Image Courtesy of Oh Pep!
Australian indie-folk duo Oh Pep! continue to take the world by storm with the release of their new single and vieo “Crazy Feels”.
The video is the latest from Oh Pep!’s excellent album Stadium Cake – check it out below:
April 14, 2016 at 11:14 (Festivals, Reviews)
Tags: alt country, americana, archie roach, ash grunwald, blind boy paxton, blues, bluesfest, bob dylan, carolina chocolate drops, celtic, celtic music, celtic roots, city and colour, country, dolly parton, elle king, emma donovan, emma donovan and the putbacks, folk, Houndmouth, hussy hicks, indie, indie pop, jason isbell, kaleo, kasey chambers, kim churchill, lord huron, Peter Noble, rhiannon giddens, sahara beck, soul, steve earle, steve earle & the dukes, steve smyth, the bros landreth, the cat empire, the decemberists, the hussy hicks, the mastersons, the original blues brothers band, trad, traditional, vintage trouble
Year after year, Bluesfest manages to bring the big names and the impressive acts to Byron Bay for the annual Easter pilgrimage. Heading to Bluesfest this year, we really didn’t know many of the acts listed on the bill and wondered just what was in store for us, Timber and Steel wise. So here’s 5 things we learned at this year’s wildly successful, ultimate music sampler opportunity that is, Bluesfest.
One thing is for sure, Peter Noble knows how to curate an inclusive, diverse and engaging festival. The big names drew enormous crowds to all their sets. City and Colour had the crowd from the first note and Dallas Green was on form all night. The Decemberists gave their usual charming set delving in to a fabulous back catalogue of favourites. Not to go without a bit of political comment, they also played a song they thought to offer Donald Trump as his new campaign tune, ‘The Calamity Song’. The Cat Empire delivered a solid hour and a half set jam packed with both new tracks and past hits and favourites to wow the crowd. The biggest coup was probably The Original Blues Brothers Band closing out the weekend with a stellar set of their signature blues.
The festival was dappled with big names throughout the program. Archie Roach was in fine form, weaving his musical spell over the crowd and telling the tales of the land with strength and beauty, and a focus on songs from Charcoal Lane, the title track being a particular stand out moment of the set. Jason Isbell had his one an only set up against The Original Blues Brothers Band, so splitting our time between the two was challenging but rewarding as Isbell’s enigmatic style caught watchers in it’s thrall delivering a contemporary counterpoint to the old school blues on the other stage.
But one of the most notable names for me, still playing midday sets, was Kim Churchill. Getting his big break on the Bluesfest Buskers stage all those years ago, Churchill has been a staple name on the line up ever since. His absence in 2015 was noted and the crowds that gathered for this sets this year spoke strongly of his popularity for the Bluesfest crowd. Watching him command the stage, with the occasional accompaniment of a fiddle player or percussionists, was a joy to witness and testament to the following he has. It felt like he had come home, and in the process had evolved from a keen boy with a guitar to a passionate man with a solid musical career stretching before him.
Strolling from stage to stage, the peeling licks and plucky chords of the more folky persuasion were both notable and popular with punters, letting us stumble across all kinds of gems. LA based Lord Huron made quite the entrance with a tension building soundscape and crescendo, an upbeat strummy and infectious style, inventive percussion beneath the acoustic lead and an ability to morph between styles, from the old school feel reminiscent of the 50s and 60s summer soundtracks, through alt country and indie folk rock vibes. A particular highlight from the four-piece was ‘Hurricane’, billed as a song about “getting in trouble”, turns out it was aptly named.
Described as an Icelandic Indie pop/rock/folk band, Kaleo was a light and lyrical delight. Building from their delicate opening style to gutsy, rhythm driven choruses, through alt-country sensibilities to deep southern style blues, and a soulful cover of Bang Bang, Kaleo didn’t hesitate to transcend styles and genres to sign off with a blues rock riff and howling vocals when warranted.
The Bros Landreth, hailing from Canada, brought their alt-country and folk laden cover of Wings’ ‘Let ‘Em In’ to break the ice and then let the Americana tinged goodness flow forth. A family affair, big brother David couldn’t attend so father Wally came in his place and whipped the crowd in to a cheering craze.
