After an arrival that was delayed thanks to Brisbane City Council buses it was comforting to walk into Brisbane’s own Buick Six. Massive amounts of distortion suit the garage rock tunes that pump out of the PA. Changes and Buttons didn’t get more than a few claps from the seated and relaxed crowd which is almost amusing as in normal show circumstances their solid rock music would be enough to inspire jumping and mosh-pits. It was a very tidy set from the trio.
The Rocketsmiths take to the stage and initially confess their hangovers to a predominantly family-filled and underage crowd. Appropriate? Probably not. Funny? Absolutely, yes. Though frontman Dominic Miller confessed to feeling the worst you couldn’t tell from of the gents at the front. Drummer Brett Finch on the other hand looked a little worse for wear. Luke Heffernan still looked like he could have swung either way at the beginning of the set. Despite the circumstances the five gentlemen powered through Jeepers Creepers, The Boy Who Cried Misery and Man With A Gun which were semi-highlights. Watching Dom break 2 strings, then subsequently borrowing a guitar off a member of The Cairos and constantly forgetting the words were the real highlights. It was impossible to look away but also the most entertaining train wreck I’ve ever watched.
At first Laneous & the Family Yah seemed like a rather ridiculous group, especially front man Laneous. However as the set went on it so did a growing appreciation for the lounge meets hip-hop style of music. Loveable Tramp, though not completely appropriate for the crowd, was an exceptionally fun song from the group. The Bird Fire Choir’s interaction on stage was enough to make the people on the ground follow their dance moves.
Melbourne’s The Little Stevies brought their melodic brand of pop and folk to the twilight hours of Greenfest. Songs including Come to Miss You, Leap of Faith, The Tram Song, Brisbane and Sunshower are almost narratives of life experiences encountered by the members themselves or event that occurred around them. Sisters, Bethany and Sibylla have a beautiful interaction with each other however it can sometimes be difficult to distinguish their vocals. In contrast to the high energy sets that had previously graced the stage, it was a relaxing way to set into the evening ahead.
The biggest crowd of the festival so far started to form and it was evident that next up were the Hungry Kids of Hungary. The four Brisbane gents have become immensely popular lately and this was evident through the different kinds of people who gathered to watch their set. Their instrumental breaks were perfectly executed and the familiar Scattered Diamonds was lapped up by the crowd. Kane Mazlin’s keys were a prominent part of the set but didn’t distract from any other instrument. Set it Right, Restless Heart and Old Money were favourites of the crowd. For a young band their on stage banter is quite entertaining and the large crowd at the front were disappointed when it had to come to an end.
For the second time in as many days, and Woodford flashbacks aside, The Boat People grace the Greenfest stage. Playing to a larger audience saw energy bounce back and forth between the crowd and the band. Each time they’d start one of their pop driven songs another 10 people would start dancing. A set list that was extremely similar (if not exactly the same) as the day before some noteable inclusions were the new songs Hot Casual and So Terrific. The strobes didn’t quite fit the music but it certainly fitted the three man strong dance party that was happening at the back of the crowd. Robin Waters, being the entertainer he is, stole a drum from the kit then jumped off stage and proceeded to let the people at the front bang along to Born in the 80s. To say the crowd loved it would be an understatement.
The crowd swells and WA’s own Tame Impala keep the music rolling. Their massive sound suited the landscape and however the kazoo in Sundown Syndrome was ear piercing and not as effective as on their recorded works. Kevin Parker has a Kurt Cobain-esque droaning about his vocals however has the onstage energy of a stunned mullet and the rest of the band appear like they’ve walked straight off the set of Dazed and Confused. Their long guitar instrumentals with excessive effects are effective but became rather monotonous over the course of 35 minutes. A broken string became Kevin’s back-up guitar strap, luckily after Desire Be, Desire Go. Half Full Glass of Wine is the song most punters came to see however it almost sounded like a completely different band. People seemed to dig it.
The clouds had rolled in and mixed with a painfully long soundcheck, things had started to look ominous for the closing set of the night. All fears were put aside as Ash Grunwald and crew took to the stage. Opening with Don’t Worry he showed his talent in guitar manipulation while the distortion microphone got its usual work out. Serious, the Devil Called Me a Liar, Rosie and by popular demand Dolphin Song had the crowd moving in ways that one thought wasn’t possible. Fish Out of Water included Benny Owen smashing a car panel with a hammer so much so it was possible to see flecks of metal spraying around. As the rain started to pour down Money which progressed into an instrumental melody then into Breakout and finally back into Money satisfied the crowd. A very special guest in Jeff Lang came onto the stage for a duet of 1976 Coaster Van and Just Be Yourself and there was no competition of who rules the guitar, but Ash did a great job of keeping up with the master. The biggest crowd of the festival left extremely satisfied despite the wet conditions and the wait.
The real winners of this weekend were the sound technicians. Not at one point was it possible to criticise anything they did and it showed through the music from some of Australia’s best musicians. However, the disappointing part was litter that surrounded the stage at the end. Who litters at a festival promoting the environment? Seriously, it was shameful and ruined what was otherwise a superbly organised and executed event.




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