Considered one of the music festivals of which Bretons are most proud, Les Vieilles Charrues has been around since 1992
and has never ceased to surprise over the years
it has rapidly become France's biggest music festival in terms of paid admissions (242,000 admissions in 2010
attracting a public drawn by its eclectic line-up and festive
From James Brown in 1997 to Bruce Springsteen in 2009
Les Vieilles Charrues has always attracted people to Brittany
After a great edition in 2023, Les Vieilles Charrues returned to Carhaix in 2024 with an explosive line-up that drew some 250,000 people
Charlotte Cardin and Yungblud put on a show for four consecutive days in Carhaix
From now on, all eyes will be on the 2025 edition, eagerly awaited by the many regular festival-goers. So, when is this new, 33rd edition due to take place? Mark your calendars: Les Vieilles Charrues will be back on the Kerampuilh site in Carhaix from Thursday
The first names of the 33rd edition were unveiled on November 29
get ready to be thrilled by the arrival of the famous Canadian singer Alanis Morissette
whose hits include"Hand in my Pocket","Hands Clean","You Learn","Thank You" and"Ironic"
Rap will also be well represented at Les Vieilles Charrues in 2025
Swedish punk band Viagra Boys and The Kills
for dozens of artists and bands to be discovered on 4 different stages over 4 days
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Dom Harrison tells NME about the impact of this year’s inaugural event
how “cultivator” David Bowie inspired him to curate a genre-defying line-up
plans to take the festival worldwide in 2026
and the “self-reclamation” that is central to his next album
Yungblud has spoken to NME about the second edition of BLUDFEST for 2025
and ambitious plans for his incoming “fucking bonkers” double album
A post shared by YUNGBLUD (@yungblud)
this year’s BLUDFEST played host to a pop-up version of iconic Camden pub The Hawley Arms
free photobooths and the ‘Make A Friend’ tent
realising Yungblud’s ambition to make this an annual celebration of community
diversity and lifestyle that seeks to “break free from traditional boundaries in music.”
“That day heavily impacted my life as a person
revealing he still hasn’t come down from the gravity of the festival
out of the sole reason of believing in something mutual – and it became so much fucking bigger than us – blew my mind.”
“The most beautiful thing about Yungblud is the community itself,” he continued
“BLUDFEST is a movement – I think it’s the first generational movement in a long fucking time
and it’s turned into this place of acceptance
Rebellion in itself is acting in the name of love
He added: “My mouth was stuck from smiling
I really needed to stop myself from crying or getting emotional
I’d paint a picture of [the view from the stage]
because not many people get to see that shit.”
Harrison said that the spectacle of playing to 30,000 people at the iconic venue – just as the likes of David Bowie, Green Day and Queen had before him – wasn’t lost on him
“I can sit here and be all fucking ‘rockstar’ about it
but we’re doing it for the right reasons – I think that was the best triumph of the day,” he told us
“We had an idea to put a flagpole in the ground and say
‘I believe the festival market is saturated
out of touch and stale’ – and we fucking did it
“The coolest thing about Yungblud is that this fucking community follow me – and each other – into the complete unknown
It’s gonna be a festival for the next fucking 100 years
where Harrison told us about the announcement of the ‘Icon Slot’
when we can expect to BLUDFEST to go international
Yungblud performs during the 32nd edition of Vieilles Charrues music festival in Carhaix-Plouguer
(Photo by Sebastien Salom-Gomis / AFP) (Photo by SEBASTIEN SALOM-GOMIS/AFP via Getty Images)
the BLUDFEST line-up brings together such a diverse
defiant range of artists – how did you go about curating this one
Yungblud: “I’ve got all my friends on it
and it’s going to be fucking biblical
Chase Atlantic and I once shared a tour bus on Warped Tour [2018] together
should we go and play a fucking stadium together
Lola Young filled that space for us last year
Peach [PRC] and Rachel coming together is going to be mind-blowing
“I think we have a crazy line-up that’s inclusive
genre-defiant – again – but it’s got the same fucking feeling
What a perfect opportunity to bring out Blackbear and perform your 2019 song [with Marshmello] ‘Tongue Tied’ together…
Bring Me The Horizon once told NME it was a “nightmare” when they tried to curate a multi-genre line-up at All Points East in 2019
How do you pull it off – are music fans more open-minded nowadays
“I think Bring Me The Horizon are the best metal band under 40-years-old
frontman] is one of my best friends and a mentor to me
and it’s been inspiring how he pushes his fucking genre to different places
I’ve always been genreless from the beginning
whatever the fuck I want to do under this umbrella
and really interested in art and culture in the same way that I am
“I learnt that from him and then embodied it myself
It works because it’s all about my community
everyone’s down to find something new
I’ve said that from the beginning: I don’t give a fuck
and I’m gonna fucking make shit that I think is cool in the moment.”
