with some very vivid and message-ridden visuals to get the brains of the audience ticking. With wonderful vocal harmonies and an impressive overall stage sound, the crowd were very happy to immerse themselves in this unique act.

Threshold has been a brilliant experience for me, as i’m sure it has for most people involved, and my only thoughts now are about making sure I can get back to the festival again next year! Truly, this has been an event to be proud of.

Day One: The circus comes to town!

Following the wonderful yarnbombing that adorns Jamaica Street, I arrived at Camp & Furnace on Friday night for the launch of the Threshold Festival 2013 to a scene reminiscent of a mad movie.

The scene was one of volunteers getting everyone to where they needed to be, photographers capturing the venue from every angle, bands lugging instruments and setting up equipment, and festival-goers taking it all in while supping on the Festival's own beer, specially commissioned from Liverpool Craft Brewery.

Amid all the hustle and bustle  Festival Director Kaya Carney showed not a single sign of launch night nerves as she serenely directed the scene to make sure everyone had what they needed and got to where they needed to be.

Bring The Fire Project get the party started

I wandered down to Camp for the big launch amid an increasingly excited crowd. Kaya along with fellow Festival Director Chris Carney opened the proceedings in style and that's when the fun really began.

Hoisted aloft by a gaggle of exotically garbed, bejewelled women from Mr Wolf Collective, a giant papier mache elephant made its way through the crowd followed by a gobsmacking display from the Bring The Fire Project. It was as if Oller and Zidler's Moulin Rouge of 1890 had been kicked around and landed in Liverpool of 2013 as the Day 1 theme of Escapism was brought extravagantly to life.

Spread across venues all over the Baltic Triangle, the Festival has the feel of a village that's home to musicians and artists and it's a testament to everyone involved that it radiates a feeling of optimism that no rainy Friday evening or dire economic climate can diminish.

Heading to the first floor, I was treated to some of the most interesting and exciting art I've seen for a while. I'll shine a spotlight on the exhibits by Pamela Sullivan and Janet Wilkinson, Jazamin Sinclair, Matt Seamless and Liverpool Art Prize 2012 Winner Robyn Woolston in future posts.

Pamela Sullivan and Janet Wilkison's trees bring a touch of magic to Camp & Furnace

I pootled over to the Elevator Bar and witnessed The Ragamuffins tearing up the place with some pounding Northern Soul-style, Dexy's inspired tunes. Original numbers, like the possibly inaccurate "It Never Rains In Mossley Hill" were played loud and raw against a background of pugilistic brass that punched metaphorical holes right through the gorgeously decorated walls of the Elevator.

The Ragamuffins were followed by Fidel Afro who played a solid set of banging rock with excellent, crowd pleasing guitars and drums. 

As I headed home in drizzling rain, I was so so so impressed that these bands and artists are all true to the Threshold Festival's grass roots agenda of showcasing high quality talent from emerging artists. Can't wait to see what Day 2 brings with it. 

Words by Andrea McGuire, photographs by Michael Kirkham

Threshold Festival Diary//Emma Cruce's Day One

ESCAPISM was the aim and all at Threshold last night certainly felt they were in another world. In every corner of Camp and Furnace lurked unusual and thought provoking pieces of art, dazzling spectacles, circus folk hanging from the rafters and some amazing tunes.

One of the highlights of the night was the incredible feats performed by Ioisis. Their performers twisted and turned and climbed to the heights using metal hoops and simple hanging loops of ribbon. Many of the gymnastics performed would be worthy of a yoga master on the ground. However Ioisis performers did all that and more just hanging by a thread. As the artists climbed and wrapped the ribbon around their limbs they got higher and higher. Then plummeting dramatically making the crowd gasp, they bowed suspended by just one limb. The last Ioisis performance was a duo who flipped and turned, defying gravity. Careful grasping of each others' hands was the only thing between them and the concrete floor below.

After watching the performers the crowds were ready for some tunes. In Camp and Furnace, ME and Deboe got feet tapping and the Tone Puppets pulled everyone's dancing strings. When Ottersgear appeared with their brand of folk music revelry, the spirit of a ceilidh descended and we all escaped for a magic moment. It makes you wonder what other delights Threshold will deliver today.

Words by Emma Cruces, Photography by Paul Owen Creative

Fire Starters Kick Off Threshold Festival!

Just one more sleep until the Threshold Festival begins in a carnival atmosphere at Camp and Furnace tomorrow night. One of the most exciting dimensions of the festival is the performance element on offer to add colour and spice. One I personally cannot wait to see is Liverpool's own Bring The Fire Project. The choreographed fire show takes theatrics to a whole new level using fire to create swirling patterns against a canvas of darkness. The group use stage craft and even levitation to create unforgettable moments and don't stop until they have taken your breath away. Bring the Fire Project are at Camp and Furnace at the aptly named Circus Camp to a launch a festival with a difference from 7pm!

Interview with Thom Morecroft

I managed to catch up with Thom Morecroft in Leaf to discuss his appearance this weekend at Threshold. He arrived suitably late but made up for his poor time-keeping with a constant smile and brilliant attitude.

Are you looking forward to playing at Threshold?

Oh definitely, it’s going to be wonderful.

Will you be playing with a band?

Yeah, it’s a five-piece band; we’ve got a bass player now, that’s a new thing, he’s a nice man called Adam. There’s a female singer called Elle Schillereff, the percussionist is Chris Cousineau, and a guitarist called James Baxter.

So do you and Elle share the vocals?

Well, kind of, i’d say that we share them so (shrugs).

Are you going to be playing songs from your new album or from other places?

