In fact I have said that same thing each year since my first time at Falls in 2007/08.

As far as ‘feeling right’ goes, Falls Festival over New Years, with good music, people and beers, is just about perfect.

I am going to run through this year’s festival in different categories:

–          Dance music

–          No-one knows them but they are fuckin’ awesome

–          Where the fuck was everybody?

–          Headliners

–          Miscellaneous

–          The Smith Street Band

–          The Village

–          The Experience

DANCE:

Hot Dub Time Machine took the cake for me. I am not the biggest fan of DJ’s, unless they play music with words. Hot Dub Time Machine’s blasts from the past, playing year to year hits over the past four decades was spot on for me.

Now I said I’m not a huge DJ fan, I do like up and about dance music though, especially when there’s guitars, drums and trumpets involved… Thumbs up to you, Twinsy and Chk Chk Chk. Both turned it on in their own way. Twinsy are young, fun and very talented. Obviously both ‘Take Me Home’ and ‘Waterbombs’ were the killer tracks. As for Chk Chk Chk, lead vocalist had everybody watching his hips shake (while only wearing very loose fitting boxer shorts) to the bass-pumping dance-punk beats the band was throwing out. Adding to that, many in the crowd were trying to emulate his wiggling, groin thrusting moves.

Hermitude had the hill pumping in the very early hours of New Year’s day, with highlights like ‘Speak of the Devil’ and ‘Hyperparadise’. The curveball of ‘The Lion Sleeps Tonight’ provided a nice sing along as well, not that anyone can really hit that ‘ee-e-e-e-um-um-aweh’ line. Now I know the word ‘vibe’ has had a sudden downfall after it was used by just about every hipster in Brunswick 18 months ago, so I feel reluctant to use it… But the ‘vibe’ during Hermitude was spot on… Fuck I’m uncool.

NO ONE KNOWS THEM BUT THEY ARE FUCKIN’ AWESOME

I’ll start with a band who are fast becoming a bit of a favourite of mine, The Murlocs. With three of the five guys also in King Gizzard and the Lizard Wizard, it’s no wonder The Murlocs have nailed their sound to perfection… And it can be a very easy one to fuck up.

Loud, distorted garage music with harmonica and speakerphone vocals, there is a lot of room for error and little for perfection, but yep… They have perfected it. Go watch them sometime. Adding to the music, I enjoyed their very simple banter with the crowd as well. The very first sentence from lead vocalist Ambrose Kenny Smith was ‘Where’s da pingaazzz?’… It was 12pm on day one.

Next was a recommendation I was given, the band was Perch Creek Family Jugband. A group of siblings who mix banjo’s, tap dancing, acapella, crowd involvement, washboard’s, double bass and any other obscure instrument you can find, Perch Creek were possibly the happiest band I saw at the festival, playing their tunes to a very spacious Grand Theatre. There was jumping, clapping and arm-linking throughout the whole set, all with a smile from each punter.

WHERE THE FUCK WAS EVERYBODY?

Now surely everybody… EVERYBODY, knows the Smiths. Well, Morrisey gets a lot of the limelight, however not too far behind him is Johnny Marr, who is perhaps just as much the brains of the operation. This is the man who Noel Gallagher has based his whole ‘look’ around. It’s the man that Noel Gallagher has said, and I quote, “If there’s anyone (in the world) who knows how to play guitar, it’s him”. It was almost cringe worthy the amount of people missing from this guy’s performance. It didn’t go unnoticed by him either.

Before playing the two Smiths hits ‘How Soon Is Now’ and ‘There Is a Light That Never Goes Out’ (which he finished with), Marr made his appreciation clear to those who made the effort to come watch. Further to that, in what I read as a great big ‘fuck you’ to everyone sitting on the hill, the two Smiths hits were dedicated to crowd standing at the fence and not just sitting down. As far as his performance went, he played the typical English arrogance perfectly and walked around the stage like an absolute boss.

The Violent Femmes were another band who did not get the crowd numbers they deserved. Perhaps everyone might have been expecting them to play ‘Blister In The Sun’ last, because it did build throughout the set, but as a whole it was probably a little bit underwhelming for their set which included the heartbreakingly beautiful songs of ‘Please Don’t Go’ and ‘Prove My Love’.

HEADLINERS:

MGMT: Shit live band. I thought perhaps the infamous Meredith performance from five years ago might have been just a one off. I’m not sure it was. They did not have any connection with the crowd at all. In saying that, I’m pretty sure everyone loved the three songs we were all there to see ‘Time To Pretend’, ‘Kids’ and ‘Electric Feel’. I also enjoyed the likes of ‘Introspection’ and ‘The Youth’, but I don’t think many others did.

The Roots: Fuck, maybe I shouldn’t have started with these two bands, it’s sounding negative. The Roots went far, far too long. Far too long. It was good up until a certain point, playing ‘The Seed (2.0)’ and a cover of ‘Sweet Child of Mine’, everyone was right in to it. However with no less than 6 encores spanning over about half an hour (I’m being generous there too), by the end everyone had enough. It was best described to me as being similar to a Family Guy gag, you know how they persist and persist, so as it is funny, then unfunny, which then makes it funny again? Well yeah, that was the Roots encore.

The Wombats: Fuckin’ sick! Loved it. Bassist Tord Øverland Knudsen bounced around like a maniac from the start to finish, while lead singer Matthew Murphy had the crowd in his palms. Whether it was giving the quick rundown of what each song meant (eg. falling in love with a prostitute) or telling everyone to lift to third gear when getting in to ‘Techno Fan’, it was a wave worth riding with all 20,000+ punters on the hill.

Vampire Weekend: To be honest I did not know how much of a great live act they would be and I didn’t know they had it in them to hold the audience for the full 1 hour 20 minute set, but they did it… and did it very well. The first kudos goes to them for continuing unaffected with ‘A-Punk’ when ‘a punk’ (see what I did there) threw a flare on stage. The second kudos to them is for nailing the countdown for the New Year as well, something that has been an issue in the past.

Neil Finn: Words can’t do this guy justice. The sun was setting in the background and Neil Finn belted out the Crowded House and Split Enz classics. Hats off to him for holding the voice that is just as strong now in his veteran status, as it was as a teenager in NZ when it all kicked off. He played 2 or 3 news songs, one being ‘Pony Ride’ which has me super excited for his album due in February. Finishing with an acoustic version of an all-in sing-along of ‘Better Be Home Soon’ made it almost the perfect set. There was weeping, group hugging and sing alongs. It was a set I won’t forget.

Crystal Fighters: Perhaps the band with the most energy and fun on stage I have seen. Crazy costumes, crazy instruments and very catchy tunes.

MISCLEANNEOUS

With the sex appeal of Brode Dalle and the stage presence of Karen O, lead vocalist for The Preatures, Isabella Manfredi, had both males and females falling in love with her performance. The great thing about the Preatures is not only were the eye catching moves something to watch, they are a very good band. ‘Take and Card’ was the first of the hits to be played, and then when one of the songs of the year ‘Is this How You Feel’ dropped, the hill turned in to a dance floor.