When will the artist playing the ‘Icon Slot’ be announced for BLUDFEST Year 2
that’s the artist we’re holding on to
We wanted to come strong out the gates with the kids
I’ve already locked in the ‘Icon Slot’ for 2026 too because we couldn’t make it happen this year
I’m talking to three people who are down to do it
we’re literally in the final stages.”
A few days after BLUDFEST this year, you came out with The Offspring in Switzerland, who have since told us they “wish they could have Yungblud at every show”
Have you tapped them up for a potential ‘Icon Slot’
“I tapped them up about it – they’re definitely down
but there is a name – just as fucking relevant [as them] – who is.”
Yungblud performs during the first day of the Pinkpop music festival in Landgraaf on June 21
(Photo by Paul Bergen / ANP / AFP) / Netherlands OUT (Photo by PAUL BERGEN/ANP/AFP via Getty Images)
There were issues this year with extremely long queues and some other logistical problems – have you hashed that out with the organisers for 2025
We have taken things into our own hands a lot more
One size for artists doesn’t fit all
that’s why I put this festival on in the first place
The people who were putting on the event weren’t prepared for that
they were used to people filtering in throughout the day
“I was on the phone to Milton Keynes police
‘You’ve got to fucking open more gates!’ Biggest show of my life
and I’m fucking giving it – like the bird from EastEnders
I’m very much in control of this festival this year – a lot more
all the fuckers at the top [now] believe that we can actually do it.”
Are there any additions to the festival site this year
so there’ll be three stages this year
Rachel’s going to headline it – she’s a fucking legend.”
When can we expect BLUDFEST to happen outside of the UK
You also launched your new clothing company B.R.A.T. (BEAUTIFULLY ROMANTICISED ACCIDENTALLY TRAUMATISED) this year – are there any plans to incorporate that into the festival
“We have massive plans for the company next year
I’ve bought a space in London that I’m going to turn into a music venue
Clothing is just getting started… it’s literally going to be a physical place all year round
take some time out to figure out what I want to do
But there’s a new album coming next year
There’s going to be a fucking building in London for people to come hang out in
and then BLUDFEST ’26 – it’s gonna be the biggest two years that we’ve ever had
We’re just pulling back the fucking slingshot right now.”
Charli XCX stole your thunder there with the whole ‘Brat’ thing…
and it’s in the mainstream and I fuck with Charli XCX
Did the “light” you saw first-hand at BLUDFEST 2024 inspire the trajectory of the new album, which you told us was “positive” and “flips the narrative” away from the darkness
“The new album centres around the idea of self-love and self-reclamation that allows people to feel seen
no matter where you’re from or what you believe
It’s been at the centre of this culture since the beginning of it
That’s what I needed to write an album about
“A lot of people have had a lot of opinions about me
and I would lie to you when I said I wouldn’t give a fuck
I think I’m starting to actually like myself
I’ve always written from a period of hatred towards myself
I made a fucking rock opera double album that has no limitations towards imagination.”