Probably all the stuff of the new album or just new songs. I don’t really play songs of the old album, it was a long time ago, there’s some stuff on it I quite like but I just don’t play anything off it. I might play ‘Oh Rocko’...

Do you feel like you’ve moved on a bit since then?

I don’t know about that, I think we probably just haven’t got around to playing anything off it because I didn’t know [the band] then.

I hear you’ll be keeping busy across the weekend.

Yeah, i’m doing a 25 minute set for my set and then the Paul Du Noyer thing, so i’m on at 16.55 in the Camp and Furnace on the Paper Garden stage and then Paul Du Noyer is having a book session thing, he wrote for Q and NME and was apparently one of the founding co-editors of Mojo magazine. Actually, I don’t know why I said apparently, it’s not like I don’t believe him. He wrote this book about the Liverpool music scene and he has a list of 100 songs and i’m playing 3 of them apparently for that, well I am, there’s nothing apparently about it.

You’re playing some saxophone as well?

I am, for the Terry Gray band who I think are on sometime after half twelve, at half one I think (The stage time is actually half twelve-CS). All on the Sunday.

Are you planning to make the most of the Friday and Saturday while you have the time?

Definitely, i’m going to make a big point of watching Silent Cities, I mean, I won’t bring banners with me or anything. Robert Vincent, Natalie McCool, there are so many people to see, Chris and Kaya are lovely people, the guys who run the festival. I played last year at the Cafe Bar in the Nordic church quite late on the Saturday night as a 2-piece, it was quite fun.

You’re glad to be asked back then?

Oh yes, i’m so happy they asked me back, I was dancing round the room. The sample of acts that Chris and Kaya have is incredible, they take everything from the up-and-coming alongside people who are more ‘hidden nuggets’, people like Tom George.

Thom Morecroft will be performing on Sunday at Camp and Furnace on the Paper Garden stage from 16.55. He also runs an acoustic night on Tuesdays at Schmooze and can be found at www.facebook.com/thommorecroftmusic and on Twitter: @thommorecroft.

Promoter Focus// The Roost

BILLED as 62 per cent art and 76 per cent music (one per cent miscellaneous),
The Roost add up to an experience not to be missed. The sum of their parts is Michael Stevenson and Josephine Scales. Michael is a musician and founder member of the band Statement Haircut and Josephine is a graphic artist. Together and sometimes with the help of others they create a blend
of both worlds in their stunning events.

Back for the third year at Threshold, they are determined to satisfy this latest
encore with a line up of treats.

Over Friday and Saturday, The Roost will be nested at Camp and Furnace's upstairs Gold Room and filling the whopping 76ft long space with the following line up:

Triphazard
Statement Haircut
So Sexual
Muto Leo
Pixels
Phonetics
Mashemon
beLOey
Orian
M O A T S
Gastric Band
Speed Pets
The Tin Foil Hat Brigade
Antoinette
DJ Karpia

Time Slips: Threshold 2012 Day One

Just to get you excited for the marathon of fun that is coming we though we'd show you just how much we enjoyed the first day of last years Threshold Festival. Seriously, it was funky! It was also cool, inspiring, thrilling and any other positive adjective you could choose to use as well...

The festival experience is one that can vary immensely from person to person, site to site or venue to venue but whereas last years festival was the biggest indoor one in Europe - No mean feat - this years is seeking to be an experience like no other for quite a while. (At least until the next one!)

Indeed the unmarked but very identifiable Camp and Furnace served as the buzzing hub. From the decorated lamp posts outside draped with knit ware to the brilliantly hand scrawled ‘Threshold Launch this way’ sign by the easily missed but easily opened door it was a hive of activity that typifies the Threshold values of pushing yourself to the very edge of your abilities. 

If you were looking for something it was probably there and very attainable. You wanted art? It was on the first floor with another thought provoking installation from Liverpool Art Prize nominee Robyn Woolston and HeadSpace’s visual art gallery. You wanted music? It was in every corner, down every corridor and probably in the food and drink too. And if you know the old saying about music food and love then let them play on I say! 

There was much more on offer too with the much recommended Threshold beverage wetting many lips as they passed through crowds illuminated by strobe lights, dancing men on the walls, stilt walkers, some punning porta-loos, impromptu dancing and if you were feeling down for any reason at all you could always visit the cuddle corner for the gift that is said to be ‘like a boomerang’ because you get it back right away. Look out for a short interview with these Happy Hugger’s later as well as reports from the rest of the festival. 

But getting down to the nitty gritty, here are my highlights of the evening. First up the atmosphere in both Camp and Furnace and Elevator Bar was captivating, with the same familiar buzz from last years event present and correct. Music wise there was much to sample from and in between diving down the A to Z corridor (as I have christened it) to meet people or check out the artists I was impressed by a lot of artists but the best were Rumjig, with their reggae and funk inspired acoustic pop and if you didn’t get a copy of the CD they offered during the set you really should kick yourself!

Another impressive prospect on the Under The Influence stage was Science of the Lamps with their almost chamber music sound drawing you under a magic vail of  true class. With a new single out you need to check out the band immediately, but finish reading this first though as there’s more to come…

Moving up the stairs to the first floor we have Robyn Woolston’s impressive installation of plastic forks in a delicately balanced wave-like formation themed around wastage in the world and it is truly an epic installation with all components of the plastic forks packaging from the box to the plastic wrapping finding their way into the display. A truly wonderful piece of art and there will be more to come on all things Threshold very soon…

Sebastian Gahan, Editor. 

Originally published at Seba Rashii Culture Zine and Threshold 2012 Blog.