The Shiiine On Weekender which took place at Butlin’s Holiday Park in Minehead from Friday 15th to Sunday 17th November was a trip down memory lane for a demographic that certainly appreciated the nostalgia.

I arrived on Friday lunchtime, fresh faced and raring to go, I left on Monday morning a broken but very happy man, I had photographed many bands that I never had the chance to back in the day and met a number of my all time heroes, here’s a recap of my weekend experience…

Friday

I settled into the caravan I was sharing with a bunch of people from the Gig Life Crisis team and with little happening before mid-afternoon, I cracked open a cheeky cider to help me get into the mood!

The first act I saw on the main stage was EASY, a Swedish six-piece band known for their unique blend of shoegaze and post-punk. EASY brought a perfect mix of dreamy atmospherics and gritty, energetic riffs to kick off the weekend. Despite a rocky start—literally—their van broke down on the way to Minehead. Two members braved a chilly night in the van guarding the gear while the rest found comfort in a proper bed. Their resilience paid off, delivering a performance that left the crowd buzzing.

Next up, The Real People took the main stage. This band, formed by the Griffiths brothers, are like an English version of Crowded House but with a distinct Scouse twist. Before their set, I had a chance to chat with the band, and they were genuinely thrilled to be playing the main stage after a few years on smaller stages. Their performance was a masterclass in crowd-pleasing, with a setlist that had everyone singing along and dancing. Friday late afternoon was the perfect time for their set, which really set the scene for the rest of the evening's entertainment. Sadly, the band weren’t sticking around after their set, and guitarist Chris Griffiths wasn't looking forward to the long drive back to Liverpool. If you missed their set, you missed out on a true slice of 90s nostalgia.

Jim-Bob put on a dazzling display of showmanship with Chris-TT. Their stripped-down, emotional set would have suited the intimate vibe of a smoky French jazz club. The setlist, heavily featuring Carter USM classics, was a nostalgic treat. However, the beautifully pared-back renditions of "Good Grief Charlie Brown" and "GI Blues" stood out, smouldering with raw emotion. Jim-Bob's performance was a masterclass in delivering familiar hits with a fresh, emotional depth, proving that sometimes less is more.

Reverend and the Makers delivered a high-energy performance that had the crowd bouncing. Fronted by the charismatic Jon McClure, this Sheffield-based outfit knows how to get the party started. Their performance of "Heavyweight Champion of the World" was an obvious hit, but the rest of the set continued to deliver the goods and plaster smiles on the faces of the capacity crowd, making them the perfect act to set the tone for the evening.

Kula Shaker put on a spellbinding performance. Led by the charismatic Crispian Mills, they delivered a heady mix of Indian vibes and indie melodies that transported the audience back to the 90s while also propelling them into the present day. Crispian looked sharp and on form, while Jay Darlington dazzled with his exquisite keyboard skills on his vintage Hammond organ. With a rich discography that includes hits like "Tattva" and "Govinda," Kula Shaker had no shortage of tracks to choose from, ensuring a memorable setlist. They never disappoint!

Next was a dynamic performance by Ecko, a Scottish four-piece indie rock band. Despite their youthful energy, these cheeky scamps delivered a sound that far surpassed their years, pulling a huge crowd to the 'centre stage' venue after Kula Shaker's set. With a confident and tight sound, their performance proved they had real potential. Keep an eye out for Ecko—they're definitely one to watch.

BLESS, a five-piece band fronted by a charismatic frontman who appears to be the love child of Jarvis Cocker and Paul Weller, blended their signature indie sound with art rock sensibilities. Despite missing Kula Shaker's set due to soundcheck duties, the bass player of BLESS was over the moon when I presented him with a setlist and one of Crispian's guitar picks from the show.

