Review: Josh Pyke, Twilight at Taronga, Sydney

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Josh Pyke with Winterbourne
Twilight at Taronga, Sydney, NSW
Friday 29th January, 2016

I can’t believe that Twilight at Taronga has been running for more years than I have lived in Sydney for, yet it took until 2016 for me to make it to one of the famed summer series concerts. With the city reeling from an afternoon thunderstorm that threatened to close the show before it even started, we settled in under grey skies to see one of our favourite artists of all time, Josh Pyke.

Having arrived later than intended, the available grass space was limited, but surprisingly there seems to not be a bad seat in the house for this annual pop-up venue. We grabbed our spot, picked up our fancy hamper, collected our Aperol Spritzs and made ourselves comfortable in time for support act Winterbourne to start. I admit, I hadn’t heard much by Winterbourne before last night, but knowing that Josh Pyke gigs are like a personal curation of Pyke’s favourite emerging and established acts in town, we knew we were in good hands. And, Winterbourne didn’t disappoint. With a smattering of recorded and released tracks to warm up the crowd (many of whom did know Winterbourne‘s work, much to their surprise and delight), the boys brought out some new songs from their forthcoming release that had the crowd hooked.

As a bonus, a brand new song, not yet recorded and probably only a few weeks old, was played with the caveat that the crowd’s reaction would seal the fate of the new track – and that we should not scream and shout at the end if we don’t like it. Suffice to say, they now have a crowd approved song on their hands. I found Winterbourne had a delightful spectrum of sounds and styles to their repertoire – some upbeat tunes that would get you up to dance, some ballady-folky tunes, some shades of indie-pop and some definite Pyke-esque sounds woven throughout their playbook. Winterbourne ultimately delivered an excellent, enigmatic set that warmed the crowd perfectly for the main attraction.

When I go to gigs, I usually make note of everything that is played and pay attention to which songs are highlights both personally, and for the crowd as a whole. With a consummate performer like Josh Pyke, the list is inevitably an entire list of highlights, sing alongs, huge responses and upswells from the audience and I could just resort too recounting the play list and waxing lyrical about each an every song. This concert was no exception, however the joy for me – apart from yet another brilliant Josh Pyke concert – is the reminder that his personality and banter on stage is the truly magical and endearing aspect of his live shows.

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Photo courtesy of Josh Pyke

We’ve seen him in a number of settings, from large festival stages, to solo shows, from super groups, to full band concerts and even a magical collaboration with the Sydney Symphony Orchestra. But it’s the witty repartee that fills the gaps between songs and reveals his inner dork that is exactly the thing that fans love about him. We all identify with getting things in the wrong order (and jokingly giving retrospective thanks for the upcoming misplaced track), having the Sydney humidity screw with your hair do, forgetting where your hands are supposed to go on the guitar for the chords you needs mid song but pretending it’s a quiet, sing-along moment for the audience, then outing yourself after the song… Ok, we might not identify with that exactly, but it’s his good humour, cheeky comments and ultimately flawed human approach to his fans that makes us all feel like we are personal friends gathering for a get together where our mate Josh pulls out his guitar.

He dedicated Leeward Side to his sons, Archer and Augie (who were in the audience with wife Sarah), which elicited the appropriate ‘aaaawww’ response and cheers from the crowd. Speaking of kids, he gave an hilarious language warning before the Lighthouse Song, which probably should have come with a language warning of it’s own. During another interlude, he asked whether anyone in the crowd did not follow him on Facebook, and for all those people to please go and immediately like his page and see if we could “crash the interweb”. Pyke announced towards the end of the set that they had a noise curfew at the venue and that he wouldn’t be doing any of that encore sh*t and to just pretend that the next song was the last if we wanted an encore. Middle of the Hill subsequently tore the house (or lawn) down and had us all cheering for more and ‘demanding’ an encore.

If the admission of no encore wasn’t funny enough, his ‘faux’ encore “oh we don’t have anything prepared” hammered home his penchant for Dad jokes and familiar rapport with the crowd. From the fans dancing madly at front of stage, to us and our fellow repose wine sippers up the back, the entire sold our audience was in raptures with Pyke‘s performance. Every person in attendance would have had as enjoyable a night as us.

You know it’s been a great show when on the Ferry back to the city, the couples around you are all singing their own two part harmonies of their favourite tracks, or humming their favourite melodies, or posting photos of the show to social media.

Twilight at Taronga was the first show in his new tour promoting But For All These Shrinking Hearts and continues around the country over the next month taking in Canberra, Gold Coast, Brisbane, Lismore, Melbourne, Adelaide and Perth. Tickets are available on his website.

Twilight at Taronga is an exquisite concert series with a stunning backdrop, and excellent set up and is big enough to have a great vibe without having fellow music lovers in your back pocket. A string of sold out concerts limit your options for this year if you haven’t yet been, but there are definitely still some gems of the folk persuasion with tickets available, so treat yourself to some summer sounds by the harbour.

 

Boy & Bear kicks off national tour

Boy&Bear2016Image courtesy of Boy & Bear

2016 is gearing up to be a big year for Boy & Bear. With a National Tour kicking off in Tasmania last Friday followed by Melbourne on Saturday and with another four capital cities to entertain over the coming weeks, they have really laid a solid foundation for a strong year.

Celebrating the launch of their album, Limit of Love with the release just over a week ago of the band’s video of title song, ‘Limit of Love’, and in a well timed appearance, the boys took to Triple J’s Like a Version on Friday morning giving Amy Winehouse’s ‘Back to Black’ the Boy & Bear treatment.

We can only hope this moody cover will warrant a spot on the stages around the nation for the rest of their tour.

Remaining tour dates :

Friday 29 January – Thebarton Theatre, Adelaide SA
Saturday 30 January – Red Hill Auditorium, Perth WA
Friday 12 February – Hordern Pavillion, Sydney NSW (All Ages)
Saturday 13 February – Riverstage, Brisbane QLD

Falls Festival Review: Falls Festival Finds

Goodnight from Falls general_20160101-19Festival: Falls Music and Arts Festival
Location: Byron Bay – North Byron Parklands
Date(s): Thursday 31st Dec 2015 – Saturday 2nd Jan 2016
Featured Artists: The Imprints, Merry Jeann, The Scrimshaw Four, Vardos, Soak and Oh Wonder.
Photos by Stuart Bucknell

At festivals like Falls, there’s always big name acts, there’s always Timber and Steel style acts we’re anticipating, and then there’s always a raft of acts we’ve not come across or had an opportunity to see before. It’s one of our utter pleasures to go out of our way to check out the quirky and unknown acts on festival line ups and see what’s new to discover. As I mentioned in my Overview, Lola’s Bar in the Festival Village was a gold mine for the kinds of acts we love here at Timber and Steel.

imprints_20160101-1The Imprints, a two-piece hailing from Melbourne, played Lola’s Bar on New Year’s Day with their quirky strings and drums combo to a quiet crowd recovering from their midnight revelry. Their clever use of looping pedals made for intricate fiddle tracks that melded together in beautiful harmonies. Their set featured opportunities for them to build up multi tracks of fiddle plucking, playing, strumming and harmonizing, along with a retinue of drum beats, and then strip the sound right back to a simple beat and chord. Watching them, it was clear they had a strong link, feeding off each other throughout their live performances, no doubt developed from their time playing pure improvisation. Part way through the set, Violinist Willow asked for people to come forward, even just to lay down on the dance floor and chill, because it was always weird to play to people sitting so far away. Without dropping a beat, there was a mass movement of people, and their chairs, forward. The Imprints had made a good impression.

merrynjean_20160101-2Merryn Jeann played a 10am set in Lola’s Bar on the last day of the festival, the perfect start to a day clouded in sleepiness and people just coming terms with the day. Merryn was the epitome of a folk musician, clad in an embroidered blouse, long skirt, bare feet and jaunty flat cap. Freshly arrived home from performing at the Woodford Folk Festival, Merryn started the last day of Falls with a cover of Bombay Bicycle Club’s Dust on the Ground. Her lulling, husky voice wrapped the gathering crowd in the comfort of lyrics and time, at times haunting, at times humming around you like a bumble bee. Her set included tracks like Death at Lincoln Park, usually sung with her folk band, but with a different blues style lament when performed as a solo. Having recently returned from a 6-month stint living in Berlin, Merryn took advantage of the opportunity to perform in her home town by bringing along a friend or two to join her on stage. Maeve and her violin joined the set with haunting violin chords that supplied liquid undertones to Merryn’s finger plucking.

