CHECK OUT ALL THE PHOTOS FROM THE FIRST BADLANDS FESTIVAL HERE.

Close your eyes and imagine a perfect spring Sunday. Sun shining, birds singing and the soothing sounds of rock/metal heads screaming in the background. Sounds like a gig fanatic’s wet dream right? Well that was exactly what greeted the punters as they arrived at Manning Bar for the first-ever Badlands music festival. With a line-up that included some of Australia’s best live rock-metal-punk acts over two stages, there was more than enough going on to keep everyone happy.

The afternoon got off to a blistering start with a preview of some of the bands that could be headlining Badlands in years to come. Take Sleep Parade, for example. Without resorting to the obvious comparison between these guys and another Badlands act, it is safe to say that they have the prog-rock sound nailed and are doing the genre proud. It is all there: the hypnotic soundscapes, heavy guitars and power vocals with just enough originality to keep the interest of the punters who got there early enough to catch their set.

As Sleep Parade were winding up their set, Fifty Sixx were just getting started upstairs. The first thing that you notice about these guys is lead singer Benny Britton. He has a commanding stage presence and one of those impossibly perfect rock voices. It’s complemented by intricate guitar work and solid drumming from his bandmates. The decent-sized crowd held a handful of passionate fans and no doubt, by the end of the set, there were a few new ones too.

Once the guys were done, it was time for a quick soundcheck before Horsell Common took to the stage ready to whip the crowd into a rock frenzy. With energetic vocals and heavy guitars, they even managed to inspire one punter to start doing push-ups in the middle of the crowd. The catchy lyrics provided by the track Good From Afar were enticing enough to get the crowd involved in yet another sing-a-long, with plenty of hand clapping thrown in for good measure.

Next it was back down to the ground level stage to check out MM9 – the perfect example of a band that knows how to blur the genre lines. Their mix of heavy rock with an electro beat works so well you wonder why more bands haven’t explored this sound. Using their devilish charm, the guys had the packed crowd in the palm of their hand.

Upstairs the crowd that had gathered for Trial Kennedy’s set seemed just a tad excited, judging by the fact that a mosh circle had already started while the guys were still doing soundcheck. Once that was done the guys appeared on stage and launched into Sunday Warning, provoking mass enthusiasm from the awaiting crowd. This continued throughout Colour Day Tours, with those on the floor in front of the stage jumping, clapping, screaming lyrics and generally making the most of what was on offer. And it wasn’t just the crowd that was enjoying the performance. The guys seemed to be having a genuinely fun time on stage too. During a cover of the Beatles classic Eleanor Rigby, guitarist Stacey attempted to play his guitar with a beer bottle, before covering himself in what was left of the amber ale.

Before the set was over, it was time to make a mad dash downstairs to catch Dead Letter Circus. They opened with the track The Mile in front of a sea of eager fans. At one point during the set there was a moment of pure patriotism, with crowds responding to a statement about the quality of Aussie music with an “Aussie Aussie Aussie, Oi Oi Oi” chant. By this stage, the mosh was throbbing, with all gathered singing along to the closing track Lines. It was delivered with pure and unadulterated passion, obviously fueled by the enthusiasm of the crowd.

Anyone who has seen Mammal live would swear that frontman Ezekiel Ox hates the stage. Mainly because he seems to use any excuse to get off it. Halfway through the first song of the set, The Aural Underground, he had already launched himself off the stage and was reaching over the barricade into the audience. It is this type of interaction that makes Mammal’s live set legendary among those lucky enough to witness it. Smash the Piñata and The Majority seemed to provoke the most intense reaction from the punters – not to mention Ezekiel, who at this point was swinging from the stage and surfing the adoring crowd. The sound even managed to get the suitcase art piece hanging from the ceiling swinging precariously above the frenzied mass on the floor.

Following these guys would be daunting for any band, but if Cog were concerned they certainly weren’t letting on. Appearing on stage to the sounds of a reggae track, frontman Flynn Gower took his usual position on stage as the subdued yet dominating force. No Other Way opened the set, but it wasn’t till Resonate that the crowd started to get into it and showed their appreciation by screaming back the lyrics. That was the green light they needed to really let loose. By the time The Movies Over started, a pit had formed and one member of the audience was swinging from the hanging suitcase art, much to the annoyance of the security. Backed by the raw power of Lucius Borich, arguably one of Australia’s best drummers, the set was pretty much everything you expect from a Cog gig.

And just like that it was over. The crowds started to spill out onto the lawns of Sydney Uni and it became clear that the night’s theme was simple. Aussie music is not a lost cause. The talent is there. It may not always be staring you in the face but you better believe that this statement is true: Aussie music fucking rocks.