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It was an authentically Australian scene as many young and exuberant men and women struggled against heat, flies and dust, moving just paces at a time, with their rolled up swags briefly resting on beverage filled eskies, before reaching the alcohol frisking zone and passing through the gates of a sun scorched paddock. Dodging cow pats and bull ant’s nests, setting up camp was an arduous task in the plus 38 degree heat where early respite was refreshingly delivered, fully clothed, under the open air showers.

The opening day of the 2009 Southbound Festival was drenched in perspiration and potential. The first sounds to blare out of The Other Stage’s big top was the raucous and raspy blues of C.W. Stoneking and The Primitive Horn Orchestra. Standing before the parched patrons, Stoneking took the form of a world weary preacher playing banjo in front of a black and white screen of Betty Boop and 1920s film reels. In an unsullied white ensemble, quite the contrast to his life and voice, his compositions ranged from forlorn tales to upbeat bops all with lyrical incoherence.

Across the fenced playing fields to That Stage, Drapht bounded onto stage like a physical and vocal onslaught, getting a tight and sweaty crowd to raise their hands up in the air and armpits in their neighbours’ faces. In quite a contrast to the shaded and mellow nature of The Other Stage, where Pete Murray, playing the first of his two Southbound sets may have seemed an odd inclusion to the line-up. However, plenty of those of the surf culture persuasion awaited him and delighted in his unchallenging and uncomplicated pop songs.

While many reclined on the well watered grass in front of Murray, Wolf & Cub were met by an underwhelming response in the blazing sun. With a timeslot of searing temperatures the inclusion of saxophone was highly commendable.

Returning to the campsite for a breather of sorts was short lived, as The Drones’ airborne menace leered over the campground beckoning the heathenish sympathisers back to the big top. Shrouded in purple and red lights singer Gareth Liddiard stalked the stage nearly leaping from it as he delivered his potent vocal discharge.

Out in the sun, straw hats of all shapes, sizes and ethnic origins were donned by the – œme no fry’ generation. Bluejuice drew a rambunctious crowd clearly awaiting radio hit, Vitriol. Climbing the frames of the stage, throwing mic stands, complimenting band members arses and then throwing the mics themselves, singers Jake Stone and Stav Yiannoukas’ wayward enthusiasm lost direction and the set became uncontrolled.

Where Bluejuice faltered, TZU picked up in a big way. The first act of the day to have crowd participation levels breaching the barriers, the big top of The Other Stage became a furnace of frenetic dancing, clapping and repetition. Computer Love got the party started. Blending their own works with classic melodies and beats, including an odd, but entertaining, addition of Marvin Gaye’s Sexual Healing there was a saucy theme in the set’s delivery with TZU encouraging the crowd “we here in TZU want you to have sex tonight”, and on cue condoms were distributed.

Following a break for stage reconfiguration, Architecture in Helsinki challenged the daggyness of dancing like a five year old high on red frogs with their 80s inspired electro-pop-synth flavours. Backed by florescent lights Hold Music started the set and took enjoyment levels skyward. Now oblivious to the heat and harsh conditions, inside the big top, a singalong to Matthew Wilder’s cringe-worthy classic Break My Stride proved its popularity, since nearly all knew the words. As well as a slowed down take on Debbie, That Beat and Heart It Races had the audience stomping and flailing their arms without reservation.

Taking the fervour down a few notches but retaining the ability to keep the contingent dancing, Donavon Frankenreiter grooved and crooned his way onto That Stage. With an uplifting vision of the spirit he spoke through his songs to the crowd “Don’t stop doing what you believe in. Don’t let them put you on a shelf. You’ve got to move by yourself, move by yourself tonight”.

From a slight sea breeze during the break to a prevailing wind across the front of stage, Birds of Tokyo fans had to strain to hear what is normally a raw, melodic and powerful resonance from the larynx of Ian Kenny. Despite nature’s barrier, the delivery was eagerly devoured by the WA faithful. With crowd favourites Wayside, Off Kilter and Desperate from debut Day One and tracks off the 2008 follow-up Universes, Wild Eyed Boy and Broken Bones Birds of Tokyo stormed the stage.

Rounding out the day’s musical feast, The Hives gave the audience a lesson in crowd etiquette, “Ladies and gentlemen, when we’re up here making noise you can do whatever you’d like, but when we stop, you start making noise.” The sharp, fast and polite punks were entertainers, providing comical repartee asking the crowd “Are you ready to be destroyed in a beautiful way?” Formally dressed in black and white suits The Hives’ performance was indeed at another level from the day’s other musical offerings. Unabashedly showy, singer Pelle Almqvist sprang, ran and threw himself around stage, swinging and catching his microphone on time every time. Playing their average 2 minute and 30 second tracks with ferocity that sped them to a time of 1 minute wonders, Walk Idiot Walk, Main Offender, Supply and Demand, B is for Brutus and a frightening finale of Tick Tick Boom were simultaneously simple and striking.

With a good earful of tunes and plenty to amuse the campers at Base Camp, That Stage cleared out for the night, awaiting Saturday’s musical assortment.

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