Thank Folk It’s Friday – 21st July


This Week in Folk

All the News From The Week That Was

– Brisbane’s Daggy Man announced headline tour dates this August in Melbourne, Sydney and Brisbane. Details here

Angus & Julia Stone revealed details of their upcoming new album Snow. Details here

– Alt-country favourite Fanny Lumsden has announced plans to release her second album Real Class Act this September. Details here

– Melbourne jazz-folk quintet The Bean Project kick off their album launch tour tonight. Details here

Holly Throsby announced a handful of intimate shows in NSW this October and November. Details here

– Sydney indie-folk singer-songwriter Emma Davis released her new video “Getting Better”. Details here

– The legendary Paul Brady announced plans to release his 15th solo album Unfinished Business. Details here

– Melbourne-based alt-country band Raised By Eagles announced a headline tour this August. Details here

– Melbourne singer-songwriter Tobias released his new single “City Walk”. Details here

Releases This Week

Stu Larsen
ResoluteStu Larsen

Timber and Steel Recommends – Go To This Gig

Taryn La Fauci

Taryn La Fauci

Two reasons to get to this gig: 1) This is your first chance to check out the brand new Camperdown location for intimate Sydney venue The Newsagency. 2) Taryn La Fauci is launching her amazing new album Cycling. If you’re not at this show where are you?

Friday 21st July – The Newsagency, Sydney, NSW

Gigs Next Week

Amber Rae Slade, Sam Newton
Saturday 22nd July – Vic on The Park Hotel, Sydney, NSW

Monday 24th July – Crown Theatre, Perth, WA
Wednesday 26th July – Hamer Hall, Melbourne, VIC
Friday 28th July – International Convention Centre, Sydney, NSW

An Evening Of Ryan Adams feat. Liz Stringer, Lisa Miller, Gordon Holland, Nick Gramm, John Abougelis
Tuesday 25th July – Drunken Poet, Melbourne, VIC

Friday 21st July – Leadbelly, Sydney, NSW
Saturday 22nd July – Corner Hotel, Melbourne, VIC

Brad Butcher
Friday 21st July – Nambour RSL, Nambour, QLD
Sunday 23rd July – Burleigh Brewing Co., Burleigh, QLD

Broadbeach Country Music Festival
Friday 28th to Sunday 30th July – Broadbeach, QLD

Saturday 22nd July – Some Velvet Morning, Melbourne, VIC

Cake and Cordial Sessions feat. Fanny Lumsden, Kelly Cork, Megan Cooper, Paddy McHugh
Friday 28th July – Ashgrove Bowls Club, Brisbane, QLD

Charm of Finches w/ Loren Kate
Friday 28th July – Thornbury Theatre, Melbourne, VIC

Dan Vogl
Thursday 27 July – Gasometer Hotel, Melbourne, VIC

Devil Goat Family String Band
Sunday 23rd July – Bar Open, Melbourne, VIC

Echuca Winter Blues Festival
Thursday 27th to Sunday 30th July – Echuca, VIC

Ed Kuepper
Saturday 22nd July – The Melba Spiegeltent, Melbourne, VIC

Fanny Lumsden and Tobias
Friday 21st July – Ilfracombe Hall, Ilfracombe, QLD
Saturday 22nd July – Isisford Hall, Isisford, QLD
Sunday 23rd July – Yaraka Hall, Yaraka, QLD

Father John Misty
Friday 21st to Sunday 23rd July – Splendour in the Grass, Byron Bay, NSW
Sunday 23rd July – Metro Theatre, Sydney, NSW
Monday 24th July – Melbourne Recital Centre, Melbourne, VIC

FolkSwagon feat. Lucas Road, Christian Patey, Matilda Abraham
Wednesday 26th July – Cafe Lounge, Sydney, NSW

Fred Smith, Men In Suits
Friday 21st July – House Concert, Eltham, VIC

Georgia Fields and Phia
Friday 21st July – The Milk Factory, Brisbane, QLD
Saturday 22nd July – NightQuarter, Gold Coast, QLD
Sunday 23rd July – Brunswick Picture House, Brunswick Heads, NSW
Thursday 27th July – OAF Gallery, Sydney, NSW
Friday 28th July – The Unorthodox Church of Groove, Newcastle, NSW

Georgia State Line
Sunday 23rd July – Spotted Mallard, Melbourne, VIC

Get Folked Punk feat. Billy Puntton, Vetty Vials, Jonno Read, Ordinary Steve, Sam Namrekcut, Sare and Nath, Brothers in Arms
Thursday 27th July – LazyBones Lounge, Sydney, NSW