I love a good mosh, I really enjoy it a lot. So when I trekked up the hill to see Violent Soho, I was full of confidence and energy and I made sure my shoelaces were in double knots. I eagerly went straight towards the front, elbows up, chest puffed out. Within seconds I realised that perhaps I was out of my depth. I ran in the middle of the push circle, which was no less than 15 metres long and 8 wide, shaped in an oval and fuck me, that thing was big and dangerous and I fell flat on my face within two steps. I went in once or twice more, making sure my mates saw me in there so I looked super cool, but this is my confession to say I was like a little girl, especially after seeing a chipped tooth, two blood noses and a guy get knocked out. It was all great to watch though… And the band? Well those dudes are killing it, arguably the album of the year, backing it up with a highly energetic live show. Lead singer Luke Boardam loved the crowd antics as much as I loved the way he belted out lyrics like ‘Fuck you! Fuck You! I won’t trust you!’ and ‘YEAH! YEAH! YEAH! YEAH! YEAH! YEAH! YEAH!’.

Perhaps the busiest the rave tent got for the whole festival was during Rufus, who from all reports was great. My intentions were to see Rufus, however it was definitely a blessing in disguise that it was so packed and I couldn’t be bothered with being squashed, hot and unable to move. So I went to the Valley Stage and caught Pond.

Nick Allbrook is one of those guys who have so many genius idea’s with music and he does not filter any of it. Much like Stu McKenzie from King Gizzard, he is incredibly talented and really gives us, the listener, something new (and often brilliant) to listen too. We all know how well Tame Impala have done (with the help of Allbrook, who left the band in May last year) and Pond is certainly heading in that direction. As well as the music, his on stage presence was something else. You only need to check out a picture or two of him from the set to work out what type of a show he put on.

THE SMITH STREET BAND

These dudes are in rare form. There aren’t many bands at the moment matching it for cult following, amazing live shows along with the songs (how about those lyrics!?) to back it up.

Right from the start of the set, when vocalist Wil Wagner blasted out the first line of ‘Sunshine & Technology’, the mosh got going and it did not let up until the very last line of ‘Young Drunk’, the final song of the set. In between all of that was the crowd surfing, sweating, hugging and singing along to all the great Smith Street tracks.

Those who were perhaps sitting on the fence about the Smith Street Band beforehand were certainly converted when Wagner pulled his trademark ‘shoey’ stunt. This is where a random shoe from the crowd is thrown on stage (it seems to happen at all their gigs for some reason?) and Wagner skulls his beer from it… Long live rock n roll.

THE VILLAGE

In my seven years of going to Falls, this was my first year at the village. Whether it is due to the amount of acid that I don’t do, or whether I am more interested in the music on the other stages, the Village has never grabbed my attention.

The fact that the rave tent this year pulled up stumps at 4am on the final morning (usually it is 6am), had me knowing I still had a bit left in the tank and I needed to grasp on to my Falls experience because it was once again fading out of my reach for another year.

The Village is exactly that; a village. A crazy carnival-like atmosphere with a small stage (DJ at this time of night) and outrageous activities. The one which really caught my eye was the clothesline which had bikes tied to it and worked like a merry-go-round. Essentially if you wanted to ride a bike endlessly in a 10 metre circumference, you could. People think of some cool shit, don’t they?

THE EXPERIENCE

Falls Festival is incredibly well-run and puts on a very good show. All we (the punters) have to do is turn up and have a bloody good time.

Whether you like music, beers, goon, laughs with mates, camping, riding around on a clothesline bike, moshing, raving, tap dancing or anything else, Falls can accommodate your needs.

Fittingly, I will use a Smith Street Band lyric to give my final message.

Falls Festival, when it comes to New Year’s… I don’t want to have fun with anyone but you.

Following on from the cracker of a night that was Presentation Night 1, last week saw the talkfest return to the Corner, this time with You Am I frontman Tim Rogers and Richmond legend Matthew Richardson joining Francis Leach on stage.

The first show featured iconic songwriter Paul Kelly, and music lover and Age columnist Bob Murphy of the Bulldogs. Big (footy) boots to fill for Rogers and Richo, but one they handled with the vigour of a Crowley tag and the ease of a Stevie J sidestep.

As with the first show, much of the curiosity lay in seeing how the two stars of their respective disciplines would handle a very different sort of spotlight. And, just like Kelly and Murphy, it didn’t take long for everyone to get into stride.

Richo has become a polished media performer, and Rogers was far removed from the animal that storms around on stage belting out Who Put The Devil In You. But, and much credit must go to Frank Leach, it took about 5 minutes for the two to relax into the roles.

Rogers told us about the origins of his love for North Melbourne and his ongoing love for Glenn Archer, while Richo beamed as he talked about representing his home state of Tasmania after only 3 AFL games. Actually, one of many things learnt from both shows is that there is a shitload of love for State Of Origin footy still. Well, Origin as it used to be before footballers became precious commodities that cannot have an opinion or leave the house without being bubble wrapped.

As with Kelly in PN1, Leach asked Rogers about the moments that led to the transition from prospective footballer to rock star (what a horrible choice of career pathways). They talked of the parallels between the two. We heard about a cramped dressing room in Sydney as Rogers watched his beloved Kangaroos played in a Grand Final.

The ‘Kitbag’ segment was killer again, Richo producing his 93 Tasmanian jumper and a Pearl Jam setlist signed by one Eddie Vedder (a Richmond fan, apparently). During ‘Grand Vinyl’, Rogers played The Replacements, and Richo danced with awkwardness by choosing You Am I’s Berlin Chair, at which point Rogers assured him there was ‘plenty more to being a groupie’. Richo revealed that, before Pearl Jam and You Am I, his first album was that of a wedding band performing covers of the hits of the time.

We spoke of The Stones, we spoke of duffel coats, we spoke of kicking a goal on the biggest stage of all (The Community Cup). It was brilliant stuff. We drank beer and talked footy. We finished off with Rogers and a guitar, the way God intended him, treating Richo to an acoustic Berlin Chair.  

Both Presentation Nights have been a stomping success. I don’t know about you, but I was getting pretty sick of footy. With the drawn out Essendon bullshit, racial abuse, confusing rule changes and the inability of players to reveal too much of their character without being shot down or fined, it’s been a long season or two. But these nights spent at the Corner reminded everyone of how great footy can be when you cut out the crap. It’s a great game, one that’s easy to love in its pure form, and one that is easy to tire of when saturated by scandal. Bravo Presentation Night, for reminding me that I still love footy. And music. And beer.

Now excuse me while I grab my duffel coat and an esky and head on down to watch some VFL.