Merryn has an unassuming, raw and honest style, playing direct from the heart. She had people transfixed, woke them to the day, and lulled them through the morning, and drew people in to sit and chill, taking in her tunes.

scrimshawfour_20160101-2The Scrimshaw Four had the lunchtime shift at Lola’s Bar on the last day of the festival. We turned up to count 5 performers on stage and figured it was a happy bonus. Or maybe they can’t count. With a line up of guitar, fiddle, bass drum, double bass, banjo and Hawaiian Lei, we knew it was going to be a vibrant show from the Melbourne lads. They kicked off the set with the country-esque fiddle and boppy vocal harmonies of Stealin’. Once the audience was properly warmed up, it was time to get down to the real business of party tunes! When a song is introduced as being about a ‘romantic day’ on the beach and starts off with the line “I don’t want to give you a diamond ring”, you know it’s going to be a fun story-telling style set. I Just Wanna Give You My Heart turned out to be just that, with a bluegrass jam, upbeat tempo and a Mic Conway like frivolity. To follow that up with an hilarious cover of The Little Mermaid’s Under the Sea but at a fast, almost manic pace, was exactly the right formula for a happy crowd.

The Scrim deftly swung through country, folk, gypsy jazz, and everthing else on the old and gutsy jazz spectrum, to ragtime beats and high energy dance tracks. They reminded me of The WooHoo Revue but with their own brand of quirk. They have stellar stories that create their songs and make for great anticipation-laced intros, like the one about the girl who misheard his invitation to show him her moves, instead as show him her boobs! The Scrimshaw Four are a solid festival band sure to get you dancing, whether it’s to a polka, some Roma gypsy jazz, some hillbilly and bluegrass, or just some country and folk, you won’t be able to stop your toes from tapping.

vardos_20160101-6We came across the witty, character filled trio Vardos at Lola’s bar early in the afternoon of New Years Day. All kinds of gypsy music, from Transylvanian Romanian to “Modern” flowed from the lively crew with fiddle, accordion and double bass ablaze. From the outset it was clear they genuinely have fun on stage, moving and dancing round each other with some fun choreographed moments of teasing and taunting. All three took turns singing songs and the fake accents that tended to slip in and out were all a fun part of the ruse. They sing about love, beauty, life, ups and downs, all the while maintaining a vibrant and direct connection with audience, picking out people to play to in each song. The three are playful on stage and fun to watch, like witnessing a battle of wills between the violin and bass and an accordion playing the referee.

But, finding something new wasn’t just restricted to the small stages of the festival, both the Forest and Valley Stages also offered a little something to discover.

soak_20160101-5Irish songstress Bridie Monds-Watson, aka Soak, had the unenviable task of opening the main stage for the final day of Falls. But once the Valley was open to punters for the day, a steady stream of eager listeners made their way to a grassy spot to soak up her sounds. “Soak” comes from a phonetic mash-up of ‘Soul’ and ‘Folk’ but her style is still more genre defying than such a straight forward combination. Her set traversed her musical explorations, through floaty chill-out moments, ethereal soundscapes, indie infused sounds and haunting vocal melodies. Sea Creatures and Blud, her most signature tunes to date, washed over the crowds and set the tone of the day.

As Soak, Bridie has a strong sense of her vocal diversity, engaging a delightful head voice when it fits, and smashing out those power driven notes when the point needs to be hammered home. She reminded me of both Lisa Mitchell and Emma Louise (in her Jungle days) in ways, her vocal stylings in particular. I think ultimately the physical enormity of the Valley Stage meant she could not engage authentically with the audience, she could have benefitted from a more intimate setting, like the Forest Stage, to really allow the audience in to her realm. She does have potential to grow and emerge as a staple festival act, so keep your eyes on Soak!

ohwonder_20160101-1I think my favourite find for the whole of Festival has to be Oh Wonder, a London-based duo who were performing in Australia for the first time thanks to the Falls Festival. You’ve got to love a band who brings their own stage backdrop, a 2-metre-tall set of light up initials for their band name… which read ‘OW’, It’s probably an appropriate sentiment for the level of hangovers, hair of the dog’s and sunburns that were evident post NYE celebrations.

Oh Wonder created instant atmosphere with a smoke machine and tension filled hanging notes as they entered the stage to launch their set. The assembled crowd  gave huge cheers for each of the duo as they took to the stage. Described as electric folk, their style encapsulated the nuances achievable with looping tones and beats, while layering piano and electric guitar over the top. Their vocal unison was compelling, more so when they slipped seamlessly in to close harmonies and back out to unison again. Their voices compliment each other tonally, Josephine is the lead vocalist but Anthony’s smooth, silky voice wraps her delicate breathy beauty and grounds it in the electro beats they employ. Both are multi skilled, multi instrumentalists that lend their talents to each others musical moments, creating thick, rich tones to lose yourself in. Highlights of their set were the heavy bass and rolling piano melodies of Livewire, and the at times reggae-like bass and sparkling impact of Dazzle. The one descriptor that keeps coming to mind for Oh Wonder, is “gorgeous”. Check them out and cross your fingers for another visit down under from them soon.

So, that wraps up our 2015 Falls Festival Byron Bay experience. A wealth of acts to see and one of the best festival experiences we’ve ever had. Byron Bay is a definite contender for anyone looking for a great way to spend New Years Eve, no matter the line up.

Read our other Falls Music & Arts Festival reviews:

Overview of Falls Festival Byron Bay 2015

Timber and Steel Highlights

Unmissable Acts

Falls Festival Review: Unmissable Acts

general_20160101-2Festival: Falls Music and Arts Festival
Location: Byron Bay – North Byron Parklands
Date(s): Thursday 31st Dec 2015 – Saturday 2nd Jan 2016
Featured Artists: Weird ‘Al’ Yankovic, Meg Mac, Paul Kelly presents the Merri Soul Sessions
Photos by Stuart Bucknell

At every multi-genre festival, there is a variety of acts that are both very folky and others that may only just touch on the concept of what Timber and Steel covers. But at Falls Festival, I had three acts I could not miss, and I wasn’t disappointed.

weirdal_20160101-4I was a huge fan of Weird ‘Al’ Yankovic in my teen years, and I was delighted to see him included on the Falls line up after his string of hit parodies over the last 18 months. Never one to follow the norms, Yankovic started his much anticipated set from a disabled portaloo somewhere out the back of the stage and sang and danced his way to the stage with his hit Tacky – complete with cheerleader dancers. Weird ‘Al’s set was full of colour, energy, costume changes and read much like his early albums with segues and videos of historical footage and mock interviews conveying his quirky sense of humour and making time for his quick costume changes. I think these interludes were lost on a predominantly younger crowd who wouldn’t know how his albums include these kinds of quirks when played start to finish, however his recent hits Foil, Fat and Smells Like Nirvana still whipped up the crowds. I particularly enjoyed his high voltage performance of Now That’s What I Call Polka, a mashup parody of some of 2015s biggest hits from Miley to Psy, Gotye, Mackelmore and much more, really brought the crowd together. He brought both old and new to the stage, Amish Paradise and Word Crimes both got a spot and in all, his set was action packed and full of laughs from start to finish.

megmac_20160101-1Meg Mac is a name I’ve been hearing regularly on the radio and among friends, I’d been looking forward to catching her live and getting a real sense of her style. Performing on New Year’s Day at the Forest Stage, you know you’re on to a winner when crowds scramble to the front at the end of the previous act to wait the 20min turn over before her performance. The crowds were relentless and energised, this would be a great set, no matter what. As Mac took to the stage, resplendent in all black and large sun hat, her smooth, sumptuous tones washed over the crowd and the spell was cast. She commands both the stage and the crowd, sauntering from one side to the other, engaging with her fans effortlessly. Her rendition of Before Trouble only proved her status as a consummate performer, even though she only won Triple J’s Unearthed as recently as 2014.

Black was the uniform and it was a tight performance from all, from her backup singers to each band member. She sipped on honey to sooth her voice throughout  – she says she struggled while performing at Marion Bay, but you couldn’t tell from the superb vibrato and stunning vocals she delivered.

From an absolutely jam packed set, highlights included Never Be, Turning, Every Lie, and of course Known Better received rapturous applause, and every person singing along, only to be outdone by a superb a Capella opening and beautiful performance of Grandma’s Hands.

There is a certain pleasure in hearing an act at a festival sound just like they do on record, but being able to add to the chorus in voice, body and rhythm from the audience takes the whole experience higher. Meg Mac is a star on the rise.