The Mastersons were touring with Steve Earle & The Dukes, and made appearances both on Earle’s sets and one of their own solo shows for Bluesfest. Their lyrical country styling, featuring voices working together in diverse melodic harmony gave their day opening set a contemplative mood, transporting the crowd to simpler days. Earle’s set was one great big treat of blues soaked tunes with toe-tapping jivey bluegrass edge, all with the sweet country counterpoint of The Mastersons.
It seemed to be a fatherly affair this Bluesfest, with Hussy Hicks welcoming Julz’s dad Greg to their set to deliver some blistering harmonica to their upbeat tempo and at times Joplin-esque wails and passion. Indiana’s Houndmouth however had no dad’s on their line up but did have plenty of twangy blues and American drawl to open their show and unravel your soul where you stood.
You know when you look at a line up and you’re not really sure what acts to check out? Well Bluesfest was that way inclined for many but within the first 8 hours, gossip was abuzz with recommendations and wild tales of phenomenal shows and must see acts to catch. So here’s what we checked out based purely on word of mouth.
OK, so Steve Smyth isn’t exactly news to us, but the stir on site had his name on the tips of peoples tongues and boy did he live up to the hype. Sheer genius stood on that stage in the form of master lyricist and vibrant stage presence. Smyth’s beautiful voice and stunning vibrato was just powerful solo as with the support backing instrumentalists. His performance of ‘Southland’ blew socks off across the festival.
Shooglenifty, also known as ‘that band I can’t pronounce’, was not what you expect when you read “Celtic” on the program, but a glorious blend of traditional highland derived tunes that were heavy on the fiddle and a mandolin at the ready, intricately twined with modern rhythms, a few electric guitars and a toe tapping beat, drew punters in before they could saunter too far past the heaving tent.
The was no way to walk through the site without hearing the name, Blind Boy Paxton. Listening to his set was like a walk through time, from a fiddle calling a country dance and bransles, to a lightning speed banjo frenzy, a soothing guitar tune and even a lone harmonica telling you it’s tale. All this from one man on stage – simply astonishing.
There was a lot of talk about various acts, and word of mouth certainly got us to see some great performers, but thanks to emphatic and multiple recommendations from all kinds of punters, we discovered some of the most phenomenal women who stamped their mark and left as some of the powerhouses of Bluesfest.
We caught Sahara Beck for her last set and were immediately struck by her stage presence, the smooth set up with band and back up singers added the pizazz to her swag and gave her sultry vibe a ‘pop’ on stage.
Elle King had tongues wagging as word spread that after her first, expletive laden set, her set list had to be ‘revised’. However her husky, growling vocal licks were well and truly flowing when we caught her set in a heaving tent overflowing in to the customary Bluesfest rain. Sass and attitude would be the plainest way of describing King, her vibrancy comes from her musical versatility and ability to weave country vibes and bluegrassy panache throughout her ballsy bluesy set. A chameleon of style, King bowled over crowds with big notes, fiery wit and feisty repartee.
Hailing from Ireland, via Canada, Irish Mythen is a modern troubadour equipped with a powerhouse voice and emphatic lyrics. Mythen might have been the grittiest, most real musician seen at Bluesfest this year, armed only with her guitar and her stories, she held hundreds of people spellbound, hanging on her every word any time she took to the stage. We caught her multiple times, and laughed, cried, cheered and sung along to songs we had only heard the first time days before. She regularly had the crowd in stitches with her sense of humour and story telling capers, and woe betide any punter brave enough to heckle her! Four stand out moments stayed with me, even though I saw them all more than once. Her performance of ‘Tullamore Blues’ almost defies description, except that the crowd was with her, in that space, singing every word and feeling every sentiment. Jesus is an experience to behold, hilarious in it’s explanation and empowering in it’s performance, I sincerely hope every person gets to experience it live. Her a Capella rendition of ‘The Auld Triangle’ gives me chills and is simply astounding. And finally ’55 Years’ had me (and most in the crowd) in tears for the beauty it captures in it’s tale. A truly moving experience. Irish Mythen is awe inspiring and we’re excited she’ll be visiting Australia again soon.