]]> http://www.loudnlocal.com.au/reviews/match-report-presentation-night-ii-at-the-corner/feed/ 0 http://www.loudnlocal.com.au/news/festival/remember-the-time-we-all-went-to-meredith/ http://www.loudnlocal.com.au/news/festival/remember-the-time-we-all-went-to-meredith/#comments Fri, 25 Jan 2013 06:00:31 +0000 http://www.loudnlocal.com.au/?p=1867 This Meredith review is a tad late. I know that. Unfortunately for me, during that fateful weekend, forces of evil stole my memories. They have been slowly creeping back, but in this time of desperation I have had to turn to unorthodox methods to complete this assignment.

So, with my own brain failing me, I conducted a series of interviews with inanimate objects that accompanied me to the festival. Through their experiences and stories, I have been able to piece back together the events of our lost weekend. Here is what each object had to say:

THE TEE PEE:

“Wow. What a weekend it was. For all of us, but particularly me. Of course, I grew in height this year, and being draped in the most enormous tarp you have ever seen made it very hard to get down to the stage to catch the music.

“I had a great weekend though. Once I got myself erected on Friday afternoon, I had a great time encouraging people to get inside me and share their hopes and expectations for the weekend. I think at one point there would have been at least 30 guys and girls all up in my shit, but I was loving every moment and I think I did a good job of keeping them out of the deceptively strong sun.

“Like I said, I found it hard to get down to the stage, being pegged into the ground and all. And being 15 feet tall made it really difficult to remain inconspicuous. I had a fair crack on Saturday morning though, there were some really strong winds and I took advantage of that by shedding my tarp and doing my best to go down and catch the City Of Ballarat Municipal Brass Band (Saturday Morning). They sounded really great from where I was.  They’re always such a pleasant noise to wake up to.

“My other highlight was definitely Earthless (Friday Night). Loved the way they jammed together, loved the 50 minute, 2 song set. But, even though I was enjoying it, it seemed most of my campsite decided to take the chance to come back and spend some more time with me. But no one offered me any weed, which probably would have taken Earthless to the next level for me.

“I had a great Friday night, I was just a pity that despite the high winds assistance, I couldn’t get down to the stage, and paid the price for trying when I came tumbling down on Saturday morning.”

THE SLAB OF BEER:

“You know what, I had a great time. While I fucking lasted. Unfortunately, like every other fucking year, I reckon I got to about lunchtime on Saturday before I was spent. I just had nothing left to give. Then Mitchy got pissed off with me, calling me weak as piss, saying he wished he’d brought my mates as well, just really getting in my face and making me feel like shit.

“We had a great time on Friday night, and I thought we would be cool for the weekend, but no, he had to go over the top again and really ruin me. We are both pretty generous, and I know it’s like the spirit of Meredith or whatever, but stop sharing so much of me with strangers. For fucks sake, I’d probably make it through Saturday night if we set some boundaries.

“It’s alright, I got my own back on Saturday morning. Mitchy looked shithouse. I did that. Maybe next time you’ll think harder before wasting me away on the first night. Twat.

“Anyway, like I said I had a killer time on Friday night. Hanging around at the campsite all afternoon, talking shit with the other drinks, just real solid catch up time you know. Music was great too. Me and Mitchy were actually pretty blown away by Pond (Friday Night). We were pretty thirsty for music by the time they opened the festival. Played tonnes of stuff from Beard, Wives, Denim, and I loved that album. So good. Sounded fucking great live too. Loved how much stage presence they already have, and Nick Allbrook is developing into a pretty epic frontman.

“I always feel like I gotta be careful when I’m around Snakadaktal (heaps of under 18 kids that I’m not allowed near). But they were OK. Pretty inoffensive fluffy dream pop, actually quite pleasant to listen to. I think there is heaps of potential there, as they mature and we can spend more time together I think they could really go places. They spend a load of time wistfully looking into the distance though. But I guess me and Mitchy spent a similar amount of time wistfully looking at each other, so that’s alright.

“So yeah, I need to work on my stamina, maybe make it through 2 nights next time. But it was fun while it lasted.”

THE COUCHES:

“Another big effort from everyone in the squad this year, lots of sitting on us, standing on us, overloading us, exposing us to harsh conditions, even working hard to get possession back when members of other squads seemed to have us covered.

“But we dug deep, and I think we as couches really laid a solid foundation from which the rest of the team could work from.

“We got involved early and stayed the course, contributing as late as the Meredith Gift on Sunday. Full lap of the amphitheatre this year, a real endurance test, but I thought we carried the load really well.

“Also on Sunday, the highlights probably came from Fraser A Gorman, a real alt-country tinged treat. Serious potential there, we really think he is on the precipice of taking the competition by storm. Boomgates and The Murlocs also made valuable contributions on Sunday, producing solid performances without really blowing anyone off the park.

“All in all, we really felt we contributed strongly throughout the weekend. We held our position well and really provided a firm base from which the rest of the team could launch attacks on the stage. Definitely one of our best performances, but we won’t be getting carried away. With Golden Plains looming large on the fixture, we’ll just be taking it one festival at a time.”

THE TENT:

“Well, it’s fair to say I had a really crap time. It was so windy for most of the weekend that I was swaying as much as Mitchy on Sunday morning. And it wasn’t super hot, but the idiot kept forgetting to open me up and air me out, so my insides were sweltering.

“Me and Chris didn’t spend heaps of time together. Story of my life really. He takes me to this amazing festival spot, spends the first morning with me (even though he spends most of the time screaming at me) and then we barely see each other for the rest of the weekend. Then it gets windy and my poles snap. And let me tell you, that friggin hurts.

“I can’t help but think that there was someone else. Why else would he be avoiding me? I have some suspicions. I reckon on the Friday night, Four Tet was to blame. I know Mitchy was really excited for this, and judging by the state of him when he got back, he wasn’t let down. He talked in his sleep as well, mumbling something about ‘perfection with decks’. From my vantage point, it sounded surprisingly easy to dance to. Four Tet kept the BPM at a consistently upbeat level and his kind of offbeat electronica and sublime use of samples were perfect for Meredith at 3am.

“At least, that’s what I think Mitchy meant when he said ‘I LOVE FOUR TENTS THAT WAS FUN MY KNEES HURT AND I CAN’T TALK ANYMORE’. Four Tents? What an arsehole.

“Saturday night was pretty much the same. He didn’t care that I was falling apart at the seams, but again he came crashing in super late, not even bother to unzip me. From what I could gather this time, Itch-E And Scratch-E were the cause. Had heaps of people dancing apparently. Solid mashup style set from the veterans. I reckon, at that time of night, in that kind of state, sometimes you just want to hear music you know. And they got that part right.

“But hey, what would I know, I’m a tent”.

THE SHOE:

“It was a tremendously demanding weekend for yours truly. I was hoisted into the stratosphere with reckless abandon on numerous occasions, in the time honoured tradition celebrating the highest points of the festival.