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I feel like I have waited my entire adult life to see a collaboration like Paul Kelly presents The Merri Soul Sessions. On the first day of the new year, I lined myself up in the perfect spot to soak up their entire Valley Stage show. From the get go, it was clear this is a slick set of friends who can bounce off each other and share the stage equally. A cool, soulful beat introduced the ladies and gents to the stage, Vika and Linda Bull, Clairy Browne, Kira Puru and Dan Sultan! The Bull sisters took the reigns with their contributions What You Want and Smells Like Rain that held the crowd captivated. I’ve never seen Dan Sultan as a backup singer but he took to the role well and provided his beautiful timbre to the depths of the harmonies.

Kira Puru’s Righteous Woman, achieved a tone of a more Australian soul than the traditional expectation and engaged the whole line up beautifully. Claire Browne, rocking a white full length jacket and matching two piece, gave a lamentful rendition of Where Were You When I Needed You. We are so used to seeing her as a brazen soul sister with her Bangin’ Rackettes, that it’s a wonderful contrast to see her collaborating on the Merri Soul Sessions and delivering something delicate and with a whole new aspect to her repertoire. Dan Sultan brought a more upbeat tempo with Don’t Let A Good Thing Go and had the audience begging for more.

The set suffered a major power outage, cutting everything except some basic stage lighting. A testament to their experience and years of performance, the entire troupe continued on playing, jamming, clapping, singing and engaging the audience in the front who all joined in while the issue was resolved. It took a few minutes to fix and as soon as the lighting and sound came back on, they rounded out their jam and swung straight back to pick up the song right from where they were cut off. It was a spectacular site and a seamless cover for the inconvenience.

The Merri Soul Sessions are a captivating collection of masterful musicians, working together to create mesmerizing, transcendent tunes that make any soul happy. Between them, they each have their specialty, Clairy Browne commands the stage and captivates the crowds with stoic stillness, Kira Puru brings her signature style melded with a gospel soul sound, Dan Sultan’s rock tinged melodies soar over the Bull sisters’ famous close harmonies, all creating planes of sound and story to explore.

In spite of the technical hitch, they played their entire album plus some surprises for the eager audience. The highlight towards the end was always going to be Dumb Things given the full Merri Souls treatment which was met with rapturous applause and every voice joining in from the crowd. But the most beautiful shared moment would have to be the very last, all 6 of them crowded around one microphone to sing, a Capella, a stirring Meet Me In The Middle Of The Air. Words cannot describe the hush of the crowd, the weaving of harmonies, or the electricity in the air. Simply magical.

Check out our Overview of the entire Falls Festival Byron Bay

Read of our Falls Festival reviews

Timber and Steel Highlights at Falls

Falls Festival Finds

Falls Festival Review: Timber and Steel Highlights

The Valley Stage at Falls Festival Byron BayFestival: Falls Music and Arts Festival
Location: Byron Bay – North Byron Parklands
Date(s): Thursday 31st Dec 2015 – Saturday 2nd Jan 2016
Feature Artists: Courtney Barnett, Little May, The Button Collective, Gary Clark Jr.
Photos by Stuart Bucknell

The line up was a great collection of many talented musicians from a vast array of genres. In terms of Timber and Steel acts, there were four main highlight acts to catch at Falls.

Courtney BarnettIt’s been a big year for Courtney Barnett, 2015 has seen her juggernaut debut grow in to dominance of the charts and the hearts of Australians of almost all musical persuasions. Clad in desert boots, jeans and a hat that only lasted a song and a half, Barnett didn’t hesitate to launch with full energy in to her huge set on the Valley Stage for the first day of the new year. The audience sprawled across the lawns, from the raptured fans at the front, to the chilled punters on the grassy slopes at the back, all completely fixated on the multi award winning yet demure figure. Highlights from her set include that rare quiet moment as the entire Valley hushed for the opening notes of Depreston only to then have every voice heard singing along in unison, and her huge hit Pedestrian at best close her set in full rock-goddess energy while the crowd reached the peak of their high spirited, dancing frenzy.

Little May on the Forest Stage at Falls Festival Byron Little May is an act I’ve seen popping up time and time again on my social media feeds and have been keen to catch. The trio took to the Forest Stage on the last day of the festival, with their backing band at the ready and strong audience numbers eagerly anticipating their set. And the ladies did not disappoint. With honey golden vocals trickling through the all encompassing tones of the full band’s live act festival sound, Little May treated the crowd to a full course of sweet temptations. With highlights including a beautiful rendition of the ballad, Seven Hours, to the new track Cease, the trio gave a consistent, high quality musical spectrum for the crowd to relax too, from the folk tinged to the indie pop and alternative sounds. Their repertoire allowed them range from their silky, harmonised ballads to bold, anthemic tones of Dust, through the tale telling of Hide and finishing off the performance with a stellar performance of their Great Southern Land Like a Version cover. I can only hope that Paul Kelly himself caught even a glimpse of this up tempo take on his classic track with  their clever use of vocal layering as it’s the last time they will be playing it for a while.

Button collectiveOver in Lola’s Bar, on New Years Eve, we stumbled upon a likely scene of rag-tag musicians and a tent full of eager punters. It was 2pm but the Button Collective soon had the dance floor packed with joyful revelry. Appearing as a 6-piece line up each day of the Byron stint, the sheer energy and cheer emanating from the stage was infectious. With everything from the traditional folk, to country-tinged tracks that invoke foot stomping, the Collective had a winning combination on their set list. With Barn-dance like hoedowns springing up on the dance floor, and multiple Irish tunes mashed-up to treat the crowd, Lola’s Bar was the scene of frivolity for their entire set. The Button Collective brought sea shanties, bluegrass, folk and an array of short, punchy, fast paced tracks and still bowed to the whim of the crowd, playing more dance tracks whenever the crowd demanded. So spirited was the audience, that a conga-line formed and snaked its way around the dance floor until every punter was a part of the line, and then spontaneously erupted in to a mass hoedown. To say The Button Collective put on a good show would be an understatement… I’m sure the word ‘rollicking’ should be used.

garyclarkjr_20160101-3Finally, on the last night of the festival, I had the pleasure of witnessing the sheer ‘cool’ of Gary Clark Jr. His live sound reminds me of Ash Grunwald sans distortion, they both clearly dig a similar edgy blues style. Clark Jr. weaves effortlessly between styles, from a Lenny Kravitz swagger, to an occasional Hendrix vibe and all while navigating through blues soaked solos. The crowd grew steadily as his wavering wails swept the Valley. Dipping now and then in to old school rock, and then rolling through the blues to keep the audience on edge, it was like watching a master at work. Clark Jr. saturated the audience with electric riffs and transcended into another world onstage, so steeped in the moment and the music. He seamlessly melds his music on stage, from cool blues to upbeat jump around funk blues. Gary Clark Jr. is worth every moment you can fit on your festival planner.

While these four were some of the main focuses of us Timber and Steelers, there was a wealth of talent throughout the Falls line up to whet the appetite.

Read our Overview of the entire Falls Festival Byron Bay event.

Unmissable Falls Acts

Falls Festival Finds

Falls Festival Review: Overview

Welcome to the FallsFestival: Falls Music and Arts Festival
Location: Byron Bay – North Byron Parklands
Date(s): Thursday 31st Dec 2015 – Saturday 2nd Jan 2016
Genre(s): Rock, Dance, Alternative
Photos by Stuart Bucknell

Having been to both Lorne and Marion Bay Falls Festivals in the past, it felt like it was time to complete the trilogy and visit Byron Bay for the New Years Bonanza. We enjoyed Splendour back in 2014 and so wondered how The Falls Festival would use the site for their festival antics. Lorne had sold out but to our surprise, Byron Bay had not reached ticket capacity, the previous year’s mud was apparently a deterrent.

Upon arrival, the utter beauty of the organisation struck us plain and simple – from excellent signage on the roads leading to the venue, through to the process of getting in to the festival, it was all sweet and no fuss. We had wondered how a 3 day festival, that is usually a build up to the penultimate celebration on New Years Eve, would fare when the night in question was in fact the first night of the 3 day affair. It seems that for Byron Bay, the crowd for New Years was good, but instead the numbers grew significantly for the 1st and 2nd January days.

FlashCampWe splashed out and stayed in FlashCamp – an investment well worth it given its proximity to a festival entry, the high quality facilities that were cleaned throughout the day, and the luxurious tents, services and on site bar.

