It's quarter to 11 p.m. on Saturday, Aug. 19, and a weary Richard Ashcroft is singing "Thank you for letting me be myself," adlibbing during "Bitter Sweet Symphony" on his first major solo outing since dissolving the Verve. He may be speaking to the thousands of revelers, who are more than politely attempting to make sense of a) why without any substantial solo work he's headlining Britain's V2000 festival and b) why he's performing a set almost entirely of Verve songs in the first place, but he's also turning himself into the spokesperson of the event.

With June's Glastonbury Festival, a Mecca since the days of Woodstock for the British hippie dread-locked set, and Reading at the end of August, world renowned for its heavy hitting rock line-up, V2000, like Ashcroft, is trying to be accepted for just being itself. The eclectic five-year-old event has this year drawn an array of artists including Paul Weller, Joe Strummer, James and All Saints, who like Ashcroft, are hoping to re-establish themselves. And tossing among them are buzz bin acts like Kelis, Macy Gray, Bloodhound Gang and Semisonic, all working to prove they have staying power. But it's not a bill entirely made up of struggle. The two-day event held at Weston Park, Staffordshire (near Manchester), and Hyde Park, Chelmsford (near London) managed to nab Scottish superstar act Travis, who really are as massive in the U.K. as you heard they were.

Kicking the festival off, though, are the hotly touted up-and-coming British bands, who all want to be Travis. There's Mercury music prize nominee Coldplay, the sheepish and somber British Dave Matthews Band, and standardly dull Toploader, who prove themselves not as much of the big deal they'd like to be. This provides, of course, more than a clever lead in for Cypress Hill, who bang out favorites like "Rap Superstar," injecting the crowd with their sunny Californian enthusiasm, and turn what seemed to be a lazy event into a raucous little party. Representing the East Coast is New Yorker Kelis, who gets very much the same reaction in an adjoining arena, storming through a sexy urban-chic set that includes an insanely soulful version of Grandmaster Flash's "White Lines."

As the evening fades on, hip fades to hippie as one of Britain's favorite festival bands, James, they of Laid fame, hit the main stage. While almost resigned to be one-hit-wonders stateside, they have a wealth of popular material they can draw from here, and do, to ebullient, grinning fans. The same sort of fans who greet former Jam guru Paul Weller, who stays strictly to his solo material, which is not the case for former Clash frontman Joe Strummer. With the festival rumor backstage that Strummer is refusing to talk about the Clash nowadays, it seems odd he relies so heavily on his former outfit's material for his set, a trend continued by Ashcroft.

Although he may have writing credit for most of the Verve's material, Ashcroft and his backing band certainly don't perform "Lucky Man" and "The Drugs Don't Work" with any ownership. Tight and perfect, the band churns them out over-produced and soulless, while Ashcroft's tender vocals stand out oddly, ringing desperately through the air. Combined with the warmth and confidence he performs his solo material with, this welcome back show leaves many strangely confused.

Sunday though, the only confusion are the few audience members who haven't heard about the Bloodhound Gang's cola challenge -- the one where they offer a fan $100 to drink a crate by the time they finish their set. It's all typical Bart Simpson debauchery that ends with "The Bad Touch," but not before frontman Jimmy Pop accidentally lights his hair on fire after burning a festival hat tossed up from the crowd.

There's certainly no physical damage during Underworld though, who still manage to burn up the stage. Nestled in a sweaty little tent, their glistening melodies charm a diverse gathering of children, ravers, grandparents and even security who despite their posted duties, keep sneaking in for a cheeky glimpse of the tremendous live show that reminds everyone that despite being produced with computers, electronica can have a heart.

Travis do manage though to be the main draw, which is a given considering The Man Who has spent fifty-nine weeks on the British charts. Couples huddled around small, gentle, makeshift campfires (this certainly isn't Woodstock), cozy together to sing along with the chirpy quartet for "Good Feeling," "Why Does It Always Rain on Me?" and "Turn," the single that really launched the band in England to major stardom. Just as they finish and the festival draws to a close, the first drops of rain start to fall as if on cue, almost giving mother nature's seal of approval that V will continue to have a place to catch up with old friends, and make a few new ones.

JOLIE LASH
(August 22, 2000)