A dubious character (might have been their manager) handed out flyers for a band called SACK, a five-piece post-punk band from Dublin. Their music, heavily bass-centric and reminiscent of Joy Division-era post-punk, brought a raw, energetic vibe to the stage. Despite being pitched against a New Order tribute band at the same time, SACK managed to pull a dedicated crowd. Those who attended would have been converted to firm fans of these Irish rockers, who truly deserve to be heard.

I retired to our caravan just after midnight—yes, I missed Bez doing his DJ set, but you can't win them all! Saturday looked like it was going to be a solid day of events, starting at 11 AM with Steve Lamacq chatting to the one and only Jim-Bob from Carter, something I was keen not to miss. Goodnight, sleepyheads, catch you in the morning.

Saturday

Legendary DJ Steve Lamacq sat down with Jim-Bob (best known as half of the iconic duo Carter the Unstoppable Sex Machine) at the ungodly hour of 11 AM on Saturday, for an insightful interview that delved deep into his creative process around his new book, Where Songs Come From – The Lyrics and Origin Stories of 150 Solo and Carter USM Songs. The interview offered fans a rare glimpse into the stories behind his music.

One of the topics discussed was whether the music or lyrics came first in Jim-Bob's songwriting process. Using the analogy of a cream tea, he explained that if you're from Cornwall, it's lyrics first; if you're from Devon, it's melodies first; and if you live on the Tamar Bridge, you do both at the same time. This whimsical explanation highlighted the fluid nature of his creative process. Jim-Bob also shared a poignant story about 'the murder mile', a reference to an old Carter track and the location where he was mugged not so long ago. He spoke of the passing of his father, relaying a touching anecdote involving one of the pallbearers who was the singer of a band called 999, who worked at the cemetery.

The interview shed light on the origins of some key Carter songs, which often name-checked places like Brixton, Tulse Hill, and New Cross—areas Jim-Bob himself never lived in but were home to his bandmate Les Carter. Inspired by news stories and inner-city crime, songs like "Sheriff Fatman" were born from newspaper scoops. Jim-Bob has a knack for incorporating quirky references into his lyrics, with 'the great cucumber robberies' being a standout.

This interview was a rare opportunity to get inside Jim-Bob’s head, offering fans deeper insights into the mind behind some of their favourite tracks. Following the interview, Jim-Bob held a book signing session, which left fans, including myself, eager to dive into his latest hardback work and explore the stories behind the songs that shaped our musical youth. For those unable to attend, you can purchase a copy of the book HERE

Next, I popped into Centre Stage to watch Kirk Field’s ‘Rave New World’ talk. This whistle-stop tour through the life of a roving dance music journalist started with his early days as a singer in a ski resort duo in the 1980s. From there, he transitioned to Mixmag magazine as a reporter, attending many of the UK's earliest raves and free parties. His career took him to Ibiza and beyond, reporting on the burgeoning dance music scene. The talk included some very amusing anecdotes, like modifying his date of birth on his passport to enjoy 50% off rail travel with a Young Person’s Railcard. His tales left the audience both entertained and amazed at the audacious adventures of those heady days of dance music. If you missed the talk but wanted to get your hands on the book, you can order it HERE

Kingmaker AD were next on in Reds, and armed with my camera, I went to see how their set was progressing. The last time I saw them was in 1992 on their 'Eat Yourself Whole' UK tour. They played a great mix of tracks from their debut album and later material. One thing is clear—they've still got it. Their sound was tight, and the bass player can still play the melodies flawlessly. Bravo!

Bentley Rhythm Ace followed with a performance that upped the ante. I last saw these guys in 2023 on the main stage. This year, it was the Centre Stage venue, which was buzzing with party-goers who may have still been up from the night before. The show kicked off with a melee of bass and drums, and Jamesy worked his magic on his machine while a flag-bearing Elvis danced about the stage. The mighty Fuzz Townshend on drums sounded immense, and Richard's bass notes did their best to loosen the filling in my molar! They put on a party of epic proportions, even without the main stage.