We were pretty fortunate with the weather – Byron Bay New Years’ are famous for either blistering sunshine or mud inducing rain. With cool temperatures and overcast days, we cruised through the mid 20s all festival and everyone was very happy about it. That’s not to say that the Festival’s latest addition, Palm Springs, didn’t go to waste, far from it. The pop up water park, complete with inflatable flamingos and water slide, was a quiet on New Years Eve, undoubtedly due to people getting prepped for the big night, but come January 1, that place was packed to the gills, regularly reaching peak capacity and turning away punters. With a line up that predominantly began at or after lunch time, Palm Springs was a genius way to combat the heat and give bored punters something to do before the main stage lit up.

Punter in Palm SpringsBut let’s be fair, the Byron Bay site was not a place that one could be bored in for long. With multiple ‘streets’ of vendors offering food and goods, there was plenty to explore in any down time, from ping pong and human foosball (table soccer), to the famous misting tent, a Pirate Ship Bar with DJ was always a good option for a drink and to look out from the upper decks over the entire festival, multiple themed bars to sate your thirst, a mini movie cinema on site and the untold wonders encapsulated within The Village meant that almost any fancy could be fed all on the one festival site. And if your heart really desired, there were regular shuttles to nearby Byron township so you could soak up the sun, the surf, the beach and take in the tourist sights of Byron Bay.

The crowd in attendance across the three days was in high spirits, with only a few of the usual suspects wiping themselves out before the stroke of midnight. But overall, the crowd attending the festival were fantastic, courteous and very chilled out. The whole festival had a very relaxed vibe full of happy people, a very different experience from the sometimes frenetic Splendour crowd. I think Halsey summed it up best, when at the beginning of her set on the last day, she claimed that “Australian music festival crowds are my favourite audiences to perform too” which had the crowd cheering.

The line up was eclectic and offered options for many types of music lovers. With the Valley Stage being the main focus, and the Forest Stage the shady place to escape too, the one stage we paid extra attention to was Lola’s Bar in The Village – with no pre-advertised schedule, our morning ritual was to drop by and see what exciting finds were in store each day. Not only was Lola’s Bar a great source of folky goodness, but it was an excellent drawcard for The Village – a place of wonder with circus, cabaret and quirky shows in their miniature theatres, including an impromptu wedding in the Le Petite Grande. From yoga in the morning to crafty costume making and building giant puppets for the parade, to circus, drumming and dance workshops under the big top, or even the ten minute disco, The Village was a hive of activity throughout the festival.

Punters in the ValleyIn short, of all the festivals we have been to over the years, Falls Festival Byron Bay came out on top. My only down point was the seemingly excessive noise restrictions on the Valley stage – which also finished at midnight every night, except one song past the New Years Eve stroke of midnight. In past years, neighbours of the venue have complained about the levels of noise from other festivals and a volume limit has been placed on the venue for all events. Sitting at the far side of the Valley, this meant that the sound did not travel well and was muddy and quiet by the time it got to us. I guess it’s just to encourage us to get closer for our favourite acts! Hopefully the issues can be resolved and future festivals won’t be quite so hampered by such strict noise limitations in the future.

All in all, the layout of the site, the organisation of the festival, the behaviour of the punters and the choice of line up made for the best festival yet. When you’ve got celebrities like the Hemsworth’s, Miley Cyrus, supermodels and even rumours of Vance Joy in the crowd, you know you’re on a winning ticket. And we haven’t even told you about the music!

Click through to read our reviews:

Timber and Steel Falls Highlights

Unmissable Falls Acts

Falls Festival Finds

 

 

 

Illawarra Folk Festival 30th Anniversary Song Contest

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With it’s 30th Anniversary fast approaching in January 2015, the Illawarra Folk Festival, presented annually by the Illawarra Folk Club, has decided to throw down the challenge to songwriters and musicians residing anywhere in Australia to create a new song just for it’s Pearl Anniversary.

Composers of all ages are encouraged to pen a new composition with a reference, theme or even title connected to Pearls. Prize money is on offer for the winners ($300) and runners up ($150)  in each of the four categories; Open Song, Open Tune, Youth (Under 25) Song and Youth (Under 25 ) Tune. You can weave the pearl theme in however you like and if the judges like your style, you may also have the opportunity to perform at future folk festivals.

To enter It’s A Pearler! entrants will need to:

– Write a song or tune with a pearl connection, theme, reference or title
– Fill out the entry form on the IFF website (available from 15 October)
– Upload your song to an online audio platform such as Soundcloud or Reverbnation (no Facebook links will be accepted).

Entries open on 15 October and close on 15 November.

The contest is supported by APRA/AMCOS  and submissions will be judged on creativity, originality, lyrics (where applicable), melody, arrangement and overall likeability.

Also, if you are a young composer or musician of any genre, don’t miss out on opportunities currently open for the 2015 Illawarra Folk Festival held at Bulli Showground from 15 – 18 January where the Youth Folk Project have openings for musicians aged 9 – 25 in the Youth Concert and Youth Traditions Awards performances.  For all the details about these openings and those with new national youth folk orchestra Folkaphonic and scholarships to Folk School, visit the youth section of the Illawarra Folk Festival website.

Splendid Splendour

Splendid crop - SITG by A CattPhoto by A. Catt

Having never been to a Splendour but having been to a great number of other festivals up and down the eastern seaboard, I can say I went in with a particular set of expectations and was delighted to have many of those absolutely smashed by my Splendour in the Grass experience.

The venue itself is huge and surprisingly well laid out and the flow of the nearly 30,000 punters was so smooth that I could have been forgiven thinking the numbers were less. Except for when we saw any of the amazing acts, then it became abundantly clear that the festival was at capacity with thousands of very happy festival goers rocking out at any given stage.

This year’s line up offered a great variety, so much so that there really were three distinct precincts within the site that allowed people to hang around stages that floated their genre boats.

The Timber and Steel friendly acts were evenly spread across the three main days and over two of the main three stages, so lets take a look at the folkier side of Splendour in the Grass.

Friday.

Photo by Justin Ma.
sitg14_HeadAndTheHeart_justinma-28The first act we caught was The Head and The Heart who delivered a really tight set and hearty performance for what was a modest crowd. “Ghosts” showed off their great harmonies in the live setting and the audience was treated to loads of favourites throughout their set list.  They were a solid start to the festival and I feel like loads of people missed out by not catching them. They don’t often get to come to Australia so they profusely thanked the crowd for coming to watch to much cheering and applause from said crowd. They tried out a new song with a bouncy tempo and happy vibe which was all very well received. “Sound Like Hallelujah” created a chilled vibe but with an immensely satisfying full sound. “Lost In My Mind” drew a rousing cheer from audience as it begun and took over the space with great drum build up before the crowd took over with a sing-along. The last song was an emphatic rendition of “Rivers and Roads” complete with epic drums thumping before stripping back to a delicate a Capella ending. And tumultuous applause.

We checked out Asgier, who has cropped up on the scene while I was away, but who commanded a huge and somewhat vocal crowd, all comfortably held in the palm of his hand. They sang along in crystal clarity. They swayed, sang, cheered and danced through a beautifully balanced set of both chilled tracks and up tempo songs. His popularity is clear as a really responsive crowd eagerly anticipated every song, with cheers of recognition in each of the opening bars and a seemingly constant surge forward of people to join the throng. “Going Home” delivered a beautiful mix of earthy drums, clear cut piano and haunting vocals undercut by subtle harmonies. The entire tent would clap along at poignant points of a slow song before the whole vibe would morph through the build up to a huge all encompassing piano and drums sound sphere. And to top it off, he pulled out a stunning cover of “Heart Shaped Box”, wow, just wow! His manipulation of piano and chillingly delicate treatment of vocals had everyone hanging on every lyric and every note. Definitely worth seeing any time you can.

We’ve all been hotly anticipating the return of Angus and Julia Stone and they did not disappoint. Starting with some of their new stuff, their set came wrapped in schmick presentation with a tight and polished sound with an obvious comfort on stage, oozing cool. Their new music is a few more steps away from the folky sound they originally brought to the scene and accomplishes a more indie vibe. While the crowd lapped up the new materials, it’s the old favourites so many know and love that really stirred the crowd with mega sing-along to “For You” melding beautifully with the song’s acoustic style. Julia seems really strong and playful in her style rather than the breathy, demure self we’ve known, which was a lovely counterpoint to previous performances. As an alternate opening and sound for “Big Jet Plane” dawned on the crowd, it was clear that their Hottest 100 winning track will always be a staple, crowd favourite that they are so comfortable playing and can completely turn on its head for both our and their pleasure. Their playfulness with their back catalogue was evident and jovial, with “Private Lawns” amping up the reggae vibe and syncopation. Julia pulled out a brilliant performance of “You’re The One That I Want” capturing the audience’s imagination with it’s fragility, building in to a full band resonance that proves they really own it as their own track now, it is no longer a cover. And if that wasn’t enough, they proved without a doubt that “Girls Just Wanna Have Fun”! A rousing set and a great way to welcome Angus and Julia Stone back in to the festival rounds.

