2017 Blue Mountains Music Festival – The Wrap

Paul Kelly and Charlie Owen doing Funeral Songs

Words and Pictures by Elizabeth Walton

“Can’t wait for this to start – Paul Kelly is Australia’s answer to Bob Dylan.”  So the murmur of the audience flows while revelers wait in the light filled entrance to the Lurline Pavilion at the 2017 Blue Mountains Music Festival.

“Nah mate, Bob Dylan is America’s answer to Paul Kelly,” comes the well whittled retort, a fitting reflection on the loyalty of the Australian pilgrimage to the Blue Mountains Music Festival, where Australia’s tower of song – Paul Kelly – has appeared many times.

The punters flood the moment with favourite festival stories, washed down with a good pint of Guinness. Mustering the strength to move past the thousands to the front of stage where you can really get lost in the experience – that’s what they are pausing at the entrance to do, for this is the festival’s main event – and that’s all part of the show.

Katoomba may be the original decaf soy latte kinda town, but the Blue Mountains Music Festival is still a double ristretto kind of event. Headliners including Kelly and The Waifs may have returned countless times, but you’d wonder why you would want to change something that clearly ain’t broke.

As the rain pours down, the mud slides up. The cafes flow with conversations filled with passionate responses to Gregg Borschmann’s Heartland Conversations, the virtues of six dollar gumboots, and the best fashion statement you can make with a plastic yellow poncho without face planting in the mud.

Paul Kelly hit the stage with his latest project, Death’s Dateless Night, an album of funeral songs recorded with collaborator Charlie Owen on dobro and keys, tenderly harmonized by Kelly’s own clan of daughters, the beautiful Memphis ad Maddie. The audience loved it, but loved it even more when the band eventually visited the song man’s own material. Though Kelly invited the audience to lay him down a pallet on the floor, and to just let it be, the cheers definitely grew louder when “To her Door” finally opened on centre stage.

The festival opened with acts including Caiti Baker, whose vocal style leaves you feeling that she wants to blow the walls of the theatre down, get out into the open where she can feel the  wind moving in her hair. The space seems a little small for her raging sound, verging from lyrical blues to a good decent growl. She tells us on Saturday she’ll be down on the Lurline Pavilion, the main outdoor stage at the show, though she pronounces it less like the colloquial Lur-lign, and more like Lur-Leene, rhyming the venue with Dolly Parton’s Joe-line, and soon has the audience singing along with her to an impromptu bash at Dolly’s favourite tune.

On Saturday night the Big Tent looks like it might fill with water, instead it’s a flood of grey hair and beanies, people moshing around in the mud in their comfy hand-made  knits and sensible weather wear. But if that gives a distinctively silver streaked view of the pilgrims, that’s only because the young ones are moshing at the front of the Main Stage, grooving out to Urthboy with his dub overlays and ultra chill. If you’re lucky this weekend you’ll only have gone through three pairs of water-ready shoes a day, your children won’t have sunk chin-deep in the mud, and you will be very happy with the new era of sounds washed in by Urthboy – where it’s standing room only up near the doof as the crowd gets all up close and personal like, pressed in so close that they leave the rest of the pavilion entirely empty. Up close and personal is the real thing when techo fans assemble to watch a row of straight standing personnel in front of a giant DJ desk, laying down the riffs over a deep sonic tonic.  Meanwhile,  a raft of festival volunteers politely excuse themselves from duty so they can catch the last 15 minutes of boyfilled Urth. This has always been a festival that knew its demographic well, and takes no umbrance with serving up something for everyone. From Blue Grass to Trad Folk, the genres represented expand the very notion of what seems like a 360 degree perpetually evolving spectrum of musical styles.