It looks like it’s going to be a double album.”
When the news of Oasis’ reunion tour with Richard Ashcroft landed
the Britpop influences on the album must have hit another level…
and I’ve enjoyed it …[but] what did I want to do when I was nine years old
It’s a homage to British rock ‘n’ roll music
“Oasis
That buzz emits in your chest when those records are played
and that’s what I wanted to inject into this new album
but look at your best mate and say ‘I fucking love you
Was the nine-minute opening track written with BLUDFEST Year 2 in mind
Nobody’s fucking ready for what’s coming
It’s going to be the first time we play anything new in the UK
BLUDFEST Year 2 will take place on Saturday June 21 at The National Bowl, Milton Keynes. Tickets are on general sale from 10am on Wednesday December 18 and will be available here
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Variable clouds with showers and scattered thunderstorms
Organisers of one of France’s biggest music festivals have warned it could be at risk of closure
and that the 2024 edition could be the last
The organisers of the Les Vieilles Charrues festival in Brittany have claimed that a series of decisions by local authorities in the relevant communes are putting the festival at risk
The festival is held in Kerampuilh meadow in Carhaix-Plouguer (often known as just Carhaix)
The 2024 event is scheduled to take place from July 11 to 14
and has names on the line-up such as David Guetta
The festival was first held 32 years ago in 1992
in the small village of Landeleau (also in Finistère)
But in a statement organisers now claim that “recent decisions by the municipality of Carhaix and the Poher community” have jeopardised the future of the festival
and that “if nothing changes between now and summer
the 2024 Les Vieilles Charrues could be the last”
has included the selling of a building - the former consular chambers - that is located in an area typically used for the main entrance to the festival
Organisers say that they had expressed an interest to purchase the building
but the council reportedly signed an agreement with a third party in December
and the new owners will be moving in this summer
The festival group also takes issue with a bill of €367,000 from the council - which it says was sent in mid-April “without consultation” - for “the use of the Kerampuilh meadow
buildings and the provision of municipal staff".
Les Vieilles Charrues claimed that the Poher council decided in March to “no longer make available half of the land occupied by the festival's campsites from 2026”
will force them to move these long-established sites
They have felt subjected to relentless pressure from local councils
with officials making decisions “without full knowledge of the facts"
The accumulation of these decisions is leading us to a dead end
and ended with “an appeal to the elected representatives of central Brittany to save the festival”
The organisers say that they do not understand the opposition as the festival brings - they claim - considerable benefits to the area
The mayor of Carhaix and chairman of the Poher community
Christian Troadec - who himself was one of the original founders of the festival - has said that the event organisers are “playing politics” and engaging in “blackmail”.
He told the AFP that the organisers had been well-informed of many of the facts they are complaining about
and said that the festival has been aiming to become ever-more “gigantic” and more consumerist in recent years
“They have lost the spirit of the festival,” he said
“There is no one left who was on the original team
He continued: "We're delighted with the cultural and media impact of Les Vieilles Charrues
but we don't want this to be at the detriment of other economic development projects in Carhaix and Poher
nor at the cost of privatising the Kerampuilh site for their sole benefit.”