“It began on the Friday night. My first experience of jubilant elevation came in the early evening as Grimes went about very noisily blowing everyone away. I resisted the urge to lunge skyways at first, but as Claire Boucher contorted herself through the first ‘big’ set of Meredith it was becoming difficult to stay grounded. Visions was one of, if not THE, stand out albums of 2012, and Grimes and her two wonderfully energetic dancers gyrated their way through highlight after highlight from said album. But it was Genesis, complete with a stupidly fun dubsteppy outro, that saw me removed from the foot and propelled into the air.

“Again on Friday night, and Tame Impala saw me back to work. By this stage my vision was becoming impaired due to the dust, so I was grateful for the chance to breathe in fresh air when it came. Eagerness was almost my downfall, however, and I had to work hard in order to spend any time on the ground. I threatened to go straight up several times, particularly during Feels Like We Only Go Backwards, Elephant, but it was during Solitude Is Bliss that I really cut loose.

“On Saturday, I achieved great heights during Royal Headache (Honey Joy), and the most excellent Saskwatch (pretty much half the set, but particularly during an inspired cover of Little Red’s Coca Cola). But there were two artists on this day that lifted me slightly higher than any of their predecessors.    

“Regurgitator have been around for an eternity, but this was them at close to their most supreme. No gimmicks, no cartoon-like carrying on. Simple, straight forward Regurgitator digging into their vast back catalogue and delivering hit after hit after hit. The biggest sing-a-long of the weekend. I found air during Song Formerly Known As, and from my vantage point I could see an entire amphitheatre dancing. A highlight.

“I may as well have stayed up in the air during Big Jay McNeely. He entered the stage from within the audience, and explained that his first hit was recorded in 1949, and proceeded to launch into a 50 minute celebration of everything that is good about music, with his sax as the ringleader. Boots, boots and more boots, and every one of them deserved”.

MYSELF:

After chatting with all the crap I took with me to the festival, the memories came flooding back. And I realised why I’d had such trouble remembering. It was an enormous weekend, with quite possibly the strongest lineup the festival has put together.

Friday night’s headliners Spiritualized were almost too much for me in my fragile mindset. Perfect sound, incredible light show and ethereal music made this a set worthy of a headline slot.

You could sense the occasion when Primal Scream took the stage, but despite the hard work of Bobby Gillespie and co they never quite reached the heights they aimed for. Attempts at crowd interaction fell flat, and the new stuff, despite being quite good, didn’t set the world on fire either. However, you could not fault the band or the music. Gillespie surely did his darndest to raise the energy levels, but despite coming close, they never quite got there. If the band read this (and they probably will), I’m sorry. I don’t think it was you. I think it was us.

Elsewhere, it was special to have The Sunnyboys there. They had big shoes to fill, playing the ‘legends’ sunset spot occupied by the likes of Neil Finn, Paul Kelly and Icehouse in recent years. But while the nostalgia was great for some, this probably wasn’t their crowd, and they didn’t quite get the reception they deserved. Still, they haven’t lost touch, and despite this being only their second gig since returning they still sound amazing.

As for the rest, Chet Faker (Saturday Morning) was a slight let down after some technical difficulties interrupting his set (although it may have been my hangover getting in the way), Omar Souleyman (Friday Night) was wonderfully bizarre as he clapped his way through 45 minutes of Syrian techno, Rahzel (Saturday Afternoon) failed to fire like he should have, The Toot Toot Toots and Twerps impressed, and the awesomeness of watching your less favourite bands from the Pink Flamingo makes it nigh on impossible to get back to camp.

It was another wonderful Meredith. This festival never ceases to amaze me in what it can produce. Its consistency is its strength, and you always know what to expect. Despite this, it somehow manages to get better and better, every year. I can’t believe it’s 11 months till the next one.

Bring On Golden Plains.

Murder for a jar of red rum.

Wait, isn’t this the review of the Rubens gig at the Corner last Thursday? Yes, it is. And from now on, The Rubens will forever be associated with one of the great fun things about the English language – palindromes.

I’m not too sure if it will take off. Actually, I’m fairly sure it won’t but I know that I will always think of palindromes when it comes to The Rubens. Here’s why…

Just before they hit the stage, it was time to buy a beer for myself and a mate, and then head towards the stage. I bought the beers, and so did another guy I was with, he also had two beers… So off we went, to find the crew. After about 5 minutes of searching we worked out that it was going to be harder to find our friends than first thought. It wasn’t all bad though, we soon realised that between the two of us, we had four beers… We then gave a ‘cheers’ to the obvious win-win situation we found ourselves in.

Anyway, we did end up finding our friends (and giving them their beer), just three minutes before the show began… But those three minutes are what changed everything, for me at least. I was standing there, bantering with some friends, when I saw my mate Pat starting to talk to some girls. Being the true gentleman I am, I decided to go try and ruin it for him, until the girl he was talking to told me her name… Hannah.

The conversation went something like this:

Me: Hello
Girl I didn’t yet know the name of: Hi, I’m Hannah
Me: Pwoah! Do you know what racecar and Hannah have in common?
Hannah: Um, what?
Me: Palindromes! They are both palindromes!
Hannah: Oh, (Awkward laugh) yeah!
Me: Taco Cat
Me: Top spot
Me: Was it a car or a cat I saw?
Hannah: Oh, look, the Rubens are starting…

I guess it’s up for debate whether the Rubens saved me from embarrassment, or they ruined my chances with Hannah. My guess is the latter, because I was fucking nailing it.

The Rubens are one of those bands I like, but am not yet totally sold on, which actually made me really excited for the gig. They began with a couple of their songs I didn’t know, but the vibe was good and everybody seemed to be enjoying it. Lead vocalist, Zaac Margin was very impressive. As most females in the place admired his presence, I was admiring the way he seemed really passionate, though it didn’t look like he was trying to hard. The mix came out as a picture perfect sound, just like you hear from a studio produced recording. He, along with the rest of the band were doing everything right. The one criticism from me though, is that there was nothing absolutely spectacular or spine tingling, I do think that one day they will provide that as well.

The four piece don’t really lift the energy of the crowd, which is something I am a bit more into, but they still held my attention and had me enjoying the whole set. The highlight for me was definitely ‘My Gun’, which has now become a favourite. It was an all in sing-a-long with most girls singing a little bit louder than boys. When this song finished, I heard something which made me chuckle. A reasonably high pitched female voice in the distance screamed “You are one sexy mother fucker!”… Followed by, which was just as loud “OMG I totally just said that”. I thought it was a pisser, and couldn’t leave it out of this review.

Following the next couple of songs (which were kind of starting to sound the same, luckily that ‘same’ sound was good though) was the well-known ‘Don’t ever want to be found’ which was the most up and about song for the night. It was another sing-a-long and was a real crowd favourite. When it finished, they went off stage, but they didn’t leave us waiting too long for the encore. Infact, when they came back out Zaac made reference to how obvious it was that they were going to come back out, and how there was clearly another song that the crowd were waiting for… ‘Lay it down’.

It finished fairly strongly, and as they threw guitar picks into the crowd, my mate Maddison became as excited as the “You are one sexy mother fucker!” girl, when he caught one of them, however he did lose it the next day. Maybe somebody else will find that pick, and get just as excited as him.