Saturday.

One of the great things about Splendour in the Grass is the sheer space available to absorb the almost 30,000 punters that flock to Byron Bay in search of great music and a good time. Aside from the 3 main stages, there’s a multitude of smaller spaces where all manner of performances take place, from the exciting extravagance of the colourful Dr Sketchy’s Burlesque Life Drawing, to the ukulele classes, to the buskers stage and its revolving selection of grunge, blues, roots, rock and alt bands, even dancing to the wee hours of the morning at the Tipi Forest full of dance DJs and electronica.

Amish Crop - SITG by ACatt_Saturday107Photo by A. Catt

Probably my favourite small (and surprising) space was the Amish Barn. In 2013, artist Bennet Miller ran a live installation called Barnraiser, where volunteers dressed as Amish people to raise a Barn. I kid you not. And this year, since the barn is complete, they opened it to the Splendour patrons for Rumspringer. Walk in to the barn at any point in the day and not only were you surrounded by Amish folk relaxing and enjoying the weather, but you could buy a drink from the bar and catch snippets of their pop-up bands playing folk in a ‘session’ style, or playing heavy rock like they were in their Barn’s garage band.

The sheer diversity of Splendour makes it an amazing experience. I hope to see the Amish again soon.

I haven’t seen anything of Darren Middleton’s new solo offerings, but as a Powderfinger fan, I was keen to see what he was serving up. As a duo with a stripped back setting on an enormous stage, their acoustic opening of guitar accompanied by violin and stomp pedal surrounded the small crowd with beautiful two part harmonies. Middleton is a humble performer, thanking the audience for coming to see him as he has played Splendour approximately 10 times in different acts, which must be some kind of record, and this time he plays it with his musical off-sider, Kelly. Picking through a back catalogue of numerous bands meant that the set was diverse and varied but sewn together with clever harmonies and a pristine acoustic style. His tracks from recent solo album, “Transition”, demonstrated the intimacy of close harmonies, plucky violin, upbeat acoustic guitar and stomp pedal in a big stage setting.  While touring, they have taken to playing a cover, a track Middleton never thought he would play again, “Falling Slowly” from the movie musical Once which drew a hush over the crowd and the occasional quiet lyrics sung along by individuals in the crowd. Middleton is currently touring with Busby Marou, and with such a solid set from Middleton, the tour will be a strong 1-2 combination definitely worth catching.

Camp Walkway - SITG by LachlanJohnstonPhoto by Lachlan Johnstone

Little May was new to me and they struck me as a sort of a combination of Lisa Mitchell, Gosling and Julia Stone all wrapped up in an indie pop 5 piece. They delivered great sound and a solid stage presence with a range of tracks including a rockier number with fabulous femme vocal harmonies.

Dustin Tebbutt drew a huge crowd in anticipation of his set. Opening with an ethereal quality and acoustic guitar built over top, he looked comfortable surrounded by his band creating a sensational blanket of music and melding sound. They make a cohesive group working together to scale the emotive heights of his body of work through the sweet ballads to the poignant numbers and his flawless falsetto. Tebbutt has the makings of a true balladeer. 12 months ago he was in Armidale planning to come to Splendour, and just starting to put out music. Sadly he wasn’t able to make it to Splendour that year but a friend reassured him not to worry, as next year he’d be playing Splendour. And there he was. The crowd loved it.

Tune Yards were a wild card on our list and if folkies wanted to go clubbing, this is what they’d see. Layered sounds and folky instruments looped to create danceable tracks and quirky grooves creating a somewhat “tribal tea party” soundtrack. They slip through genres, even the rnb and hip hop styles, with confidence and flair. In a nutshell, they are weird and quirky folktronica!

VanceJoy_SITG_26JUL2014_StephenBooth-56Vance Joy. Photo by Stephen Booth

Vance Joy has the potential to be a one hit wonder or a rising star and attracted a huge crowd to prove it. The audience were animated and engaged throughout, a sure sign of good things to come. With a full band behind him, new tracks like “Georgia” soared as a ballad with beautiful accompaniment, a troubled love song. His set was full of sing-a-long’s with the audience including “Snaggletooth” and “From Afar” proving popular. Special guests from Sasquatch created a hullabaloo on stage with a full, robust sound, tangy horn section, altogether a bit like a hoe down vibe a la Mumford and Sons. New songs and old songs, everything was eagerly devoured by the devoted audience. Huge cheers and clapping along carried him on high throughout his set, and then, out came the ukelele to a huge roar from the crowd who sang along, word for word. He wrapped up the set with a cover of “Stand by me” to an enthusiastic crowd. Definitely a star rising performance.

Sunday.

BallParkMusic_SITG2014_StephenBooth-2Photo by Stephen Booth

This year was the first year the site featured the enormous amphitheater, and while punters complained about the huge hill to scale, the reward of that stage was worth all the huffing and puffing to get there. We realised that the amphitheater was large enough to contain the entire main stages area of The Falls Festival, Lorne and the absolute scale of the space really hit home. While the Timber and Steel friendly acts were predominantly on the GW McLennan stage, the entire festival benefits from the innovations and expansion of the site.

Nick Mulvey, SITG_2014-1Nick Mulvey. Photo by Splendour Official

Nick Mulvey is someone I was told to keep an eye out for. An expectant audience gathered early with eager fans right up at the barrier claiming their spot. A small but dedicated crowd cheered him as he walked on stage. He opened with amazing classical guitar work, reminiscent of flamenco, and a really sweet voice with a low level resonance. As a soloist, his guitar style and confident voice really filled the space. The audience had tripled in size halfway through the first song, with a steady stream of people still coming in. Transitioning to a more bluesy, plucking style effortlessly for his next song showed off his diverse range and skill. He creates a really amazing presence through one instrument with really cool syncopation for emphasis and effect. With the crowd swaying along fluidly and the playful lyrics beckoning, I think every girl there wanted to do as his lyrics asked, and maybe some of the guys too… As his first trip as a solo artist to Australia and he could see a few people singing along and it’s obvious he is genuinely flattered by the audience appreciation which is evident throughout the set. Mulvey will be a force to be reckoned with on the scene. Watch this space!

Mikhail Paskalev is a Norwegian/ Bulgarian pop troubador by all accounts, and has a real mix of styles and variety of songs in his back catalogue which had the crowd pumping. He gave a very chilled out and mellow set with a woven sound of thrumming bass and vocal harmonies. Certainly a multifaceted act to look further in to.

I had heard of First Aid Kit, but hadn’t caught up with any of their music until Splendour. Their clear, crisp vocals attracted a decent sized crowd, complete with sparklers and incense. They have a beautiful on stage energy and presence and a light, airy delightful sound with an indie pop beat keeping it all trundling along. With a cover of Paul Simon and the occasional Carpenters-esque sound, their set was rounded out with a tinkly, delightful, angelic melding of voices and harmonies, even for their upbeat tracks.

Ben Howard, SITG_2014-3Ben Howard. Photo by Splendour Official

Rarely have I ever seen a folky act that the crowd chants their name to get them to come on stage, but it worked and Ben Howard presented himself, centre stage with steel string guitar and a cheeky “G’day Splendour!” He instantly had the crowd beside themselves. His set was peppered with a bit of everything, something a little poppy, something a little indie, something bordering on a Placebo track, and a great blend of indie pop layers and strings. A plucky rendition of “Black Flies” had the crowd going mid way through the set. I felt like sometimes his music and performance was moody introversion on public display but then a quick switch would see the entire set move in direction. The upbeat, twangy riffs of “The Wolves” had the crowd cheering and clapping, singing along, rallying the entire tent and surrounds to an almost frenzied state of hoe down style dance. Truly a highlight of Splendour.

All in all, if I could have cloned myself, I could have had 3 or 4 entirely different Splendour experiences – from the Splendour in the Craft tent and it’s Craft singles speed dating event, to the comedy and forum stage, to the crazy fashions punters strut in, the art installations and amazing range of bars with their own DJs and themes, or spending a fortune at the amazing array of stalls selling handmade and bespoke coolness in all it’s forms – each experience would have been just as amazing (plus I could have seen far more of the amazing musical line up). But in a nutshell, I think the 2014 Splendour in the Grass is quite possibly the best festival I have been too. Do anything you can to get to the next one, it’s truly Splendid!

