Sleaford Mods call themselves “electronic munt minimalist punk-hop rants for the working class and under from Nottingham, UK” and it’s impossible to beat that description. They're a duo made up of singer/lyricist Jason Williamson and musician/producer Andrew Fearn, and about the most distinctly English group playing Glastonbury in 2015. They’re also proof that if you persevere and believe in your message, one day you’ll get your shot. Formed in 2007 by Williamson (then working with a different collaborator, Simon Parfrement), Sleaford Mods didn’t make a breakthrough until their 2014 seventh album, Divide and Exit, when both Williamson and Fearn were deep into their 40s. (That said, they were hardly doing their commercial prospects a favour by calling a previous album Wank.)
As their set at the 6 Music Festival earlier in the year proved, Sleaford Mods make raw, politicised music for times of austerity. In Williamson, the group have a great poet of the everyman - a cross between John Cooper Clarke, The Streets and the nutty bloke down the pub who perfectly articulates day-to-day experiences but spits in your face when he’s talking. It’s not pretty, they’re not pretty, but we don’t live in pretty times and Sleaford Mods are deserving of the bigger audience this debut Glastonbury performance provides.
Sleaford Mods call themselves “electronic munt minimalist punk-hop rants for the working class and under from Nottingham, UK” and it’s impossible to beat that description. They're a duo made up of singer/lyricist Jason Williamson and musician/producer Andrew Fearn, and about the most distinctly English group playing Glastonbury in 2015. They’re also proof that if you persevere and believe in your message, one day you’ll get your shot. Formed in 2007 by Williamson (then working with a different collaborator, Simon Parfrement), Sleaford Mods didn’t make a breakthrough until their 2014 seventh album, Divide and Exit, when both Williamson and Fearn were deep into their 40s. (That said, they were hardly doing their commercial prospects a favour by calling a previous album Wank.)
As their set at the 6 Music Festival earlier in the year proved, Sleaford Mods make raw, politicised music for times of austerity. In Williamson, the group have a great poet of the everyman - a cross between John Cooper Clarke, The Streets and the nutty bloke down the pub who perfectly articulates day-to-day experiences but spits in your face when he’s talking. It’s not pretty, they’re not pretty, but we don’t live in pretty times and Sleaford Mods are deserving of the bigger audience this debut Glastonbury performance provides.