And finally, probably the all-singing, all-dancing highlight of the ladies was Rhiannon Giddens. Establishing herself originally as a part of Carolina Chocolate Drops, Giddens’ solo work is a sight to behold and a treat to hear. Her stunning vocals are soulful yet soar high in beautiful arcs and trills of an almost Celtic style. The skill of her band melds electric with acoustic in wonderful instrumental breaks, bouncing off one another jamming to a crescendo and returning the spotlight to her lead when the time was right. Her banjo crept through tunes to pounce on you unawares, yet could alternate and become the hero of the song. Old Bob Dylan lyrics never previously turned in to songs until Giddens got her hands on them offered a treasure trove to discover. Doing a Dolly Parton cover can be tough, but Giddens’ rendition of ‘Don’t Let It Trouble Your Mind’ saw her own the song completely, from every element of style through to her emotive connection with both lyrics and sentiment. From start to finish and for each and every set, she wowed the crowd with fiddle, banjo, modern takes on traditional style, soul stirring lyrics and even a step back in time to the 1920s. Her fancy footwork went down a treat and her ability to connect with the audience and tether them to her tale as the most exquisite experience to behold. She could chat to the crowd but make you feel like she spoke to you and you alone, and yet at all times Rhiannon Giddens continued to exist as her own ineffable self.
Now strictly speaking, Timber and Steel doesn’t really cover Soul, but the prevalence of the big band style soul injections at Bluesfest is worthy of admiration and appreciation, so it gets a gong here.
Emma Donovan & The Putbacks were a sight to behold as Donovan put her own stamp on soul, with earthy tones and a voice that rolled over the crowd, calling to them, beckoning them to hear her story. The combination of her stories and passionate, soulful delivery made for a tight set and profound performance.
I wrote down 4 words when seeing The Word, and two of them were expletives… “holy f***ing sh*t wow.” The couple of songs we caught were incredible, full of funky groves and some sweet slide guitar, all topped off with an electric organ. Very smooth and cool indeed.
Ash Grunwald hasn’t moved in to soul, but his Bluesfet setup did resemble the big backing bands of the soul acts and boy did it compliment his wailing blues. Never conforming to just one genre, Grunwald drew on bluegrass vibes, some indie rock to his blues and of course his signature commentary on Australian life. Playing River from his new album, Grunwald spoke about the anti-CSG message prevalent throughout his most recent recordings and confirmed he was among friends int he Bluesfest crowd. His set was punctuated with old favourites as highlights, crowds rollicking in his passionate performance and joining in to sing along on choruses, and the utter delight when Kasey Chambers joined him on stage for a brand new song was palpable.
Another of the tongue wagging recommendations was for Vintage Trouble, and my first impression was that lead singer Ty Taylor was sex on legs, with enough swagger stuffed in to a cravat and suit to fell an army. And when the full band kicked in, it blew the show off the Richter scale. A set full of southern blues, call and response, screaming and wailing blues breaks and enough on stage antics to warrant a lie down after watching. This was my kind of place, 1950s style jazzy blues, complete with energy and onstage charisma!
Now, if you haven’t yet heard of the phenomenal popularity and praise for Bluesfest debutants St. Paul and The Broken Bones, then you haven’t been doing the internet properly. Of all the word of mouth recommendations, St Paul and The Broken Bones was THE most talked about act at Bluesfest, and not without good reason. A big band blues-laden soul outfit, oozing funk, with a big personality for a front man in Paul Janeway. Opening with an almighty wail and sliding in to a crooning style track, the crowd knew exactly where they stood and were rooted to the spot to witness the explosive show by one of the most engaging acts we’ve seen in years. Janeway, on behalf of the entire band, exclaimed that Bluesfest was the best experience they had ever had and they would definitely be coming back to Australia, to which the crowd erupted with delight. A set filled with rumbling soul, emotive ballads and big, ballsy blues, St Paul and The Broken Bones is sure to be a high rotation favourite on many punters playlists for some time to come.
Without a doubt, Bluesfest’s skillfully curated 2016 lineup was a smash hit success, sure to be spoken of for years to come. Can’t wait to see what Peter Noble comes up with for 2017!
Image By Stuart Bucknell
Little May have already had a killer year and that’s set to continue with the announcement of a national tour. The trio have been kicking a bunch of goals since the release of their debut For the Company in October last year and this year you’ll get to see them supporting City and Colour in March and April before a headline national tour in May.