Splendour crop - SITG by LachlanJohnstonPhoto by Lachlan Johnstone

Review: The Falls Festival, Marion Bay, Tasmania

Ponchos are the latest fashionPhotos by Stu B.

So now to the fun bit, the music!

Day 2, Monday 30th December, rolled around and as we planned our day, we were a bit excited about some unknowns and some stalwart festival acts, it was going to be a great day.

First up, on the Field Stage, at a very reasonable lunch hour was local Foster a Band competition winner Lulu an The Paige Turners. Knowing little but what I gleaned from the Falls Festival App description, I was hopeful for something interesting, lo and behold, the Paige-Turners turned out to be a bigger than expected group of young men, resplendent in white dress shirts, black suspenders and bowties complete with drums, cello, banjo, acoustic guitar, keyboard and who knows what else! Lulu herself stepped on to stage looking like she stepped out of an old timey movie in a frilled lavender dress that would either float beautifully or become her own personal parachute in the windy conditions. Obviously a lot of friends were in the crowd, or at least local and loyal fans, as many shouts of encouragement met them before they even played a note.

Lulu and The Paige Turners Opening with ‘Begin-agains’ from their EP Bookends and Begin-again delivered a strong, strummy guitar intro, quivering vocals, subtle backing harmonies and touches of a soul pitch to her vocals. It’s a very indie pop style but very easy to lose yourself in. To follow up their opening, the slower track, ‘The Mean Reds’ also from the EP mellowed out the audience, becoming solemn at times. With a strong banjo melody and sweet, hushed tones of the harmonies, it was more like the lullaby style we’ve seen from a number of singer/songwriters but with a surprise build with drum and electric bass almost reminiscent of a Mumford and Sons hoedown.

The rest of her set was equally diverse with bluesy bass lines, cool vibes, raspy, rolling, gravely gutsy verses, sentiments stripped down to a Capella accompanied by clicks and whistling, and of course, many a banjo solo from probably the happiest Banjo player I’ve seen of late.

It’s a wonderful mix on stage, of piano intros, rhythm on a snare drum played by Lulu, tales of a broken heart, dischordant harmonies to really set the tone, not to be out done by angsty, angry, passionate vocals. Lulu is a multi-instrumentalist playing percussion, guitar and violin, but also delivering vocals reminiscent of Kate Miller Heidke or Tori Amos. All of this she achieves while also performing with a cold that would likely render her voiceless after her set.

Well in with the audience, they brought out a brand new song, ‘Bright Eyes’, a song she was not sure what it was actually about but “sometimes the universe gives you a song for a reason”. Beautiful lightly treated, stripped back sound with just the simplest of accompaniment graced the enraptured field. Their musicianship was all about the lyric weaving it’s way across the melody, and the 3 piece harmonies by the Paige-Turners with room for an instrumental break and some epic violin by Lulu, like she and it had a private dance to complete. ‘A Little Secret’ changed the mood, with a very country feel to the full instrumental sound and beat yet cleverly walked the fine line mixing between full sound and stripped back line “little secret”. Amusingly, keyboard and the banjo had almost a russian dance off mid song.

Their final song was full of thanks and appreciation for the crowds support, and delivered their first single release, a definite favourite, ‘The Music Box’. A stuccato piano intro, great harmony based vocals  and full band sound behind string and catchy melody had us all nodding to the beat. There was even an instrumental break showcasing the cello and of course a huge violin presence Lulu in breaks. I found it really catchy and could easily hum it all day with it’s killer vocals, Lulu’s passionate stage presence, it all makes for a warning: keep an eye out, Lulu and the Paige-Turners should take stages by storm.

Big Scary at Falls Festival Marion BayWe popped over to the Valley stage to check out Big Scary with their big piano and drum sound and 2 part harmonies. They’re certainly genre-defying and on the Falls stage, combining their slow piano stylings with heavy base and drums, created an ethereal quality to their set and sound. A really pleasant poppy, chill out band for the setting and time.

Paper Kites at the Falls Festival Marion BayWe headed back to the Field stage to catch The Paper Kites and watching their band tune a banjo, it struck me that I wanted to renaming this stage the Banjo Stage! It’s always promising when a banjo is sound checked, almost guaranteed a good hoedown. The five piece, opened with a strong drum beat/line and mellow guitar over the top and calm vocals wafting on the breeze. The crowd grew quickly, attracted to their ethereal indie quality. Their set saw great cohesion of vocal and instruments, working as one, blending when needed, separating when wanted.

They played “Young”, a more synth based track with finger plucking strings over the top. There was a steady crowd dancing up the front, from within, someone releases glitter across the top of the crowd and it floated over them much like the lyrics and vocals. A very mellow set with a solid under current of instrumental indie cool.

At times their set is airy, with floaty piano intros and breathy yet strong vocals. Other times, like when playing “Bloom”, an older song that the crowd can sing along too, a more plucky vibe sets the the crowd screaming and intensifies the atmosphere while still delivering beautiful harmonies that even a crowd can carry. Then they effortlessly add drums and banjo to truly catchy effect. I love the whistling break, crowd tried to whistle along and ended up sounding like drunk birds.

Their new song, “Cold Kind Hand”, is a more indie rock vibe with the femanine vocals playing beautifully off the big earthy drums beats. Staying true to their sound, their new stuff is as equally welcome as their old stuff. Take that Regurgitator.

James Vincent McMorrow at Falls Festival Marion BayI’m a complete novice when it comes to  James Vincent McMorrow, so when we headed to the Valley stage to catch his set, I was delighted to see a crowd had already formed, eagerly anticipating his set. Walking on stage to a rousing welcome from the audience, McMorrow opened with his breathtaking falsetto, reminiscent of early Matt Corby ethereal vocals, over simple piano chords, building to a faster speed with clapping, percussion and backing vocals. I saw in an instant the appeal and why so many are clamouring for his music. The crowd continued to stream in to the field as overall sound, now filled with bass to round out the effect, rolled up the ampitheatre. His voice delivers tones of Bon Iver but devled deeper within himself, ultimately creating an earthy, grounded effect.

His set celivered variety, with synth beat under harmonised vocals, the simplicity and stripped back nature of which was mezmerising. He is skilled at gently bringing new instruments in to the tracks, I didn’t even notice the piano build in to one song, and yet it ended solely on a tight vocal/piano harmony. He claimed nervousness as it had been a year and a half since his last big performance. He merely hoped his nerves were endearing, but to everyone present, not a nervous moment had been witnessed. Launching back in to his moody and soft, almost tentative vocals and delicious piano, echoing drum beats herald crowd favourites and everyone is lost in the performance.

London Grammar at Falls Festival Marion BayI’m one of those people who has heard of London Grammar, and has probably even heard their hits, but having been a bit of a musical hermit of late, I was keen to catch them in full swing on the Valley stage. The haunting intro and her voice flowing off the stage accompanied by keyboard and little else told me I was in for a wonderful show. “Hey Now” had a hypnotic effect on every member of the audience, ending in the kind of silence where you can hear a pin drop. And then there was the rapturous applause.

I can see why Hannah has been compared to Florence Welsh and Kate Bush, her voice dominates over the bass, electric guitar and djembe. But, not just a beautiful voice, she can take on the keys, build a melody that emerges alone only to wend through her soulful, lilting lyrics. She is a statuesque leading lady, yet manages stillness, poise, focus and delivers pitch perfect, stunning vocals that had the audience entranced. Whether they need to engage the audience with more in the way of stage presence is debatable, what they don’t have in presence, they make up for with atmosphere and sheer soundscape.

Hannah was experiencing the worst hayfever she has ever had because there is a unique type of grass in Tasmania and nowhere else in the world. With that revelation, it was amazing her vocals weren’t affected. Their wildly popular cover of Kavinsky’s “Nightcall” was to be expected, a popular choice with the crowd with it’s keys opening making way for the whining, stripped back electric guitar, reminiscent of The xx’s sparse production style.

With the crowd thoroughly in the mood, a staffer comes on stage with a giant birthday cake to celebrate Hannah’s birthday, for which the crowd sang happy birthday and she was incredibly excited as the cake was gluten free meaning she could actually enjoy eating it after their set. Fittingly, they celebrated the moment with a song the crowd could all sing along to, “Caught in the Middle”. To wrap up, they delighted the audience with “Metal and Dust” with it’s midway upbeat synth beats and keys which created a wall of sound crawling up the hill from the valley stage.