All in all, I would give them a 6.5/10 but very positive one at that. They were good, I liked them, but you have probably noticed that I am not using adjectiveS like ‘great’, ‘energetic’ and ‘out of this world’. There is only one way of describing my thoughts on The Rubens as a whole, the performance, recordings and each band members input…

Level.

When: Friday 18^thMay, 2012

Where: The Forum Theatre, Melbourne

Boy and Bear have divided opinions within our music crew; their particular brand of indie/folk is seen as hauntingly beautiful by some whilst deemed yawn-worthy and bland by others. I tend to belong to the former camp, and for this very reason I managed to score myself the official +1 spot for LnL crew. Therefore, the following rant (laughingly referred to as a review) may be somewhat biased and slightly Bieber or perhaps One Direction fan gushy. Consider yourself warned.

Ok so for those of you who have been living under a rock, here is a quick lowdown on Boy and Bear: The band originally began as Dave Hosking’s solo project but expanded to a 5 piece and in October 2009 were featured on Triple J’s unearthed. After scoring an opening spot at Homebake, the band have gone from strength to strength, signing with Universal and touring both nationally and internationally, selling out shows as they go. They have released an EP (Emperor Antarctica) followed by their debut LP “Moonfire” and are well known for their cover of Crowded House’s “Fall at your feet” as part of the He Will Have His Way tribute. 5 aria awards later, Boy and Bear are currently embarking on a national 26 date tour “Remembering the Mexican”…which brings me to the gig…

On a typically chilly Autumn night in Melbourne, I joined a lazy 1500 or so fans who packed into the Forum theatre for the sold out show. Just as an aside, the Forum is arguably one of the best live music venues in Melbourne.  For anyone who has not had the pleasure, the Forum was originally a 1929 cinema, and is now set up in the style of an outdoor amphitheater.It’s unique architecture boasts Romanesque statues and gargoyles capped off by a sky-painted ceiling, and it had played host to many impressive bands over the years. On this particular night it was packed out with a large proportion of screechy 18-year-old girls and their buffed-footballer-turned-metro bfs, however to be fair boththe venue and the band draw a diverse crowd of people from conservative oldies to free flowing hippies and super cool indie kids.

Admittedly, I may have missed the openers who included fellow Sydney-siders Tin Sparrow, and Queensland-based The Jungle Giants, making the ultimate sacrifice of an indie entrée in favor of a main course of hearty Italian food and red wine. However from my vantage point at the European Beer café the line looked impressive and so I can only assume there was a decent crowd.

The band opened their set with the popular oldie “Rabbit song” which was greeted enthusiastically and energetically. This quickly transitioned into the wistfully reflective “Lordy may” and the female population swooned on their feet. “Milk and Sticks” created a more up-beat atmosphere more consistent with their newer, more rollicking and country-esque sound. The remainder of their set was a mixture of slower, more intense ballads and rollicking hoedowns, indie style folk. Highlights included ‘Feeding Line, “ “the Beach,” “My only One” and “Mexican Mavis.” The audience particularly rallied during their cover of “fall at your feet,” despite the fact that a large proportion of their younger following potentially had never heard of the Finn Brothers. However the band is careful to distance themselves from this as their claim to fame, playing the song mid-set and keeping the lead up low key. The transition into Neil Young’s Heart of Gold mid-way through offered a nice variation on the familiar theme.

Regardless of your opinion about music genres or styles, it can’t be denied that the boys can play music- they are all talented instrumentalists who produce stirring vocals with rich harmonies. They are well-practiced and rehearsed and play a tight set, with casual and almost bashful banter between songs. In particular the girls love Dave’s dreamy dimples and shy smiles and the audience related to the playful humour between band mates.

Having said that, this show did not blow me away. As a self-admitted die hard fan from way back, I am loathe to say it but have to rip out the “I like your old stuff better than your new stuff” cliché. I’m a sucker for a stirring ballad and the haunting melodies and rich, dark harmonies encapsulated in songs like “The Storm,” and the more upbeat “Mexican Mavis.”  I am less partial to the hint of country twang that has crept into some of the newer pieces, and have to say was disappointed with their newy , (entitled Three Headed Woman) which was comparably bland an offered a nice chance to replenish the drinks and check out the photos Brooksy had snapped earlier.

Overall, this was a somewhat different experience from my first awed experience seeing the band in a dingy half-empty bandroom in Northcote. That being said, every time I have seen Boy and Bear since that time they are consistent in the quality of their performance and musicianship. For newer fans or those whose tastes have grown in the same direction as the band’s sound development, this show would have been everything they could ask for. For me, it offered the perfect accompaniment for a chilly Friday night after a long working week. Although it did not blow my socks off, it left me with a warm and fuzzy feeling of contentment inside  (perhaps assisted by the red wine?)

We arrived at the corner, looking forward to the 1 hour, ‘Last gig ever (Well, for 2012 anyway)’ from Vasco. Sid did his usual thing, mixing his loud, screaming, howling grunge rock voice with bluesy guitar solos and old favourites from ‘Oh We Do Like To Be Beside The Seaside’. The place was buzzing.

I can never work out quite where I want to be when I go to Vasco Era shows though, is it in the mosh, rocking out to the energy that Ted (bass) and Fitzy (drums) dish out? Or is it standing back a few rows, uninterrupted, watching Sid belt out lyrics with all his passion?

Anyway, I did both (My mosh experience was cut short though, due to a loose right shoe that just didn’t want to stay on my foot).

So as the hour passed by, we heard all the favourites, with a few highlights being the upbeat, loud renditions of ‘Rock n Roll Is the Only Thing That Makes Me Feel Good’ and ‘Honey Bee’. Along with the slower songs like ‘Not Everyone is from New York and ‘When We Tried to Get You to Settle Down’. However the trio did not look like they were even close to winding up this set at all. They had plenty left in the tank.

Another half an hour went by, and Sid decided to announce that this would be his second last song of the night, and true to previous form, the guys were keen for the whole crowd to be on stage with them, rather than the designated area that security guards would much rather them be. At this point, it was time for Bob Dylans ‘Like a Rolling Stone’. A minor technical difficulty soon saw the rest of the crowd kicked off the stage, and the band finish the song by themselves. It was at this point where Sid asked the crowd what song they would like them to finish on. The whole crowd answered as one, however this seemed a little bit confronting for Sid, and he asked for everyone to speak once at a time. An Elvis cover was finally voted.

As this is probably the most popular of covers the band does, the whole crowd joined as one chorus. Just beautiful.

As an added bonus, Sid, Ted and Fitzy decided they still weren’t done with yet, they were finishing their last show of 2012 with a bang, and worked the Elvis song into ‘Where Is My Mind’, which then went into ‘Sitting on the Dock of The Bay’, into ‘Voodoo Child’ and then finishing with Screamin’ Jay Hawkins song ‘I Put a Spell On You’. 50 minutes over their elected time on stage and the crowd were still frothing for more.