Grigoryan Brothers
Sunday 23rd July – Riverside Theatre Perth Convention Centre, Perth, WA
Monday 24th July – Riverside Theatre Perth Convention Centre, Perth, WA
Wednesday 26th July – Sydney Theatre, ICC Sydney, Sydney, NSW
Thursday 27th July – Sydney Theatre, ICC Sydney, Sydney, NSW

Helen Townsend
Friday 21st July – Sunset Studio, Mayfield, NSW

Saturday 22nd July – Mojos, Fremantle, WA
Sunday 23rd July – The Rosemount, Perth, WA

Illawarra Folk Club feat. Steve Wilson, Margaret Bradford, Jimmy & Shay, Nerida Cuddy
Friday 21st July – City Diggers, Wollongong, NSW

J-L Rathbone
Saturday 22nd July – AICM, Gympie, QLD

Jen Mize
Saturday 22nd July – City Golf Club, Toowoomba, QLD

Jesse Younan 9th Anniversary Tribute Show
Saturday 22nd July – Camelot Lounge, Sydney, NSW

Jim Lawrie
Friday 28th July – Northcote Social Club, Melbourne, VIC

Josh Pyke w/ Kyle Lionhart
Friday 28th July – Enmore Theatre, Sydney, NSW

Julia Johnson
Saturday 22nd July – Smith’s Alternative, Canberra, ACT

Kelly Brouhaha
Friday 21st July – No 5 Church St, Bellingen, NSW
Saturday 22nd July – The Music Lounge, Sydney, NSW

Lachlan Bryan & The Wildes
Friday 28th to Sunday 30th July – Broadbeach Country Music Festival, Broadbeach, QLD

Leo Rondeau, David Garnham
Wednesday 26th July – Midnight Special, Sydney, NSW

Lines of Flight
Thursday 27th July – Kave Bar, Newport, NSW

Lloyd Spiegel
Friday 21st July – The Mullumbimby ex-Services Club, Mullumbimby, NSW
Saturday 22nd July – The Sound Lounge, Currumbin, QLD

Lost Ragas
Friday 21st July – Some Velvet Morning, Melbourne, VIC

Lucy Wise
Friday 28th July – St Margaret’s Anglican Church, Eltham, VIC

Matt Joe Gow
Saturday 22nd July – Northcote Social Club, Melbourne, VIC

Melanie Horsnell
Sunday 23rd July – Live Spark @ Brisbane Powerhouse, Brisbane, QLD

Mem Davis and Kindred Spirit
Friday 28th July – The Yo-Yo Bar, Wollongong, NSW

Miles and Simone
Thursday 27th July – The Golden Age Cinema, Sydney, NSW

Mountain Pickers Association Club Fundraiser Concert feat. Slim Dime, Appalachian Heaven Stringband, Nine Mile Creek
Sunday 23rd July – The 1812 Theatre, Fern Tree Gully, VIC

Friday 28th July – Leadbelly, Sydney, NSW

Oliver Downes w/ Imogen Pemberton, Georgia Smith
Wednesday 26th July – Open Studio, Melbourne, VIC

Parodies Past & Present feat. Phyl Lobl & Paul Spencer
Saturday 22nd July – Loaded Dog Folk Club, Sydney, NSW

Pete Murray
Friday 21st July – Racehorse Hotel, Ipswich, QLD
Saturday 22nd July – The Star, Gold Coast, QLD
Sunday 23rd July – Redland Bay Hotel, Redland Bay, QLD
Wednesday 26th July – Cex, Coffs Harbour, NSW
Thursday 27th July – The Cambridge Hotel, Newcastle, NSW
Friday 28th July – The Entrance Leagues Club, Bateau Bay, NSW

Queen Porter Stomp
Friday 21st July – Gasoline Pony, Sydney, NSW

Rezza House Concert Series feat. Rick Hart, Lloyd Clarke
Sunday 23rd July – House Concert, Melbourne, VIC

Rich Davies & The Low Road
Saturday 22nd July – The Labour in Vain, Melbourne, VIC

Riley Pearce w/ Elli Schoen, The Hunting Birds
Friday 21st July – Secret Warehouse Show, Perth, WA
Saturday 22nd July – Secret Warehouse Show, Fremantle, WA

Sam Buckingham
Sunday 23rd July – Tamworth Hotel, Tamworth, NSW
Thursday 27th July – Four5Nine, Perth, WA

Sam Shinazzi, Sam Newton, DJ Post To Wire
Thursday 27th July – The Midnight Special, Sydney, NSW