The track is inspired by the reformed rocker’s French home
This American in France is the youngest ever music director of the Opéra Orchestre national Montpellier
two trained luthiers are busy helping musicians produce their best performances
Singer-songwriter Tracy Chapman performs in Carhaix-Plouguer
Singer-songwriter Tracy Chapman has won her case against hip-hop star Nicki Minaj over Chapman's claims that Minaj took her work without permission
District Court in California's Central District on Thursday
Chapman has accepted Minaj's offer of judgment in the case
Chapman originally filed her lawsuit in October 2018
saying that Minaj's song "Sorry," a collaboration with Nas
used both the lyrics and vocal melody from one of Chapman's songs
"Baby Can I Hold You," which was released in 1988
Minaj's team sent a formal request in July 2018 to use Chapman's song
noting that Minaj intended to "interpolate" Chapman's work (that is
rerecord the melody and lyrics of the song
rather than sample Chapman's existing recording)
Chapman's publishing representatives turned down the request days later
Chapman believes that Minaj had already recorded "Sorry" before the clearance request was made
Chapman said in her original filing that Minaj's representatives seemed to already have been aware that Chapman would probably be loath to OK the arrangement even before they sent the formal request
a music clearance company called DMG sent Chapman's representatives an exploratory note
allegedly saying that an "A list artist" wanted to use "Baby Can I Hold You" and asking if Chapman remained on an unofficial "do not sample or interpolate" list
In a since-deleted tweet posted at the end of July 2018
Minaj wrote that she had "no clue" that her song used "the legend" Chapman's work
asking her fans: "Do I keep my [release] date & lose the record
which was released less than a month after her formal request to use Chapman's material — and Minaj's song leaked anyway
both onto Hot 97 radio in New York via DJ Funkmaster Flex and online
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Yungblud has reflected on his plans to build a $100million business empire
Now, Yungblud has shared the true scale of his business ambitions, which extend beyond BLUDFEST, in a new interview with Bloomberg UK
alongside his partners Nathan Hubbard and Nat Zilkha who run Firebird Music and YB Inc
Firebird invests “tens of millions of dollars” to allow Yungblud to build BLUDFEST
his clothing line B.R.A.T (Beautifully Romanticized Accidentally Traumatized) and other ventures
“He brings his creativity and his fan base
we bring capital and expertise,” Hubbard explained
Yungblud also puts his own earnings from his music
“A lot of people have tried to contain my imagination,” he said
The musician also plans on using Firebird’s money to invest in a brick-and-mortar store that will double as a coffee shop
as well as a record label and publishing company that will sign new artists
“I have so many ideas a minute,” He told the publication
“I wanna build a system like the solar system
where I’m the sun.” And the planets revolve around me.”
Last year, Yungblud outlined some of these plans in an interview with NME
“I’ve bought a space in London that I’m going to turn into a music venue
He continued: “There’s going to be a fucking building in London for people to come hang out in
and then BLUDFEST ’26 – it’s gonna be the biggest two years that we’ve ever had
He also acknowledged Charli XCX‘s takeover of the word ‘Brat’ through her album-turned-cultural-phenomenon released last year
and it’s in the mainstream and I fuck with Charli XCX
It turns its back even as it reaches out its hands
sometimes great because it sounds terrible
one that nobody explicitly made but was nonetheless inescapable
immaculately conceived from the skull of an expatriate Texan and the gods of disaster
hundreds of miles away but in another sense directly out of the crater at Ground Zero
Everyone thought they were the worst band in town
and then two or three years later the best band in the world
They opted for a mom-and-pop operation like their own
On 2013’s Reflektor, the band’s overwhelmedness was palpable as it went for baroque, stuffing songs to the fraying seams with disco and Haitian konpa, literary allusions and mutant prog, in ways that came off like overcomplicated instructional diagrams for a dance party
the thoughts about technological change that can be fit into pop songs are going to be thoughts anyone with half a brain has already had
at least about technology as a consumer experience
(I’d welcome plenty more music that dealt with technology as soundscape or mode of labor.) And because Arcade Fire is permanently built on a mid-2000s blueprint
it sounds like a just-awakened Rip Van Winkle
the first example given of the too-much-ness of life isn’t the selfie-evoking line about every smile being fake
“Every inch of sky’s got a star/ Every inch of skin’s got a scar.” That’s not about Instagram