As I left the Corner Hotel I realised how lucky I was to see the Vasco era once again, in full flight, for one last time in 2012. I also realized what a mistake those 522 Facebook friends had made by not snatching that spare ticket.

Groovin The Moo is an interesting concept. It shuns the major cities, preferring instead to focus on regional centres. This in itself invites a different sort of crowd, and certainly invokes a different vibe.

Having said that, Groovin The Moo is still your quintessential single day festival. A solid list of bands playing on impressive stages, overpriced drinks which take a little too long to purchase, and a solid percentage of wankers.

This year’s Bendigo moo groovin’ did not really buck any of those trends. It was, however, a pretty damn good day of music.

It was a slow start to the day, with a very pleasant trip up the highway with a few equally pleasant AM beers. Thankfully, entry to this year’s festival was nice and quick, free from the problems that have hurt GTM in the past.

We arrived in time to hear a very large morning crowd saluting rising stars The Holidays. Settling into the fantastic VIP area (that’s right people, we in the VIP), the honour of soundtracking our first onsite festival beer went to Sydneysiders The Jezabels. There is a fair bit of buzz surrounding these guys, and they didn’t disappoint, Hayley Mary’s haunting vocals completely enveloping the Showgrounds.

From then on the side by side main stages it was one set of stars after the other. Darwin Deez did what Darwin Deez do. It wasn’t the greatest set we’ve seen from these guys, perhaps it was a little early, but they are always worth checking out just for the dance routines (which are eerily similar to those we generally develop at about 5am on the Pony dance floor).

Datarock played to a growing crowd containing a small army of fans also dressed in red tracksuits, and Washington played yet another festival set. What was amusing was hearing the difference in the pitches of screams for each of these two, a much more masculine cheer arising from the Udder Stage for Datarock than the only-dog’s-can-hear screaming coming from Washington’s crowd.

Headliners House Of Pain were getting us all kinds of excited prior to the set, as most of our early morning drinking had been geared towards the anticipated ‘Jump Around’ induced rapture. Truth be told, they struggled to maintain much interest throughout their set. They tried hard, but for the majority they remain something of a novelty act. However, ‘Jump Around’ proved to be everything I’d ever dreamed about. And then my legs hurt. I am not really built for jumping around.

Gyroscope and indie heroes The Drums were solid, The Drums particularly impressive in an all too short set. It was great to see Gotye back, Wally’s new album is shaping up to be a cracker. Next summer looms as a busy festival season for him.

The sun was almost setting as Birds Of Tokyo took the stage. If I am to be truthful, I don’t have a whole lot of time for their latest efforts. But I was in the minority, and I must admit they were pretty impressive. Ian Kenny was Garrett-esque as he jolted around the stage, and their songs do translate very well to the festival stage. Mass sing-along’s ensued. We may have briefly joined in.

Sun down, drinks up, the Moo crowd had well and truly hit their straps by the time The Wombats came to say hello. And they were good. Very good. They are a strong festival band, dance friendly, with anthemic songs that are fun for the whole family. New stuff was well received, old stuff was treated like it was written by Jesus himself.  A highlight.

Much like Birds Of Tokyo, I have some issues with Bliss N Eso. Mainly, I don’t particularly like them. They have a real knack for accessible, cheeky hip hop, but I’ve never been able to quite get on board with them. Tonight, however, they did almost win me over. Bounding around the stage, they were able to make everyone there feel like they were really a part of their show. All the hits were there (and there were more than I wanted to admit), and DJ Izm’s work behind the decks was impeccable. They deserved the encore, but they had to be quick, as the Moo cattle were dispersing very quickly.

And quick they needed to be to catch either of the two festival closers. Aussie hip hops heir apparent, Drapht, closed the Moolin Rouge, and were by all reports very good. However, my must see act was closing the main stages. Unfortunately, there wasn’t a massive crowd sticking around for Aussie electro royals Cut Copy. Perhaps not the smartest choice as the last band on, the much loved Melbournians nevertheless played a corker of a set to a small but appreciative audience that had just about had enough.

And then, it was over, almost as quickly as it began. Leaving was, as is usually the case with these one dayers, very amusing, slops of partied out kids providing laughs all the way back to the mighty Subaru. An overheard phone call with directions to a small, but ‘wicked sick’ house party definitely tempted, but the lure of our own beds proved too much.  The general consensus was that a cracking day was had by all, but man, were we stuffed.

Perhaps we are getting old. Crap.

Falls Festival has changed a lot over the years. But one thing remains the same. New Years Day sucks, but the big pile of rubbish the morning after can often make for some fun times.

From humble beginnings, Falls is now one of the biggest festivals of the season. For better or worse, this has definitely had an effect on the event, beginning with the frankly frightening welcome from some of the staff on the way in. However, once parked and set up, it was the same Falls we have become accustomed to over the past few years.

For LNL, the Tuesday night was sacrificed, along with Kitty, Daisy and Lewis, who by all reports were as fun as you would expect, and a big 3 days was the plan. Wednesday, and the weather had come to the party, with perfect festival conditions greeting Eagle & The Worm, Last Dinosaurs, and Sally Seltman. Unearthed favourites Tim & Jean were fantastic, definitely ones to watch in 2011 (insert Art Vs Science comparison here).

Hip Hoppers The Cool Kids might not have been the most well known act on for the day (and one reviewer may just have chosen this time for a drinks break), but “It was awesome” was the immediate reaction from those present. Kiwi Ladyhawke busted out her synth-pop goodness to an appreciative audience as the sun went down and expectation grew for the night’s main event.

The little preview in the Falls booklet described The Living End as one of Australia’s greatest living rock bands. After this set it seemed a most apt description. Chris Cheney is one of Oz music’s greatest frontmen, and the trio tore the stage to shreds as they ripped through anthem after anthem. Prisoner Of Society, Second Solution, West End Riot, they were all there. Bodies flew everywhere, minds were lost, and I’m pretty sure I still have bruising in some weird places.

After the awesomeness of The Living End came the shambles of Peaches DJ set. To put it simply, it was crap. Any energy built up by Cheney and co was quickly lost as Peaches uncomfortably moved behind her decks, popping out occasionally to kinda dance to whatever nonsense she was spinning at the time. We sort of want that hour of our life back, thanks Falls.

Thursday brought with it more perfect weather and the promise of more musical delights. The Middle East, Boy and Bear, Children Collide and Big Scary all played well received sets, and Falls veteran Ash Grunwald did the right thing and played the Dolphin Song to a crowd that simply demanded it.

Woman of the year Washington was energetic and entertaining, Angus & Julia Stone drew a huge crowd and did what they always do. It was a good set, but it would be nice to see the brother and sister duo take a couple more risks on stage, and try and deliver something more than they currently give on stage.