In a world where festivals are born, reach their peak and quickly fade, this event is now hosting third generation folk who wouldn’t have this gig played out any other way. The audience is right at home with the cabaret style humour of The Loveys, who’ve flown all the way from Mullum, bringing along their jokes about yoga and farmers’ market twee. They clink their way through a set in German,  which slips past their too-red lips and over-stated eyewear, their gentrified hats, and putt great-grandma’s Royal Doulton to a new, unintended use as the china tinkers out a syncopated funk. Midway through the gig one of the ladies asks for LSD – but it turns out she isn’t craving the hallucinatory type, she’s just after a Latte Soy Dandelion. Nailing the piss-take on all things modern circa 2017, from transgender marital departures to personality disorders – even the pursuit of happiness isn’t spared from their material. But they’re not popular just for their good humour, they’re a festival highlight because they’re absolutely gorgeous and very bloody good – especially the well grounded Bass Uke of Madeleine Liddy, who churns out a phat sound reminiscent of McCartney’s Hoffman – a sound others in the same venue struggled to achieve.

Perhaps that’s just down to luck, or it could be technique, but Liddy doesn’t think so. “It’s because it’s preloved,” she says. “And it’s well-worn in,” she adds with a cheeky wink, much like the general spirit of these grand duchies. “Oh, and it hasn’t got any varnish”.  Well that’s definitely it, wouldn’t you think? Some might think it’s just a great attitude shared amongst these ladies, including Janet Swain, who appears clad in a spectacular green velvet robe, reclaimed from some Victorian widow’s wardrobe.  She wears her threads comfortably as she honks and hauls her bassoon like a baritone sax.

A honkin and a yankin in some unintended direction is all par for the course, from the street buskers grooving overdubbed percussive raps on part-filled glass bottles, to Mic Conway’s Junk Band, giving himself an onstage vasectomy with a saw played so nostalgically that the audience asks “who is that woman singing with that distinctive voice”. It’s not a woman singing, it’s Conway’s vitals begging for mercy as he slashes out his aptly nervous and wobbly tune. His side kick is the amazing sousaphone player dubbed “Marjorie Snodgrass” for this line up, who sometimes cameos in the Cope Street Parade.  She spends an hour after the event lavishing praise upon Lewis the Sound Guy for “getting” that she is the bass – whether she’s pumping her sousa, or an impeccably rendered mouth-impro bass jug. They don’t call it a junk band for nothing. The mutual admiration continues until Lewis and most of the band discover they’re all neighbours in Sydney’s eclectic inner west.

Lewis covers the event every year, bringing his own mics to work his room, The Clarendon Theatre, whose plush trim is renowned for delivering a distinctively flat sound that Lewis successfully overcomes without the aid of the high end, crystal clear gear and production values of the main stages. It’s a challenge, but like all Blue Mountains Festival devotees, one which he could perhaps best be described as pathologically drawn to. The rigors of the job are largely performed by the unknown and the unthanked, but the dooers of these unseen tasks are usually destined to return.  Once the festival gets into the blood, it’s a well fixed hooked.

True to form the mountains throws its unaustralian weather – unaustralian because even folk from the Arctic Circle cry that it’s freezing cold. In the Arctic at least when it rains it falls as snow – a dry white dust that easily brushes off. The Blue Mountains offer a unique kind of soak that seeps right into your soul. Then come the complaints from the uninitiated, rain weary after three days trudging around in it. “I’d rather live in Canada than live in this!” Yes, you probably would, but that’s part of the attraction of the mountains, and it’s why all those silver streaks are standing there happily in their sensible outdoor gear. There’s a saying in the mountains – there’s no such thing as bad weather, just bad gear. Get the good gear and you’re right to go.

Yet for the musos actually from the Arctic Circle such as The Jerry Cans, they’ve found their ‘other world’, a far departure from the Australian places they’ve previously played, melting  in the heat, discovering only then that the reason they developed a style of playing so fast was to stop themselves from freezing to death. From Adelaide to Darwin they preserved their organs from overheating on frenetic energy at a gazillion degrees. The weather doesn’t seem to have impeded their throat singing, electrified fiddle and squeeze box filled riot of a style. Here they discover they can finally crank it up and get back to their original pace. And the crowd rises to meet them, foot stomping in the newly created dance pit at the front of the Guinness tent – a welcome inclusion in an event that has always been considered a  ”concert” festival – one where you can expect to be able to sit comfortably in your bucket seats without your view being jiggled into obscurity – now there is room for both kinds of audience – the dancers and the dedicated listeners, and a wonderful world it is that can comfortably accommodate the two.