the couple of lushly layered love songs near the end of the cycle
which critics generally have praised and then used as sticks to cudgel the rest of the album
are not there just as balance or antidote to the social ills
They’re about troubled and importuning love
love as ego gratification and self-martyrdom
just as double-edged as all the other varieties of wanting
to want to hear every song at once and to want our loves to last eternally
These are crimes in which we’re all accomplices and miracles for which we’re all supplicants
and while one is upbeat and the other downtrodden
their pianos and strings and choirs tangled around each other like amorous snakes
Win Butler’s American yearning is nothing like Jarvis Cocker’s European blues
but these lyrics from “The Fear” seem to me like they could be bannered across Everything Now’s cover photograph of an artificially altered Death Valley landscape: “This is the sound of someone losing the plot/ Making out that they’re OK when they’re not/ You’re gonna like it
That anti-publicity publicity campaign primed listeners for a much more cynical
Arcade Fire might feel pressured to be everything
but one thing the band ain’t is a bunch of comedians
Its humor is best expressed musically—the words to the two-part hinge song in the middle of the album
“Infinite Content”/“Infinite_Content” are a fairly lame pun (“Infinite content/ We’re infinitely content”)
transitioning from a frantic punk chant to a loping Americana twang
Such games with tone are crucial to Everything Now overall
never more complicatedly than on “Creature Comfort.” It’s a heartbreaking song about adolescents and suicide that’s delivered in a nerve-jangling new wave style
with Butler shout-singing (à la David Byrne or LCD Soundsystem) in ways that could make the treatment seem glib
There’s an especially startling line about a girl attempting to kill herself: “She told me she came so close/ Filled up the bathtub and put on our first record.” Butler calls it out with a kind of mock-heroism
a cry that vacuums in and scrambles all the “your album saved my life” stories that a band like Arcade Fire will hear about itself
“It’s not painless/ She was a friend of mine,” and the way the rest of the song tries to articulate the inarticulable
the complete confusion of finding oneself young and alive and in pain
is described again in the second half of the album
on “Good God Damn,” which takes a different route through fear and pessimism but likewise ends up insisting that survival is the better bet.)
generously listenable the album ultimately is
so long as you nip out for a smoke or something during “Peter Pan” and “Chemistry.” For all the freight it has to carry
I can stop asking whether Arcade Fire is too ambitious or not enough
I’m not sure what it’s supposed to want or what I’m supposed to want from it
and I don’t hear Arcade Fire asking me why I don’t just give it up
but it’s enough to goad me to lumber into another goddamn dawn
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China’s third largest baby formula producer on Wednesday opened a vast plant in France’s Brittany region
whose prized dairy cows are set to contribute 100,000 tons of powdered milk a year to a growing Chinese market that mistrusts domestic production
Synutra’s 170 million euro ($190 million) factory covers some 38,000 square metres (410,000 square feet) near the small town of Carhaix
The company said it was China’s largest foreign investment in the milk processing sector
which has signed a 10 year contract with the Chinese firm
Sodiaal will collect 288 million litres of milk a year from 800 farmers
“No infant milk formula company in the world can produce such quantities,” Synutra France CEO Christian Mazuray told journalists at the opening
He said the Carhaix region had been chosen because it was “in the heart of a dairy region known for the exceptional quality of its raw materials and for its industrial know-how.”
France’s dairy sector is emerging from a turbulent summer marked by protests by farmers demanding higher milk prices
Mazuray said Synutra would pay market rates for its milk
saying the company was more concerned about the quality and traceability of its products than the cost of milk
China has been a major importer of dairy products for 25 years and is now the world’s biggest importer of such goods
Since 2000 Beijing has encouraged citizens to drink more milk
coupled with a contamination scandal that affected 300,000 babies — six of whom died — has encouraged investors to look oversees
the Chinese milk sector has seen repeated health scandals and the Chinese population no longer wants to consume Chinese baby milk,” explained Gerard Calbrix
domestic milk production in China plunged 20 percent and imports began to soar
The addition to the the Brittany plant is set to almost double Syuntra’s 2014 turnover of 517 million euros to 1.17 billion euros within 12 to 18 months
Tags China food France milk
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