Violent Femmes at Falls Festival Marion BayI am of the age to have just been alive when their first, and arguably most famous, album was released, but I sure as hell knew about them and have danced in to many a late night with Blister In The Sun blaring. So needless to say, I was at the Valley stage for the Violent Femmes set. Just walking on stage they received a huge welcome from the crowd. And with out any ado at all, they cracked straight in to it with “Blister in the Sun”. They played like their album release was last year, like they do it all the time, and most of the crowd was up and dancing without a second thought. Naturally, with their time in the industry and their experience, they could play each track with a kind of laid back delivery, but full of cheer and that cool swagger attitude. Effortless in fact. They dubbed themselves the Grandfathers of folk-punk and to be blunt, they’re dead right on that call. And of course, they are one of those acts that can play their album from start to finish and hold every person in the palm of their hands for every single track, in spite of us all knowing what would come next. “Kiss Off” went off, the big slappy bass tones of “Please Do Not Go” had the crowd going crazy,  “Add It Up” had everyone singing every word at the top of their voice, and I was having a bit of a Reality Bites flashback. It was a glorious set, they sounded almost exactly like they did the day it was released and they were such a joy to watch, clearly having a great time on stage.

The Cat Empire at Falls Festival Marion BayOur final folky act of the night was our name sake and one of our favourite acts, The Cat Empire. I wanted to make notes and recall all they played, highlight the nuances of their set, but in true Cat Empire style, they just nailed it. They have this ability to cheer a crowd as soon as they walk on stage, talk to us all like we’re personal friends just jamming at their place, and have us all singing, dancing, grooving and jumping along to every track. They played a great selection of their back catalogue interspersed with tracks from Steal The Light and they generally got the party really pumping. We, as a crowd moved and grooved as one, loving every second. They, as always, nailed it. I read a Faster Louder review of the Marion Bay Falls  that put the Cat Empire down to a “pale imitation of The Roots” due to their scheduling, but clearly the reviewer was at an alternate universe version of the same gig, because we saw nothing of that. In fact, The Roots were a disappointment to us, nothing like we expected, so much so, that we left half way through their set and headed to bed. We must have missed the good bit.

Finally the penultimate day rolled around. Day 3, Tuesday 31st December – New Years Eve and the reason we were all there.

Gossling at Falls Festival Marion BayAfter a lazy lie-in, we headed to the Field stage to see one of our favourites, Gossling who we enjoyed seeing back in 2011. What a difference 2 years makes, from opening spot on the main stage at Lorne to a modest crowd, to a mid afternoon Marion Bay Field Stage spot absolutely packed with punters. Having not yet caught the latest offering from Gossling, I wasn’t quite that sure what to expect but bouyed by her unassuming start and complete skipping of any kind of chattering intro, Helen and band kicked straight in to the set with glee and abandon. Her set was heartfelt yet forthright, pulling tracks predominantly from the new album Harvest of Gold. The intimate setting allowed Helen to tell the stories behind the songs; the  love song about a couple who had been together a long time, whose spark was there in the beginning but is no longer there and the resulting mutual break up; her early experiences with social media as an artist and that anyone can say anything they want online and she just has to stop being a little pussy; and the day to day observations and experiences of life. Particular highlights included “Songs of Summer” (co-written with Steve Parkin) and that lamentable opening line “On a  Friday night, a thousand weeks ago” replete with male vocals (by Alexander Burnett of Sparkadia on the record) as well as the sheer frustration meets pop sensibilities of “Challenge” and it’s social media mayhem. All in all, another delightful afternoon spent with Gossling.

The John Steel Singers at Falls Festival Marion BayHustling from one stage to the next meant we could get a glimpse of The John Steel Singers on the Valley stage and their dedicated fans clamouring to tyhe front of the stage. Their set was upbeat and at times delivered a psychedelic vibe to the over all indie sound. I’ve heard a bit about the group, especially because TnS contributor Haz is a bit of a fan boy, but I was truly delighted by their tight harmonies and elegant guitar work. An oldie but a goodie, “Strawberry Wine” was a particular favourite with the crowd and as we made our way to our next stop, the set was in full swing, crowd singing and dancing along and glimpses of harmonised spleandour taunted us.

Later in the day we found ourselves back at the Field stage to catch complete unknowns, Bombino. Within an instant, our reaction was “They’re so cool!” Rocking traditional garb albeit of shiny material, and sporting electric guitars, this was an outfit set to impress. Opening rocky riffs drew an instant crowd to dance along. Singing in their native language, inspite of having no clue what was being said, their music translated with a sense of storytelling that spoke directly to the soul each member of the audience.

Bombino at Falls Festival Marion BayThe easiest way to describe their sound is a kind of a meeting of world music and indie stylings. Band members hail from West Africa, Niger, so it’s desert music that they play with touches of a Reggae feel to their beat. Bombino delivered a consistent energy and tempo throughout their set, holding the crowd in their groove through to the end, with a huge cheer from the audience to thank them for the performance. This is the kind of group I think Ash Grunwald would love to jam with!

Emma Louise at Falls Festival Marion BayRecovering from Bombino, we were set put to catch Emma Louise at the Field stage. Having missed a lot locally for the last 18months, I was curious to see just how far from folk Emma Louise had moved. With a heady mix of synth keyboard, acoustic guitar and stripped back drum kit, it was hard to predict just what would arrive. She walked out on stage looking super slick, breathy backing vocals began and she strapped on her acoustic guitar, much to the appreciation of the volminous audience. Stunning, breathy harmonised vocals wafted over the crowd creating a haunting and still opening. She has really matured and grasped the ethereal indie sound that Matt Corby toyed with a few years ago but delivers it with strength, confidence and delicate handling of the style.

“Toys”  gave a clever meld of synth, guitar and those evocative vocals, smooth as butter and just as addictive. Her stage presence has come leaps and bounds since I last saw her at Falls in Lorne, a true professional graces the stage now and captures the audience, holding them with every lick of a lyric.

The crowd, as one, responded to each synth-laden ethereal moment creating a sense of anticipation. “Tessalate” erupted from a mournful synth opening, trilling guitar and tantalising snare that broke in to a solid bass drum rhythm. Emma Louise’s Florence-esque vocals wound their way through the soundscape, met with harmonised backing, building to a beautiful crescendo before a delicate ending.

The set was peppered with new and old tracks including the strong keyboard, drum rhythms and intertwined angelic vocals of “Atlasize” and the rolling intimacy of “Keep Me Warm” allowed her great vocal range to tip in to and out of melancholic, interlocking harmonies to create an incredible, dreamlike atmosphere. And naturally, she ended with that favourite and original hit, “Jungle” which had the already large crowd heaving with enthusiasm and joy.

Crystal Fighters at Falls Festival Marion BayWhen we headed to the Valley stage for the Crystal Fighters, we had no real idea what to expect except that their bio included the word folktronica, so of course, I was there. The crowd were very excited for them and as they entered the stage they made an amazing visual impact as they were all dressed for the occassion. It seems this is what happens when a strange mix of percussion, glittery costumes and acoustic meets electric cohesion. No matter their cross-genre mix, the crowd were instantly dancing.

It all got a bit folkalicious when their txalaparta came into it’s fore (for those playing along, it’s like a giant xylophone played by two people at once), it was almost tribal in nature, matched with a thumping drum rhythm in an altogether stripped backing style to the vocals before the synth and full ensemble sound built in to a massive presence with crowd jumping and dancing feverishly. Did I mention they manage to include a ukelele in their dance music ensemble?

Love is all I’ve got for this act. Infectiously fun and impossible not to enjoy! I mean, you’ve got to love a bit of electric, hyper ukelele. They managed the crowd beautifully, taking us musically down to the beach (the real beach we could see from our vantage point), down through a
mellow, strummy intro in to the calyspo feel backing and harmonised vocals of “Plage”, where the synth builds before a big electric guitar line joins the party. I also adored the epic cow bell that features in “I Love London”. I think this is one of my favourite, highlight acts from the whole festival, a must see and a must to track down some of their back catalogue!

Grizzly Bear at Falls Festival Marion BayComing down from such a high energy set, we stayed at the Valley stage to catch Grizzly Bear
It was their second New Year’s Eve in Tassie and they seemed quite happy with their lot. Their opening number, “Speak in Rounds” brought with it the haunting quality of their vocals and the woozy atmospherics their sets are renowned for. They moved from one set to the next with such grace and ease that at times you’d forgotten that one song ended and another begun. The inextricably mellow and chilled resonance segued effortlessly in to echoey lament only to give way occasionally to a bluesy rock beat or to a revel in synthesizer gait.

Their performance is one of those truly enrapturing experiences, where their dreamy set can transport you to another reality, parrallel to the often frenetic energy of Marion Bay on a special occasion.