Deja Vega returned to the main stage on Saturday afternoon after hitting all the right notes last year. Their sound—guitar and synth-based heavy rock—was strong, persistent, and punishingly good. They played one track that built and built, ending almost deafeningly. Absolutely amazing work, lads. See you in 2025?

The Farm performed a stellar set, showcasing their back catalogue and a couple of new numbers from their upcoming 2025 album. The classics like 'Groovy Train' and 'All Together Now' created anthemic singalongs with the capacity crowd. Their cover of 'Bank Robber' by The Clash was immense.

The Lightning Seeds are a band that could easily be labeled as national treasures. They've been going for 35 years, pleasing crowds with their timeless hits. I briefly caught up with Ian Broudie before the show to thank him for his interview with Tonic Music for Mental Health charity earlier in the day. Their set was crowd-pleasing from start to finish, with hits like 'Lucky You', 'Life of Riley', and newer material resonating with passionate fans. 'Pure' sounded as fresh as the day it dropped. With England's recent win against Greece, 'Three Lions' was the perfect closer, prompting a mass singalong.

Unfortunately, Echo and the Bunnymen did not allow anyone in the photo pit during their performance. Watching from the side of the stage, I found their smoke-filled, dimly lit setup a bit underwhelming. Their setlist wasn’t as ‘classic’ as I'd hoped, with only 'Killing Moon' standing out. I decided to catch up with friends elsewhere instead of staying for the whole set.

Mozart Estate kicked off the day with their five-piece ensemble of keys, bass, guitar, drums, and vocals. Their sound was bass and keyboard heavy, with solid grooves and a hint of bubblegum/slacker pop. The result was a catchy and infectious sound that you should definitely check out if you get the chance.

The Herbaliser Band were a new discovery for me, and I'm so glad I decided to check them out. The stage was packed with eight members, each strategically positioned to join forces for their set. Their genre could best be described as jazz/funk with elements of soul and hip-hop. It’s rare to see a live scratch DJ spinning and cutting while a flute player goes to town on a solo. Add in tight bass, oodles of brass, a squealing Hammond organ, and bongos and drums, and you have a complete sound that's truly immense. I urge you to check them out whenever you can—they're fantastic!

The Wedding Present are celebrating the 35th anniversary of their album Bizarro—yes, it really came out in 1989! Their set was class from start to finish, featuring hits from Bizarro and a mix of other songs from Gedge's lengthy career. The lineup of the band may change as often as you switch venues at Shiiine On, but you love the ‘Weddoes’ regardless of who's thumping the drums or plucking the bass. They're still going strong and loving what they do, which is enough for me and the roomful of people who came to see them tonight. Highlight from their set? ‘Dalliance’ is one of my all-time faves, and as soon as the opening notes of ‘Kennedy’ kicked in, I sensed an epic mosh pit coming. My ‘spidey-senses’ were spot on. We even saw a crowd surfer—the only one of the weekend!

Jim-Bob mentioned that Abdoujaparov were playing very late on Saturday night/Sunday morning, and it was a treat to finally catch them live. The band, featuring the lovable Les Carter of Carter USM fame, played a superb set of frantically paced tracks that kept everyone energized, even at 1:23 AM. One track was about looting, another called ‘Fingers’. Audience participation later in the set was a fun touch. Les’s excuse was that it was early enough in the morning to make it viable, so we had no choice but to join in! He sang of ‘nice little lives’ and ‘monsters in his garden,’ which raised a smile on my face at such a late hour.

After a long and eventful day, I retired to my caravan for some much-needed sleep before the final day of Shiiine On.

Sunday

First up, it was off to Studio 36 to watch an interview with Brian Cannon, who runs a graphic design company in the North West called Microdot. You might have visited his pop-up store on the boardwalk as you walked into the main arena from the Inn on the Green. Brian is single-handedly responsible for the design of some of the most well-known album covers by the likes of The Verve, OASIS, The Super Furry Animals, and CAST.