The full list of dates, plus the video for their rocking new single “Remind Me”, are below:
City and Colour Support Dates:
Saturday 26th March – The Tivoli, Brisbane, QLD
Monday 28th March – Thebarton Theatre, Adelaide, SA
Wednesday 30th March – Red Hill Auditorium, Perth, WA
Saturday 2nd April – Sidney Myer Music Bowl, Melbourne, VIC
Monday 4th April – Enmore Theatre, Sydney, NSW
Tuesday 5th April – Enmore Theatre, Sydney, NSW
Friday 8th April – Anita’s Theatre, Thirroul, NSW
Headline Tour Dates:
Thursday 5th May – Wollongong Uni Bar, Wollongong, NSW
Friday 6th May – Metro Theatre, Sydney, NSW
Saturday 7th May – Small Ballroom, Newcastle, NSW
Thursday 12th May – ANU Bar, Canberra, ACT
Friday 13th May – Max Watts, Melbourne, VIC
Saturday 14th May – Waratah Hotel, Hobart, TAS
Friday 20th May – Adelaide Uni Bar, Adelaide, SA
Saturday 21st May – Amplifier Bar, Perth, WA
Friday 27th May – Solbar, Sunshine Coast, QLD
Saturday 28th May – The Zoo, Brisbane, QLD
Sunday 29th May – Studio 56 @ Miami Marketta, Gold Coast, QLD
Image Courtesy of Radical Face
Celebrated American indie-folk artist Radical Face is finally bringing his decade long album trilogy project with the announcement of The Family Tree: Leaves.
The Family Tree: Leaves is the third and final installment in Radical Face’s The Family Tree album trilogy (which has also sprouted several b-sides releases under The Bastards title) and is due for release on the 25th March.
The first single from The Family Tree: Leaves is “The Road To Nowhere” – check it out below:
January 15, 2016 at 09:56 (Festivals, Reviews)
Tags: bluegrass, bombay bicycle club, Byron Bay, country, electric folk, Emma Louise, falls festival, folk, gypsy, gypsy jazz, indie, jazz, lisa mitchell, Merry Jeann, mic conway, new year's eve, Oh Wonder, polka, roma gypsy, romanian, Soak, soul, The Falls Festival, The Imprints, the scrimshaw four, the woohoo revue, Vardos
Festival: 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.
The 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.
Merryn 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.
The 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.
We 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.
Irish 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!
I 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:
All Photos By Sarah Turier
The first time I saw Marcus Mumford perform songs from his band Mumford & Sons was at the Factory Theatre in 2008. He was supporting Laura Marling on her first Australian tour (as well as playing as part of her band) and his set was just him with a guitar, kick drum and kick tambourine.
Fast forward seven years and I’m standing in the muddy Domain in Sydney, rain streaming down my glasses and my jacket soaking through, as 23,000 people sing along to “Little Lion Man”. How far they’ve come.
Gentlemen of the Road is a concept that Mumford & Sons have been kicking around for a number of years now. The basic idea is that Mumford & Sons curate a mini-festival in a location that wouldn’t normally see international touring bands (the last one in Australia was held in the NSW town of Dungog), fill that festival with overseas and local acts and generally put on one hell of a show. Planting this year’s Gentlemen of the Road event right in the heart of Sydney does seem at odds with this concept, but I’m pretty glad they made that decision as it turned out to be one of my festival highlights of the year.
Stepping into the Domain decked out in all its Gentlemen of the Road finery reminded me Homebakes of old. For once the incessant rain had not kept the Sydney crowds away and the parkland was teaming with punters eager to see their favourite bands.
I’m not sure if the lineup of Gentlemen of the Road was meant to be a reflection of Mumford & Sons’ move away from their folk influences or whether it was just a coincidence (despite prominent appearances from the likes of Edward Sharpe and the Magnetic Zeros and Old Crow Medicine Show at other GOTR events Mumford & Sons have never touted the event as a folk festival) but this time around there was a definite rock and indie vibe perpetuated by appearances from The Jungle Giants, Future Islands, Meg Mac, Art of Sleeping and The Vaccines.