Scottish Ceilidh feat. Melbourne Scottish Fiddlers
Sunday 23rd July – St James Uniting Church Hall, Box Hill South, VIC

Shane Nicholson
Thursday 27th July – Camelot Lounge, Sydney, NSW
Friday 28th to Sunday 30th July – Broadbeach Country Music Festival, QLD

Smith Street Dreaming feat. Frank Yamma, Emma Donovan
Saturday 22nd July – Smith St, Melbourne, VIC

Splendour in the Grass
Friday 21st to Sunday 23rd July – Byron Bay, NSW

St Joan
Monday 24th July – LazyBones Lounge, Sydney, NSW

Steamed Up at Lawson Pub feat. Willem Rhooda, Ian Host & Rob Thompson, Elle Petersen & Ian Tanner, Golden Whistler, Chris O, Edith Grove, Ryan Tremble, Johnny Cordukes
Sunday 23rd July – Blue Mountain Hotel, Lawson, NSW

Steve Smyth & The Outlaws
Wednesday 26th July – The Junkyard, Maitland, NSW
Thursday 27th July – Lansdowne Hotel, Sydney, NSW

Supper Clubs at CERES feat. Lucie Thorne
Saturday 22nd July – CERES Environment Park, Melbourne, VIC

Taryn La Fauci
Friday 21st July – The Newsagency, Sydney, NSW

The Ahern Brothers
Saturday 22nd July – The Wesley Anne, Melbourne, VIC
Friday 28th July – Green Door Wines, Ferguson Valley, WA

The Bean Project
Friday 21st July – Wesley Anne, Melbourne, VIC
Saturday 22nd July – The Skylark Room, Upwey, VIC
Thursday 27th July – Petersham Bowling Club, Sydney, NSW
Friday 28th July – No. 5 Church St, Bellingen, NSW

The Cake & Cordial Sessions feat. Fanny Lumsden, Kelly Cork, Megan Cooper, Paddy McHugh
Friday 28th July – Ashgrove Bowls Club, Brisbane, QLD

The Collingwood Casanovas
Friday 28th July – The Lomond Hotel, Melbourne, VIC

The Demon Drink
Friday 21st July – Petersham Bowling Club, Sydney, NSW
Saturday 22nd July – Gasoline Pony, Sydney, NSW

The Ramshackle Army
Saturday 22nd July – Bendigo Hotel, Melbourne, VIC

The Shaolin Afronauts
Thursday 27th July – The Gov, Adelaide, SA

The Teskey Brothers
Friday 21st July – The Corner Hotel, Melbourne, VIC
Saturday 22nd July – The Corner Hotel, Melbourne, VIC
Thursday 27th to Sunday 30th July – Echuca Winter Blues Festival, Echuca, VIC

Friday 21st July – Leadbelly, Sydney, NSW

Tori Forsyth
Thursday 27th July – Lefty’s Old Time Music Hall, Brisbane, QLD
Friday 28th to Sunday 31st July – Broadbeach Country Music Festival, Broadbeach, QLD

Vanishing Shapes
Friday 21st July – Foghorn Brewhouse, Erina, NSW

Waterloo Sunset Sessions feat. The Fibro Cowboys
Sunday 23rd July – George Hotel, Sydney, NSW

Yarra’s Women of Country feat. Sue Ray
Sunday 23rd July – Standard Hotel, Melbourne, VIC

Zulya and the Children of the Underground
Monday 24th July – Open Studio, Melbourne, VIC

Friday Folk Flashback

“Sheep-Crook and Black Dog” – Steeleye Span

The Bean Project Announce Album Launch Tour

The Bean Project
Image Courtesy of The Bean Project

Melbourne based jazz-folk quintet The Bean Project released their debut album Naked Trees last month and are about to kick off a East Coast tour this Friday.

The tour will see the brass driven folk band visiting Sydney, Melbourne, Brisbane and a bunch of regional dates in between. Check out the full list of dates below:

Friday 21st July – The Wesley Anne, Melbourne, VIC
Saturday 22nd July – The Skylark Room, Upwey, VIC
Thursday 27th July – Petersham Bowling Club, Sydneym NSW
Friday 28th July – No. 5 Church Street, Bellingen, NSW
Saturday 29th July – Sun Bistro, Byron Bay, NSW
Tuesday 1st August – The B.U.G, Brisbane, QLD
Wednesday 2nd August – Cambus Wallace, Gold Coast, QLD
Friday 4th August – Pacific Hotel, Yamba, NSW
Saturday 5th August – Modus Operandi, Mona Vale, NSW

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

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