Brian explained how he got his first ‘gig’ designing an album sleeve for The Verve after meeting Richard Ashcroft at a party. He also worked with Alan McGee (Creation Records), who asked him to design artwork for his latest band, The Super Furry Animals. He then met Noel Gallagher and forged a strong relationship, resulting in him producing the artwork for everything that Oasis put out in the 90s. Like many struggling artists, Brian spoke about his early days, surviving on food parcels from his mother—a reality for many in the creative industry. Brian admitted he wasn't aware of the Oasis reunion when the news broke in August but said the Oasis management team had been in touch to discuss a major repackaging job.

After the interview, the audience asked some great questions. One was about project deadlines and his all-time favourite cover, which Brian answered was for CAST's track "Flying," featuring Noel Gallagher's hairdresser! Brian’s work is renowned and has been lauded as some of the best in the industry, with two of his album covers featuring in the top 10 best covers of all time poll. What I found fascinating was how he approached each project and what went into each piece. Brian admitted he immerses himself in the band—going to their live shows, spending time in the studio, and ensuring he hears the music and reads the lyrics. When I asked about the most challenging piece of work he was involved in, he said it was when he had to “stick a Rolls Royce in a swimming pool” for the ‘Be Here Now’ Oasis cover. They hired the car from a scrapyard and when it was time to return it, the Silver Lady from the front was missing. The scrapyard wanted to charge him £5,000, but to this day, Brian said he never paid it nor found out who took it!

I then headed to the Tonic Music for Mental Health pop-up shop (set up in the ice cream parlour) for an afternoon of interviews and live DJ sets from the likes of James Atkins (EMF) and Barry Ashworth (Dub Pistols). Barry, one of the patron saints of the charity, is involved as often as he can and even has a massive area set aside for the charity at his ‘Mucky Weekender’ festival in Winchester every September. James’s set was off the scale—full-on late 80s acid house was exactly what people needed to get going on a Sunday morning! I chatted with the event organiser after James's set, and she explained that the charity attends festivals and gigs nationwide, offering support to people in the music industry who need a listening ear and a hand to get back on top of things. I urge you to get involved with this charity if you can, even if just for a couple of hours at a show or festival—you never know when you or a loved one might need their services.

The Men They Couldn't Hang, fronted by the charismatic Stefan Cush and Phil "Swill" Odgers, delivered a set that was both nostalgic and invigorating. Early hits like "The Green Fields of France" and "Ghosts of Cable Street" went down well with the crowd, showcasing their ability to blend political commentary with compelling melodies.

Up next was Miles Hunt (aka Milo) with his solo acoustic set, which included audience participation to help out with the guitar solos and high notes (bless him). He told a humorous story about hearing Bob Dylan’s Live at Budokan album and how it influenced his dream of fans going mad when they recognised a track. This dream came true for him in Glossop recently (with at least 4 people in the audience), this naturally prompted a large cheer when he launched into the opening notes of "Caught in my Shadow." Other highlights from his set included the fast-paced "Unbearable" and "Mission Drive." Miles shared fascinating stories, including playing at the Secret Solstice Icelandic music festival under the midnight sun at 1am in broad daylight where he and the tour manager were involved a run-in with Bob Dylan’s security. He also humorously mentioned how he used to dread singing certain words in "Hot Love Now" at shows, often handing the microphone to the audience, which sometimes led to unexpected ‘Bon Jovi’ style moments.

Unbelievable Truth was a band I'd not come across before. Their set was filled with mellow, acoustic-led pop/rock performed by a five-piece band. It sounded sharp and was certainly in keeping with the evening's acts, including Starsailor and the mighty Embrace.

Mick Head and the Red Elastic Band performed a mellow, chilled set full of sublime songs sung from the heart. Their music combined the perfect mix of laid-back and heartfelt subject matter, with a trumpet in the mix giving it a real Belle and Sebastian edge. The more upbeat numbers were perfectly executed and had 'Sunday main stage' written all over them. Bravo!

