Photo: WENN
"I know it's 2016, but in my mind it's fucking 1969," Iggy Pop snarled as he powered through his Saturday night show on the main stage. It's not just Iggy's head that drifted back to another musical era over the weekend though - Isle of Wight Festival's 2016 lineup was dominated by acts of decades gone by. Headline performances from The Who, Queen, Faithless and Stereophonics almost made us question if we'd slipped-through some sort of time vortex during the short ferry ride to the island, into a universe where Mike and The Mechanics and The Corrs can still snag main stage festival slots.
Friday
Friday afternoon threw us an unexpected start to our festival, with another blast from the past - the recently reformed 00s pop-rockers Busted. The unlikely return of Charlie Simpson answered the prayers of thousands, who spent their early teenage years with the band's two albums in heavy rotation. New songs do however suggest a shift in style, as James Bourne swaps his guitar for keytar on a new track, which featured a Van Halen 'Jump' style synth line.
It's hits like 'Air Hostess' and 'You Said No' people were eager to hear though, and whether attended with a sense of nostalgia-driven irony or not, the set prompted sing-along's of epic proportions and straight-up pop hysteria.
(Photographer: Andy Sidders)
Over in The Big Top, Stockport's breakthrough band of the moment Blossoms began their jam-packed summer of festivals and massive support slots, as the release of their debut album looms ever closer. The shimmering pop love song 'Getaway', alongside the sinister groove of 'Smoke' and pounding 'At Most A Kiss' formed a well-rounded setlist made for festival crowds.
We caught-up with Blossoms a number of times on their ascent to stardom this year - but they seem to have found their natural habitat in the form of the darkened, vast space of a festival tent.
(Photographer: Andy Sidders)
Up against the Stereophonics and the first game of the Euros, the country-tinged sound of Lissie rang out to a disappointingly sparse Big Top crowd on Friday evening. Backed by a five-piece band - including her tour-manager on bass - the California-born songwriter echoed nuances of last year's headliners Fleetwood Mac. The slow-burning My Wild West track 'Shroud' eclipsed the album version as Lissie belted out "I feel like I've lost my mind" after the solo live rendition exploded into a powerful full- band finale.
While making our way back over to the main stage, still wondering how Stereophonics and Faithless are headlining festivals in 2016, the sheer size of the crowd for The 'Phonics suggested I underestimated their popularity. After a confetti backwind mishap during the encore of 'Dakota' left the speaker rigs and stage wrapped in streamers, it was time for Faithless to round-off day one of the festival.
"You look fantastic Isle of Wight..." Maxi Jazz told the crowd following a dramatic instrumental introduction. "...People, are you ready?!". Tracks like 'God Is A DJ', 'Mass Destruction' and 'Insomnia' appeared surprisingly early in the set, as a torrent of lazers were unleashed above the field. Jazz remained calm and collected in the centre of the mayhem around him.
Genres collided when their live band segued from an AC/DC interlude of 'Back in Black' back into dancefloor bedlam. Faithless might not have had a hit record in over a decade, but their live show is certainly something to behold.
(Photographer: Andy Sidders)
Saturday
With Isle of Wight Festival remembering David Bowie across the whole weekend, Saturday lunch time saw a sea of Aladdin Sane-masked festival goers flock to the main stage to be part of one celebratory tribute to the icon, who played his last ever UK show at the festival back in 2004.
Though a strange collaboration of Spandau Ballet's Gary Kemp (is he the one from Eastenders?) and Andrea Corr marked the occasion with a rendition of 'Starman' - watching from the pit as fans sang along at the stage Bowie once graced was a special moment indeed.
Sandwiched between their idol Iggy Pop and The Corrs, Alison Mosshart and Jamie Hince brought the recently released Ash & Ice record to life. A space of such size isn't the best suited environment for The Kills - a band who have previously admitted a dislike for sunlight and open-air shows - yet the duo's evolution into a four-piece made for a smoother transition to the main stage.
Their beefed-up live sound gave extra bite tracks like Midnight Boom cut 'URA Fever' while Ash & Ice's 'Impossible Tracks' stood out from new material. VV and Hotel closed the uncomfortable space between each other and the crowd - sitting on monitors together at the edge of the stage for an extended outro of set highlight 'Baby Says'.
Saturday's crowd wasn't fully awake though until Iggy Pop opened his early evening set with 'The Passenger'. Like a shot of adrenaline, the opening chords took the crowd by surprise and ramped -up the energy at the main stage in an instant.
(Photographer: Andy Sidders)
Sadly, the powerhouse supergroup of Josh Homme, Matt Helders and Dean Fertita - who played on Post Pop Depression and backed recent live shows - didn't appear at the festival, but it didn't matter - Pop went full-throttle punk. "He we go cocksuckers" he slurred after a high energy burst of 'Lust For Life" followed.
Strutting around the stage with his microphone tucked into his jeans waistband during 'Real Wild Child (Wild One), Iggy powered-through his set of classics and new material. "This is from my new motherfucking album!" he barked at the crowd, before unveiling Post Pop Depression tracks 'Sunday' and 'Gardenia'. You need to see this man live.
Sunday
By the time Sunday arrived, the sea of Bowie faces had been invaded by Freddie Mercury doppelgangers - sporting moustaches, wigs and skirts - paying homage to the iconic 'I Want To Break Free' video - we even spotted one Freddie dragging a hoover through the mud...dedication.
"We're winning you over man, I can tell" Ryan Jarman smirked as The Cribs used their Wakefield charm on the diehard Queen fans, who were glued to the stage barrier from early that afternoon.
Kicking-off with 2006's indie anthem 'Mirror Kisses' the Jarman's stormed through a career-spanning set which included 'Men's Needs' and 'Another Number'. Ryan Jarman's refusal to remain in one place had The Cribs roadie working overtime, as he descended on to the extended stage in the photo pit, that had been put in place for Queen's headline show.
(Photographer: Andy Sidders)
While the Queen celebrated her 90th birthday, anticipation for rock royalty's headline show built across the site.
Brian May emerging from smoke draped in a silver cloak, looking like some kind of rock wizard proved Queen's set was every bit over the top and theatrical as expected - with costume changes, a second stage, fireworks and glitter marking the occasion.
(Photographer: Andy Sidders)
While there's no doubt they have the hits and legacy behind them - something about a band continuing to play 25 years after their lead singer's death doesn't sit quite right. Saying that, Adam Lambert is more than capable of taking-on frontman duties, while drawing reference to Freddie Mercury throughout the show.
Celebrating 40 years of 'Bohemian Rhapsody' Mercury appeared on screen to 'duet' with Lambert during the set, which included nothing but classics. Queen will never be the band they once were, but the Isle of Wight crowd suggested the appeal for their music is still very much alive.