David Ross Macdonald presents a twangy six strings of metal  guitar that looks as if it could do with a bit of new brass, but it comes across sweet like a classical guitar, using a capo fretted style so soft and light that the end result is not unlike a uke. He invites the audience to join him as he croons upon how badly he craves to be held, and though his guitar looks like it might have seen better days, it’s perfect for such a setting on a night like this, offering a sound that’s subtle yet delivers a surprising level of depth.

The Mission Songs Project brings new life to the voices of the stolen generation and indigenous Australians who were splintered from their cultures when they were made to sing in a foreign language. Today, traditional languages are so far removed from their vernacular that singing in English has become the mainstay, the local languages have become the foreign tongue. Yet everything has its resurgence if you can claim it before it achieves vanishing point. The stories are heartfelt and beautifully sung – perhaps not with the campfire instruments of their natural settings, but the end result is one that adapts well to the contemporary stage and travels to a diverse and broad audience – for The Mission Songs Project, this is mission accomplished, and accomplished incredibly well.

In a festival world where every  outfit seems to have developed the mandatory uke moment, comes the strident yards of  a bush ranging balladeer – uke man William Crighton – nine parts murderer and one part hipster, tantalising the drama enthralled-audience, half of whom are  scared out of their minds that he might wield his tiny stringed box like an axe and murder them on the spot as he thumps between the rows– the other half of whom are hoping to hell that he will! Yet William makes his way back to the stage and continues his conquest to drown you in his jaded and heartbroke view of the world without ever shedding even a drop of blood.

Meanwhile the ground becomes a cup more filled with water-making-mud than one half empty, and the deserted stalls and food courts in the school grounds stand forgotten as no-one can reach them without a plank.

The 2016 Youth Award Winners The Bean Project  pulled off a surprisingly sorrowful set of sadness for ones who’ve yet to spend their youth. The brass section of this mighty duo invokes the gentlest French horn, muted the old fashioned way, with a palm holding back the full force of the sound. It is reserved, civilized, and remains gentlemanly, until Bryce Turcato takes away his hand and builds to a punchy solo, fluid with delicately placed 9ths and unresolved 7ths, while his mate Ben Langdon stares at him earnestly through his horn rimmed glasses, and flicks back his long blonde bob as he deftly states to his departed love, “I’ve never been alone more than I am here in your bed”.  The rays of light reached down and kissed him when she left, he says, before telling us that they cut their teeth in noisy pubs where not even the walls were listening. It’s an unsettling surprise now, here, in this theatre, he tells us, to finally have our attention. After Bryce finishes ripping through his brass staccato, he falls back into a noble style, summoning images of a call to hunt, all regal caps and whips and beagles.

“This next song will be sung in Islamic,” says the singer from My Bubba. This is a duo of damsels, one of whom looks like she’s emerged from legal secretarial school, with her closed-toe cloth pumps and knee length linen black shift, a look finished with a single strand of plastic aqua coloured pearls. They sing with the restraint of those who might be found in the dusty chambers of the law academy, yet the result of all that restraint produces something akin to an angelic ascendance, with soft harmonies beautifully entwined around a heavenly, harp like instrumental style. They look as though they might butterfly kiss each other at any moment with a naked eyelash.  These are the kind of virginal maidens that can maintain their composure and remain incongruously well groomed amidst a sea of people with wet hair and faces flung with splats of rain. If you can imagine the restraint that may invoke in their vocalising, then you’ve grasped the concept.