The Stones had mellowed out the Hill, but Public Enemy did anything but. Treating Lorne to a full rendition of seminal album Fear Of A Black Planet, it was obvious that time had not wearied Chuck D, Flava Flav or the music itself. Still as current and important as ever, the hip hop legends provided a lasting Falls highlight.

Falls regular and Australian legend Paul Kelly played a greatest hits set. One of, if not the most important singer-songwriter in Australian music history, it is always heart warming to see different generations singing along to To Her Door and God Told Me To. You can talk about big festival moments, but Mr Kelly’s set was just massive moment after massive moment.

We do like us a bit of Paul. But sorry, I’m gushing.

Interpol headlined Thursday night, and the Interpol freaks that were there had, like, the best time. Those not Interpol fans failed to be won over by the American nerd-rockers set, with Slow Hands being the only real highlight. Hipster heroes the Klaxons showcased songs from across their new and debut albums and did what they could with an audience that were a little weary from their big day out.

New Years Eve brought with it crazy weather, huge winds turning the whole site into something resembling Dorothy’s Kansas. You almost expected to see that cow from Twister flying around in the air as whole tents reached heights of 20 to 30 feet.

Musically, Dan Kelly’s Dream Band, World’s End Press and The Morning Benders rocked The Grand Theatre, while down on the main stage, Gold Fields, Cloud Control and The Beautiful Girls were impressive.

Cold War Kids were very cool, inciting the biggest sing-along’s of the day so far with Hospital Beds and Hang Me Out To Dry. Beatbox wizard Beardyman was both hilarious and awesome. In fact, you almost felt stupid dancing to a dude making noise into a microphone. Stupid, but it was stupidly fun as well.

Tame Impala proved very popular as the heat died down, while The National, owners of one of the most critically acclaimed albums of the year, weren’t quite the success many expected. They played a solid, if unspectacular set which failed to hold the attention of many.

What followed was THE BEST set of the entire festival. The Rapture were made for festivals, their dance-rock-art-punk styling’s blowing the crap out of the Erskine Falls natural amphitheatre. Slamming through every hit they have ever had, The Rapture incited so much dancing and frivolity that some of us nearly needed a mid-set lie down just to cope with the overload of excitement. An hour of pure excellence that will be hard to top.

Charged with bringing in the New Year were headliners Joan Jett and the Blackhearts. With the film The Runaways thrusting Jett once again into the spotlight, and I Love Rock And Roll still an iconic tune, the awareness and sense of history was definitely there. Unfortunately, amongst the botched countdowns and following the spanking Rapture gig, something was a bit amiss during this set. Nothing wrong with Jett and The Blackhearts, they were clearly a band that had been doing this for a long time. Perhaps a timetable reshuffle would have been appropriate, a straight swap with The Rapture would have sufficed and made for a new years for the ages.

Sleigh Bells and A-Track finished things off with a bang, masses staying behind for a 2011 party that went well into the early hours.

Up on top of the hill, the likes of Beardyman and The StreetParty DJ’s kept the tired and emotional on their feet, much to the disgust of my body for the next few days. Incredible, breathtaking shapes were being thrown around, and the many people struggling to stand up after a long festival made for some very interesting dance moves.

A quick trip on a wheelie bin and a visit from security later, and it was mid morning and time for bed. Another Falls successfully tamed, another Falls successfully run. It’s a very slick production these days, and thankfully the trip out was one of the quickest we have encountered at a festival.

So, in short, Falls has definitely matured as a festival, but it’s still a cracking good time. And it still frickin’ hurts for weeks after. Best Day Ever? It might just have been.

Reviewing Meredith is like waking up from a dream and someone asks you to write down everything you remember. It’s nigh on impossible.

Either that, or it’s the same as going 12 rounds with Danny Green. It bloody hurt, but you are left with a bizarre sense of accomplishment and satisfaction.

With that in mind, let’s try and remember exactly what happened at Meredith’s 20^th Anniversary celebrations.

The weeks and days leading up to what is probably this country’s most loved festival were spent doing anti-rain dances. Don’t know if it was just us, but rain seems to have played far too big a part in the last few festival seasons and we were bloody sick of it. Aside from that, the slab was packed, goon bags were on ice and we were ready to go.

One piece of advice that should be remembered each year, but always seems forgotten, is AVOID THE SERVOS ON THE GEELONG HIGHWAY. If we were to review our experiences with them on Meredith morning, Myles Barlow style, they would get no stars. Next year, we’ll remember. I swear.

Running approximately 37 days late following a petrol stop, we were finally there and could set up camp. With the music not beginning until 4pm, energies could be concentrated on building the most over the top camp site possible. Those of us with a builder amongst us spent most of the afternoon feeling incredibly inadequate and trying to look busy as some glorious structures went up all around the festival.

Eventually the pull of the stage proved strong enough, and many an arse was dragged down in time to see the first few acts, which included Rat Vs Possum, Puta Madre Brothers and Kimbra. But it wasn’t until Cloud Control hit the stage, and the nine to fivers started to roll in from the big smoke that things really kicked off.  Reverend Horton Heat did his best to incite some sort of alt-country riot before band of the moment Little Red took to the stage. The boys had played Meredith before, but not in such a prominent slot. Rushing through a mixture of songs from both their albums, the Melbournites, along with Cloud Control, provided the highlight of Friday.

The general consensus amongst those that stuck around for Clipse was that they were disappointed, however there were those that seemed to be at Meredith purely for Clipse, and those types loved it. Some drank enough coffee and Red Bull to stick it out for The Field, and the word from those that stayed up and could actually remember was that it was one of the better late night sets Meredith has seen in recent years. Others who stayed up complained of headaches and muscles spasm, and kept mumbling something about waking up in the wrong tent, but without the possum they had chased in there earlier.

One of our favourite things about Meredith Saturdays is waking up and hearing the lovely sounds of The City Of Ballarat Brass Band. They don’t always draw a huge crowd to the stage, but rest assured, the C-O to the Triple B have a devoted following amongst the hungover and caffeine hungry around the site.

Saturday afternoon brought with it a little rain, a little sun and a lot of dancing. C.W Stoneking did what C-Dub does, and the breezy sounds of Girls washed away any lingering aches and pains that Panadol couldn’t.

Just as well they did, because when El Guincho hit the stage, it was game on. People often talk about epic dance moves, but this 45 minute set was something else. Drawing something from just about every genre you can think of, El Guincho’s music was made for hip shaking. Even as the rain pelted down, a massive crowd of idiots danced like wankers from go to whoa, and Saturday had been officially set up to be something special. A definite highlight, perhaps THE highlight, of the weekend.

Post-Punk legends The Fall probably didn’t get the pre-festival hype they should have, but once he hit the stage, Mark E. Smith showed exactly why he has cast such a shadow over alternative music throughout the last few decades.

Custard were, frankly, brilliant. They say you don’t know what you’ve got till it’s gone. Well, for much of the Meredith crowd, when it came to these guys, it was a case of you don’t know what you’ve got till it’s gone and then it comes back again. Girls Like That was everything it promised to be, and it was certainly a triumphant return to Victoria for the Western Australians.