Tonight was my first time seeing Starsailor live, and they did not disappoint. They took to the main stage right on time and delivered a perfect set filled with their trademark tracks like "Alcoholic," "Four to the Floor," and "Silence Is Easy," which people have loved since the band formed in 2000. Their laid-back, chilled set was the perfect way to enjoy the final hours of Shiiine On, and by the looks of the audience, everyone loved every moment!

I popped back into the Tonic Music for Mental Health pop-up shop to find Barry Ashworth closing his DJ set. He was off to soundcheck for the Dub Pistols show later in the evening. I walked him to the Centre Stage venue and sat in on the soundcheck—it was a colourful affair. After a few minutes, the mighty Bez (from Happy Mondays fame) showed up, as his wife is the singer in a band called Fuzzbox, who were performing earlier in the evening.

It was back to the main stage to catch the Sunday night headline act, Embrace. They kicked off their set with the big guns, including "All You Good Good People" and "Come Back To What You Know." This was a brave move, as most bands save these classics for the end. It shows the band's confidence in their music and their fans. The big hitters triggered my memory bank, but it was also the lesser-known hits that kept me engaged. This band has a knack for delivering the goods live, and what better place to do so than at a festival where fans who loved them in their youth are happy to show up and support them after all these years! "Ashes" was a real moment—it felt like the entire audience was singing along, and I know I was! The crowd was lapping up every note and word, throwing them back to the stage quicker than the band could churn them out. The set was full of love, both from the band and the audience in return. If there's a band that defines the 90s, Embrace would be up there with the best.

With the main stage being packed down as soon as Embrace exited via the rear stairs, it was off to Centre Stage to catch the few remaining acts of the weekend.

First up was the Liverpudlian quintet RATS. These future icons have gone from strength to strength in 2024, opening for the mighty Liam Gallagher at London’s Royal Albert Hall and sharing stages with DMA’s and The K’s, wowing audiences at various festivals across the UK. Their music is a blend of timeless indie melodies, killer guitar riffs, a solid backline, and massive personality. I dare say they won over a ton of fans with their performance tonight.

Fuzzbox were up next, and I wasn't sure what to expect as I only knew a couple of their songs. Originally formed in the mid-1980s, they have seen a few reformations over the years. The lineup tonight featured Maggie Dunne on keys as the only original member, joined by various musicians. Bez’s wife, Firouzeh, now sings for Fuzzbox and put in an energetic performance. The classics "Pink Sunshine" and "International Rescue" resonated the most with the audience. Vocalist Melanie Williams joined them on stage midway through the set—I recall her from "Ain’t No Love (Ain’t No Use)" from the 90s by Sub Sub.

If ever you need a party on a Monday morning at 12:20 AM, give Barry from Dub Pistols a call. This may have been the last hurrah of Shiiine On, but that didn't stop a bunch of music lovers, high on 90s music and alcohol, from having the time of their lives. As well as the classics "Mucky Weekend" and "Real Gangsta," they threw in a fab cover of Kaiser Chiefs’ "I Predict a Riot," which went down a storm. I also enjoyed their reggae version of the Chili Peppers’ "Under the Bridge."

After the show, I had a drink with the guys and chatted to Bez about the Manchester one-way system, traffic calming, and social media automation software—topics I wasn't expecting! I finally retired just before 3 AM, knowing we had to vacate our accommodation by 10 AM. I caught a few Z’s before waking up, packing up, and hitting the road.

Shiiine On, you were amazing. I would like to extend my sincere thanks to the security team who kept us all safe and secure, the unsung heroes who worked tirelessly to put on the entire event, including the stage hands, sound engineers, video team, photographers and videographers, the catering crew, cleaners, and all of the Butlins staff who helped make it a magical, if somewhat blurry, weekend!

I’ll definitely be back in 2025. I might even pop up to Skegvegas in March. Hope you all had a great time, folks—until next time!

Words and Pictures by Steve Muscutt