By Sunday, Stage 6 is dubbed Big Top Lake, and the Tantric Turtle along with all the other venues on the green are pulled.  A quick rethink and the audience and most of the acts are all reshuffled. No-one who has already played misses out. A new program is issued, the details are publicised on social media, and everyone is right to go. According to the seasoned stage crew who have built this mini city countless times and painstakingly pack it all down at festival end, this decision was more to do with the indoor lake and wanting to make sure everyone had a great time than anything else. Though folklore may want it remembered differently, it was less to do with the depth of the mud, which as far as outdoor events go, wasn’t as bad as it might have been. You might say it was deep enough, but not as deep as the festival from somewhere up north, where once upon a time some chick went so far down in the mud that she completely disappeared and has never been seen since, or so the story goes. Perhaps she showed up sometime later in the Manning Bar at Sydney Uni. But this is the Blue Mountains, where you’d have to think she selected her moment of re-emergence to coincide with first beers at the ever popular Boho Bar, run by all the dedicated mums and dads and rank and file members of Katoomba’s P & Cs. The festival is the major fund raiser, and the flush of funds surging through the veins of the schools for the past 21 years has made for a formidable contribution to a cash strapped cultural enclave of a town that couldn’t have achieved this in any other way. It’s an undeniable contribution to the advancement of wellbeing for the local munchkins, but you’ve got to wonder how they get on when the playground is as trashed as this – yet Katoomba is a town with a can-do kind of pride, a place where people are going to make do with whatever they’re handed to make do with. At least there’s no cars bogged in at 3am with volunteers desperately trying to pull them out, in a push-me-pull-you kind of experience never to be forgotten. And never to be repeated, now that parking is banned from the grounds.

The full gamut of natural disasters may have threatened to unleash the doors of doom upon the festival many of times– yet they never have. From deep mud to the high winds that huffed and puffed til they blew Lurline Pav down before opening a few years back, to this year’s  demise of the main indoor venue – Katoomba RSL – which burnt to the ground just a couple of weeks ago, this festival, like Katoomba itself,  is a foot soldier of survival. You can blow her big top down, you can burn her to the ground, but the show will go on, and the founding Festival Co-Directors Bob Charter and Al Ward are well seasoned masters of the quick switch.

Though this year sees the departure of co-founder Al Ward after 21 successful years in production, Bob still managed to pull off the switch and brought the shy wallflower that is the Palais Royale into play while the cinders at the RSL were still hot. Even the most established K-Town aficionados were not yet acquainted with this grand old dame of art deco Katoomba, who willingly submitted her services to the impromptu role of third venue for the festival.  The plush comfort and stately grandeur of the Palais Royale was well admired by all – a venue whose grandiose chandeliers set  the mood for dulcet tones that could woo even the most jaded festival goer.

Reaching out to this venue is a master stroke for the festival, and you can be sure bands and revelers alike will definitely want her back. It’s too good a venue to refuse for a festival that stands proud amongst a battlefield of fallen events. And as the much loved Blue Mountains Music Festival heads towards her quarter century of service, long may she reign.  All hail The Festival, and all she represents.

– Elizabeth Walton is a freelance writer, photographer and musician

The 2013 Cobargo Folk Festival Lineup

Perch Creek Family Jug Band
Image Courtesy of The Perch Creek Family Jug Band

Cobargo on the NSW South Coast may have a tiny population but it also bost a reputation for holding one of the best small folk festivals in Australia. Taking place this year from the 22nd to 24th February the 2013 Cobargo Folk Festival will feature the likes of David Ross Macdonald, Don’t Mention The Wall, Kim Churchill, Martin Pearson, Modhan, The Bon Scotts, The Perch Creek Family Jug Band (above), Vin Garbutt and many many more.

When you consider that tickets for the entire weekend of music are under $100 this has to be one of the best value festivals going around. For more information on the Cobargo Folk Festival check out the official site here. The full list of artists are below:

All At Sea, Battlers’ Ballad, Big Bug Quartet, Black Joak Morris, Brown Mountain Bogtrotters, Canberra Union Voices, Chooks on a Hot Tin Roof, Craig & Simone Dawson, Cresswell & Co, Dale Robert Huddleston, David Ross Macdonald, Dingo’s Breakfast, Doctor Stovepipe, Don’t Mention The Wall (Germany), Fiona Boyes Hammond Trio, Folklore, Franklyn B Paverty, Glover & Sorrensen, Graham Wilson, Innes Campbell, Jali Buba Kuyateh and Afro Diyaa, Jazz Train To Budapest, Kade Brown Trio, Kim Churchill, Kristina Olsen (USA), Lesley Rose. Lily & King, Lisa Maris McDonell, Malumba, Marcus Corowa, Martin Pearson, Michael Menager & Friends, Mike Martin, Miss Molly’s Maypole, Modhan (Scotland), Mumbulladahs, Nicola Hayes & Helene Brunet (France), No Such Thing, Once Upon A Song, Paul Carr, Pete Denahy, Peter Hicks and Ross Smithard, Ruido Flamenco Blues, Ryebuck Bush Band/Pastrami on Ryebuck, Sam McMahon, Senor Cabrales, Shortis & Simpson, Tabla Bellydance, The Blue Ruins, The Bon Scotts, The Little Sisters, The Miss Chiefs, The Perch Creek Family Jug Band, The Puddin Eaters, The Silver Strings, Vic Jefferies, Vin Garbutt (UK), Zondrae King