Neil Finn at Falls Festival Marion BayThe final folkishly influenced act on the Valley stage that night was the irrepressible, Neil Finn. We saw Finn take the stage back in Lorne and while that was a fun set, there was something more this time around. Whether the vibe of the Marion Bay festival or the hubbub of New Year’s Eve, either way, in that inimitable personality and presence, the audience was putty in Finn’s hands.

He crafted together a set filled with nostalgia, of hits and favourites as well as braw new works from recent album Dizzy Heights. Of the old songs, there was once voice as the crowd sang in unison, word for word, proving just how timeless Crowded House and Split Enz are. Of the new works, my favourite was the transidental temporary insantiy of “Pony Ride”, or that could just have been Finn’s explanation for the song and somehow we were all suddenly riding rainbows on unicorns with him, likely in hysterics. Title track “Dizzy Heights” and “Flying in the Face of Love” also were received well, but it was moments like Kirin J Callinan jumping in for a guitar solo on the Crowded House track “Locked Out” that made the set memorable. The spine tingling closer, one man on his knees and one guitar with no amped sound while crew changed over behind him for the next set, the thousands strong crowd with just the utterance of it’s opening  had us off singing “Better Be Home Soon” and claimed the defining moment of the night.

I don’t recall much of the actual New Year, with MGMT running over time, a quick countdown before kissing and hugging your nearest and dearest, or the random crowd members beside you, and then finally The Wombats hitting us with an onslaught of hits and subsequent dancing frenzy, it all just blurs together to be an energy filled night of frivolity with a matching hangover the next morning.

But, if you’re going to wake up with a hangover anywhere in the world, Falls Festival Marion Bay just moved up my list of acceptable places to do so.

Review: The Falls Festival, The Marion Bay Vibe

IMG_8801 - Version 2Photos by Stu B.

The Falls Festival is a funny beast – you have to choose between 3 states to attend, each with a slightly different line up. We chose Marion Bay, Tasmania for it’s chilled out, family friendly atmosphere, it’s absolutely stunning natural setting and because well, we haven’t been to Tassie for many years.

Having been to Lorne back in 2011/12, we had a few expectations about it’s little sister, Marion Bay, but what we discovered is that each site has it’s own unique style, pace and feel. With Lorne and Byron Bay selling out in the ever expected blink of an eye, we wondered whether the addition of Byron Bay as a third location (popular holiday destination and no stranger to big festivals) would be detrimental to the further afield, Marion Bay. Ticket sales were down but we found there was much more than just ticket sales to measure a festival by.

We made a real trip of it, flying in to Launceston for a night, driving down the East Coast in a hire car for two days (we even got to pat a Tassie Devil!), and spending a couple of nights either side of the festival in Hobart really appreciating the produce of Tasmania all on offer at the conveniently timed Taste of Tasmania which is definitely worth the visit. In short, before we arrived at Marion Bay, we were already in love with the place. Getting to the Marion Bay site is a bit tricky if you’re not a local driving there, however there is a very well organised bus system which we took, and where you kind of feel like you’re on a school trip, complete with that nervous energy buzzing round the passengers.

Marion Bay is the only Falls Festival which allows under 18s to attend, which I think is a really good option for the festival. In the lead up to the entry gates, and before your car is checked top to bottom for contraband alcohol (which if confiscated is given to the volunteers to drink at the after party – so it does go to a good cause), there is an alcohol amnesty, a lock up where you can store your grog instead of trying to sneak it in and simply collect it on your way out of the festival. We did see a number of cars stop and take up that option. In all, the festival has a much more relaxed and chilled out feeling. Some say that because there are children around, there is a natural reaction for the adults to behave a bit more and not go overboard on the alcohol. Other anecdotes told of those who successfully smuggled alcohol in who would head back to camp to drink their contraband and be so intoxicated that they never made it back in to the festival of an evening to see the big name bands… such a waste. But, it did mean we experienced one of the best festival crowds ever, complete with a bunch of little kids clad with epic ear muffs.

Tepee Village by Tepee LifeWe decided that since we were having one hell of a holiday away, that we would splurge on our accommodation for the festival. As with all of the Falls Festival sites, camping is included with your ticket. If you don’t want to haul your own camping gear, you can buy a gimme shelter ticket which will kit you out with a pop up tent and something to sleep on, already set up for your arrival. We went with the mother of all options and booked a Tepee for the full festival. These things are cool and environmentally friendly – made of recycled vinyl banners and bamboo poles, it’s a tent you can stand in, with space to sleep from 2-6 people. If being able to stand up in your tent isn’t the only appealing option for you, the tepee village also boasts a chill out, lounge room style common area with couches, coffee tables, power to charge your gadgets, shade cloths, funky night time lighting and some really cool people running the place. The only down side to being located in the centre of the festival was that it was away from toilets and showers and right next to the Village which is one of the late night venues. But, who needs a full night’s sleep anyway? On the plus side we were right in between the Field and Valley Stages meaning you could constantly drop in to your tent to drop off or pick up anything you needed. Tasmania, even in the middle of summer, can be bitterly cold and whips a wickedly chilly breeze straight through your bones while the sun blazes to hellishly hot temperatures any time the wind dies down. Being able to stop in for a quick layer or clothing change on the way between stages was indeed heaven.

The site itself had far more room than Lorne, with a full stretch of markets in the field between the two stage areas (where the Gimme Shelter and Tepee camping were as well as The Village) which made ducking between acts and stages a bit more energetic. The Field stage was a great little space, intimate even for a small crowd, and absolutely brimming with energy when a big crowd turns up (for Violent Soho or Solange for example). The Valley Stage, while sloping toward the stage isn’t quite the impressive ampitheatre that Lorne has, however it completely trumps Lorne by having the most spectacular view for any festival I’ve been to. I could sit on the rise and watch the sea and it’s hilly backdrop change colours from brilliant blues and emerald greens to a moody shifting between slate grey, cobalt blue and the kind of green you could only expect at the bottom of the ocean. It’s probably one of the most calming backdrops to set the scene for a festival like this.

View of Marion Bay and camping areas at Falls Festival 2013

Set over three nights, the first night saw only The Field Stage running to host the traditional opening night of any Falls Festival, Boogie Nights. Dressing up in theme is thoroughly encouraged, especially this year with the intergalactic theme that saw one couple lucky enough to win the opportunity to dance on stage with MGMT. We saw many, MANY wild and kooky costumes and it was clear Tasmania was going to be nothing to sniff at. Our favourite and most nerdy costume we thought should have won, was a young lass dressed, rather convincingly, as a Dalek. There were aluminium wrapped people, neon coloured fluffy outfits and event an amazing effort as a Sesame Street martian (yip yip yip!). We enjoyed Boogie Nights and it’s exemplary collection of boogie, funk, soul and groovy acts, none of which are in any way folky so don’t really warrant a review, but it’s one hell of a way to start a party. Our highlights were the incredibly silly antics and games of Legs Akimbo, amazing beat boxing by Tom Thum, the crazy outfit and intense energy, whole set dancing of The Correspondents and of course the excellent choices decade upon decade of Hot Dub Time Machine.

The next few days were filled with so many acts, that we decided to try and really pick out the folk influenced ones to review, and all that will all be revealed in part 2 very soon!

Entry to The Village at Falls Festival Marion BayBut to wrap up this piece, looking at the whole vibe and experience of Marion Bay, we couldn’t fault it. Great atmosphere, some fantastic site specific art throughout the site, a fantastic array of food and market stalls, plus the sheer room to move made the place really comfortable to spend a good few days. The vibe was amazing, relaxed, but still with a really positive energy, so much so, that it seems everyone on site was happy, all the time. That is no mean feat! But finally, we really loved the family friendly aspect of Marion Bay. We don’t have kids, but it’s a really pleasant place even without kids. It’s not over run with little ones, but they are an ever present, incredibly well behaved addition to the audience mix. There was plenty of activities for them to participate in, including the Festival Parade that saw a couple of hundred people build and create crazy costumes in the village throughout the festival all in time for the New Years Eve parade to the Valley Stage. Filled with punters young and old, headed by a golf cart, it was a superb representation of Love in all it’s forms.

If Woodford is too far away for you, or a little too folk heavy for your liking, then Falls Festival Marion Bay is a perfect alternative which still gives you a lot of similar experiences yet has a personality and style all of it’s own. Or, if they’ve got a great line up and that’s all you’re keen on, come for the space, the easy access to the beach, the pleasant weather and temperature and the awesome excuse for a getaway.

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