Saturday night brought with it huge anticipation, a whole heap of rain and about 3 billion glow sticks. Crowded House hero Neil Finn brought the sun down, and despite appearing to cop one or two missiles in the face, his hit-laden set was something truly special.

While Finn brought an awed hush over the amphitheatre, Sharon Jones and The Dap Kings brought the party back, complete with some of those earlier dance moves practiced during El Guincho’s set. Regular visitors, the pint sized Jones and her band are consistently fantastic, this was no exception.

The day had been all building towards one act though, and the Meredith site was positively bursting by the time The Dirty Three hit the stage. This is about the time things start to get a bit hazy, but the memory of Warren Ellis and co tearing the shed to pieces will live on for quite awhile. Adding to the spectacle was the appearance of what seemed like hundreds of glow sticks, forming an awesome light show as they were flung from one side of the crowd to the other.

Sunday, well, Sunday frickin’ hurt. Dumplings for breakfast were a bad idea, watching Those Darlins was not. Sally Seltman was delightful, but Sunday’s clear highlight was The Hypnotic Brass Ensemble. A 9 piece brass band, including 8 brothers, these guys played with such tightness and energy, it was impossible not to force our broken bodies to dance. Perhaps the only criticism of the weekend was the timing of their set, a Friday or Saturday performance from these guys would have been truly spectacular.

And so, another glorious December weekend at Meredith drew to a close. The sun dances didn’t quite work, but a quite delightful time was had by all. By now, you know what you’re going to get from Meredith. Probably the best run festival that LNL has been to, Meredith consistently delivers one of the best weekends on the festival calendar.

Just don’t go back to those petrol stations. Please. It was awful. It still hurts.

Queenscliff is a lovely little town, isn’t it? In the immortal words of Darryl Kerrigan, so much serenity. And if it was possible to bottle the essence of the town’s lovely little music festival, perhaps in a lovely jar produced by his wife Sal on the pottery wheel, Darryl would no doubt send it straight to the pool room.

After spending time at the Big Day Out’s, Splendour’s and Parklife’s of the musical calendar, it’s always a lovely change of pace to spend the weekend down the coast at the Queenscliff Music Festival. Families, even a few with Grandma in tow, are a common sight and it is always a nice introduction for kids to the live music world.

As usual, the line up was top notch and the big acts didn’t disappoint. Friday began with bursts of rain, setting the trend for the rest of the weekend. However, it’s always the sign of a strong (and well prepared) festival when the wet weather dampens the feet but not the spirits.

The wonderful Frank Yamma kicked things off on the Fishnets Stage, his deep, booming, world-weary voice winning over those that had journeyed in early. His songwriting ability is first class and the stories he tells are well worth a listen.

Former George songstress Katie Noonan and her latest band, The Captains, were first up on the main stage. Like Frank Yamma, Noonan’s voice is captivating. She could probably stand up there and hum and it would still sound lovely. However, the sound in the Lighthouse Stage tent wasn’t always as clear as it could have been, perhaps due to the inclement weather. Despite this, Noonan’s voice was still a sound to behold.

Things jumped up a notch or two for the next couple of sets. Australia’s dreadlocked king of blues, Ash Grunwald, stomped his way through a pounding set which filled the Lighthouse Stage tent and drew the nights first epic dance moves.

Headlining Friday night were Melbourne indie heroes Little Red. 2010 was a big year for the boys, with breakout album Midnight Remember, plus their contender for song of the year, Rock It, catapulting them up the charts. It was always going to be interesting to see if they could step up to a headline slot, but the Reds were all over it. Again, in some spots in the tent the sound wasn’t always crystal clear, but the songs spoke loudly enough. Racing through most of the new album, and airing old faves such as Waiting and Coca-Cola, Little Red had the noticeably younger crowd eating out of the palm of their hands. The show and songs are much bigger than they were back on stages such as The Tote, but the essence of their live performance remains the same. Little Red are friggin fun.

Saturday is when the festival really gets going, and, like most events of its size, it’s impossible to see everything. Timing your trip on Queenscliff’s Blues Train is always one of the weekend’s big decisions. After some cool adult beverages at the hastily assembled Car Stage (those who were there will never forget it), we boarded an early evening train, along with what seemed like half the festival. Entertaining us on the outward journey was The Mojo Corner, a Geelong five piece whose energetic blend of blues and soul, along with just a touch of rock n roll, has gathered quite the following along the surf coast. A half hour of toe tapping and shoulder shaking later, we changed carriages and returned to Queenscliff to the sounds of Ghost Mutt. Interesting name, Ghost Mutt. Reminds me of Round The Twist for some reason. They didn’t quite hold the attention of their carriage like The Mojo’s did, and their rock sounds perhaps didn’t suit the family vibe of the QMF Express.

Saturday afternoon saw the likes of Dan Kelly, Gareth Liddiard, The Bedroom Philosopher and The Go Set draw big crowds and all played strong sets.

Saturday night brought with it more rain, beer and Australian legends. Men At Work may have had their recent legal battles, but Colin Hay was on form on the Lighthouse Stage. One man and his guitar can often be a recipe for disaster at big festivals, but in this case, it was perfect. The set was made up of a fine blend of Men At Work songs and his solo material, each interestingly drawing sing-along’s from different parts of the crowd. The generational factions combined for Land Down Under though, providing one of the festivals biggest moments.

These big moments kept coming when Mark Seymour took to the stage. With the backing of a full band, Seymour pumped out hits from throughout his entire career, and as expected, there were plenty of Hunters and Collectors fans in the crowd lapping up every moment. And if Hay’s Land Down Under was a big moment, Seymour performing Throw Your Arms Around Me was probably the Biggest Moment, arms linking, lighters held aloft, young children being sacrificed in the front row, it was everything that song deserved.

Saturday night finished off with the almighty Meanies, and they were probably LoudNLocal’s QMF highlight. Contrasting nicely with the blues, folk, and Dad-rock that had preceded them, the Meanies punk sounds packed out the smaller Crossing Stage. Celebrating their 21^st birthday, the music was clearly older than some of the punters, but there was no holding back. Memorable slam dancing ensued, and the arrival of Dan Kelly in a spotless white suit provided those of us up the front with extra incentive, and yet another target.

Sunday was a day for the younger generation, and it was a day for the girls. Sally Seltman, Clare Bowditch and Kate Miller-Heidke provided the recovery soundtrack for those nursing Car Stage induced hangovers and Meanies/Dan Kelly Slamming bruises. Along with local boys The Vasco Era, those that stuck around for the Sunday were treated to some fine local acts. Perhaps in a few years time, the younger festival goers will bring their own children, and perhaps, if Bowditch and the like are still kicking about, they can tell their kids about the first time they saw them at Queenscliff. And maybe, just maybe, we can have Mum-Rock, sitting proudly alongside Dad-Rock, and wonderful festivals such as this will continue to thrive.