National Folk Festival 2012: A Musical Feast Part 1


Hosted over Easter by Our Nation’s Capital, The National Folk Festival is something I look forward to, and every year I am in equal measure befuddled by, and in awe of, the phantasmagoria of sounds and kaleidoscope of sights present.

Music, dance, workshops, and expert percussive monkey puppeteers – these are all reasons to attend. But of course, there is another…

Lounging amidst lashings of hot mulled wine, ubiquitous gozleme and meat on sticks, lays the lip-smacking delight that comes with a side-served promise of spiritual awakening, known as The Feast.

The Feast, folk festival grub perfected by vegetarian Hare Krishnas, has become a main attraction. Two parts Royal Rice and Mixed Veggie Curry, one part Kofta Balls and Tomato Chutney and one part Halava Dessert, The Feast describes The National Folk Festival itself – aromatic, wholesome, lively and at times, experimental (who knew that sweet, sticky date-laden halava and tomato chutney could taste so good once accidentally combined)?

For this reason I will allow The Hare Krishna Feast a guest spot in this report (as it ‘gets’ folk).

The Yearlings

This super-lovely set got off to a cute start, with Robyn and Chris, a.k.a. The Yearlings wholeheartedly strumming (as we wondered, “Why are they performing through their foldback, and underwater?” and “Who turned out the lights?”) until the sound guy helpfully pointed out that things had not yet begun. Then, after giggles all round and a formal introduction from the MC they were on their way, both visible and audible.

What followed was dreamy, alt-country, road-trippin’ side-winding – the kind that makes you think, “Life moves pretty fast. If you don’t stop and look around once in a while, you could miss it”, or “Dernit, I fergit ma Stetson”.

Wildflower Girl” was ultra-cool. Robyn’s voice, with a touch of the Hope Sandovals, is so listenable and Chris coaxes milky tones from his electric guitar. Isn’t it so much more engrossing when talented guitarists don’t overdo it, even though they could?

After the gig we bumped into them at the sunscreen dispensary. They were friendly, relaxed and not the least bit sunburnt.

The Yearlings via The Feast: Everything that is great about The Feast, exists within The Yearlings. If I had to compare them to a particular part, it would be Royal Rice and Mixed Vegetable Curry: subtle, moreish, satisfying.

Sarah Humphreys (feat. Sam Buckingham)

Sarah Humphreys is quite the endearing performer. Somehow both shy and confident, she has a gentle, folky sway and a bunch of stories that, if told by a performer less natural, would seem too earnest for me (heck, she’s brought me to near-tears on more than one occasion).

This year at The National she was joined by her guitarist and a percussionist, which added a good amount of pep, to her oft introspective set.

I adore her most when she sings this song, which she did with fellow songbird, Sam Buckingham, silencing all in the Flute ‘n’ Fiddle and well into the fields beyond, even the drumming monkeys.

Sarah Humphreys via The Feast: Sweet like Halava.

April Verch

We wandered into a dark, cow-barn-sized, full of folk-folk room and settled in on the floor to catch some country/bluegrass tunes sung by a tiny, be-frocked Canadian fiddler accompanied by her wickedly skilled band (Cody Walters on double bass and banjo and Hayes Griffin on guitar).

All seemed wonderfully put together, hearty, festival, fiddle-driven fare until…April Verch started TAP DANCING!

I rummaged around for her programme bio to confirm that yes, this was happening and yes, April is not only a multi-instrumentalist and cherished Canadian musical export, she is also known in the business for her ‘step dancing’ prowess.

What the?

Over the next 30 minutes April and her band wowed us with their 3-man show. They were true performers, charming and funny (Hayes pointed out wryly that the only way to tell one fiddle tune from another is by the name, how true).