Only Jake Bugg bucked the trend fronting the huge crowd armed only with an acoustic guitar and his Dylan-esque songwriting style. I was pretty chuffed to Bugg on the lineup given his comments that Mumford & Sons “look like posh farmers with banjos to me” that the media sensationalised and tried to turn into a feud between the two artists. Jake Bugg’s set was engaging, intense and ultimately satisfying as he had the audience singing along with almost every song.
Mumford & Sons took the stage following a blistering set from Future Islands. The rain had been falling steadily for the afternoon (Future Islands frontman Samuel T. Herring was soaked to the bone by the end of their set) and The Domain had been reduced to a muddy mess. But that was all forgotten as the first chords of an electric guitar rang out across Sydney and the crowd pressed forward for almost two hours of Mumford & Sons goodness.
The boys did not disappoint with a blistering set covering all three of their albums. With the departure from acoustic instrumentation on Wilder Mind I half assumed that the tracks from Sigh No More and Babel would be reworked live to include the two-guitars-bass-keys-and-a-drum-kit set up, but for the older tracks the banjos and double bass were out in full force.
Classic Mumford & Sons tracks like “Little Lion Man”, “Roll Away Your Stone” and “I Will Wait” had crowd in fine voice but I was doubly impressed with just how much the newer songs were resonating with the fans. Looking around during the songs like “Ditmas” and “The Wolf” I saw Sydney singing with gusto.
The absolute highlight for me was the rendition of “Cold Arms”. This saw Marcus, Ben, Winston and Ted crowd around a single mic bluegrass-style with just an acoustic guitar for accompaniment. The hush that fell over The Domain was just magic with the harmonies from the boys washing over us.
In typical Gentlemen of the Road style Mumford & Sons finished the set by getting every artist back on stage for an all-in singalong. The song they chose this time around was “With a Little Help From My Friends” borrowing heavily from the version made famous by Joe Cocker. It was great to see the stage filled with a group of artists with an obvious respect for each other and who were humbled by the massive crowd who had braved the weather to see them.
Gentlemen of the Road reminded me what I love about these massive festivals where thousands of people come together to experience the music they love. Possibly my favourite Mumford & Sons show to date. Can’t wait for the next tour!
For all of the photos from Gentlemen of the Road check out the gallery on our Facebook page here.
Image Courtesy of The Paper Kites
Have you listened to the new album from The Paper Kites twelvefour yet? It’s been on constant rotation here at the Timber and Steel bullpen and we’re loving the indie-folk vibes.
The band’s new single is “Revelator Eyes” which also has a video which is part two of a trilogy (part one was “Electric Indigo” here). Check it out here:
The Paper Kites will be touring twelvefour through October and November. The full list of dates are below:
Thursday 15th October – The Gov, Adelaide, SA
Friday 16th October – Amplifier, Perth, WA
Saturday 17th October – Settlers Tavern, Margaret River, WA
Thursday 22nd October – Theatre Royal, Castlemaine, VIC
Friday 23rd October – 170 Russell, Melbourne, VIC
Saturday 24th October – The Workers Club, Geelong, VIC
Thursday 29th October – Solbar, Maroochydore, QLD
Friday 30th October – The Soundlounge, Gold Coast, QLD
Saturday 31st October – Woolly Mammoth, Brisbane, QLD
Thursday 5th November – Lizottes, Newcastle, NSW
Friday 6th November – The Metro, Sydney, NSW
Saturday 7th November – ANU Bar, Canberra, ACT
Sunday 8th November – Anita’s Theatre, Thirroul, NSW
Image Courtesy of Forest Falls
Melbourne six-piece indie-folk band Forest Falls released their excellent EP Hounds in the first half of this year and have been on the road since. After a successful tour supporting Husky the band headed out on their very own headline tour, during which they recorded a live version of the Hounds EP.
Timber and Steel are very proud to be the first to present the live EP for stream – check it out below:
The next single from Hounds is the very catchy “Thieves” which Forest Falls are launching with a couple of Victoria shows in the coming weeks, including a home town show this weekend. The full dates plus the studio version of “Thieves” is below:
Friday 18th September – The Retreat Hotel, Melbourne, VIC
Friday 2nd October – Cafe Go, Geelong, VIC