I’m Still Trying” was uber-country in both lyrical style and arrangement, and simply lovely. The final number, “Bumblebee in a Jug” was a foot stompin’ hurrah that had me looking around for bumblebees swarming from jugs (‘cause people play jugs at the Folky).

To finish, the crowd sung Happy Birthday to April and she forgave us for not bringing a card. It was short notice, after all.

April Verch via The Feast: Just like a small dollop of Tomato Chutney, April Verch stepped up with a surprising amount of (high) kick!

The Ellis Collective

Being a Sound Guy at a folk festival is pretty much the job from Hell. Sound checks in real time, constant rearranging of instrument mics, vocal mics and leads, knob/big ego/fiddle fiddling, it’s no walk in the park.

On Friday night, as The Ellis Collective prepared to folk-rock the Majestic (a 1950s circus-style tent and newish venue at The National), it was clear that there might be technical difficulties. The show was running 25 minutes late, for starters.

When Matty Ellis and his band of ragamuffin folksters graced the stage, they were met with raucous applause. Having recently been ‘Unearthed’ in 2011, their following is growing in number and devotion and those attending didn’t seem to mind the murky sound one bit. The Ellis Collective soldiered through the sound and even sanctioned some specific, rhythmic audience participation, which much to their bemusement, the odd wag continued in unexpected songs, with the full audience’s final approval delivered in said-same rhythm-claps instead of the usual applause.

The gig swung from an avant-garde experiment that at one point saw nine band members on stage (incl. four percussionists, one playing a chain, in a bucket) to a moving, heartfelt performance, and it brought the tent down. Sound Guy Hell, but fan Heaven.

The Ellis Collective via The Feast: Crunchy, crunchy Kofta Balls.

David Ross MacDonald

A cool thing to do at a folk festival is take a punt, as we did on Friday afternoon, with David Ross MacDonald.

Knowing nothing about him, we sat ourselves down in the Flute ‘n’ Fiddle, taking care to manage our exit strategy, should his set not fill our 40 minutes with joy (sounds harsh but there is a LOT of music to get through at The National)! The only clue that we were about to see something good was that The Yearlings crept in via a sneaky side entrance to watch. Did I mention how much I like The Yearlings?

David, a troubadour in folk-armour (white shirt and vest), had us immediately. And I can’t quite pinpoint what it was that captivated, perhaps the blend of introversion, quirk, honesty and sing-scat-humming to himself off mic. If you watch this shaky recording of “Ruby Stone” (try to ignore the children crying), you might hear what I think I heard – a hint of Darren Hanlon and something deeply lovely. And we all joined in with the chorus.

(Here, why not watch some more, it’s fun)!

I also liked what he had to say – whether dispensing advice from his Mother (“Adapt or die!”) or telling a funny story about a family holiday with Grandpa that takes a twist and punches you in the guts with brutal, beautiful observation.

David is a great guitarist but his appeal isn’t abracadabra or production. We lined up to buy his latest album after the gig (and maybe gush a little) and I like it, but his live performance with nothing added, seemed so, so pure. The album longs me to see him live again.

In any case, I give David Ross MacDonald two of my thumbs, pointed skyward.

David Ross MacDonald via The Feast: Have you ever eaten the feast for lunch AND dinner. David Ross MacDonald is just like that.

In sum, The National Folk Festival rules. So does sunscreen, songbirds, tap dancing, Sound Guys, Grandparents, D. R. MacDonald and of course, The Feast.

Candelo Village Festival This March

David Ross MacDonald
Image Courtesy of David Ross MacDonald

On the 19th March the Bega Valley on the south coast of New South Wales will play host to an absolutely delightful Candelo Village Festival. Set in the town of Candelo, about two hours from Canberra, the Candelo Village Festival is a celebration of music, arts, and local culture. Appearing on the lineup at this years festival is David Ross MacDonald (The Waifs, above), The Gadflys, Jeff Lang, Kate Burke, and many many more.

If the thought of spending a lazy Saturday in a cosy southern village listening to fantastic Australian folk music sounds like your thing then head down to the Candelo Village Festival this march. Ticket and program details are on the official web site.

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