Outside the walls of The Espy those waiting in line stand in the howling wind, a bitter winter chill bitch-slapping their faces. Once inside though, there is something about this breed of music that soaks through the floors and seeps in to our psyche, hypnotising the building in to a seasonal transportation. Whether it’s the steaming hot night conjured up by world music rhythms, the rolling waves of psychedelic surf rock, the sunny melodies of acoustic pop or the island swing of reggae dub: every element of this sound is evocative of the summer season. It speaks to us in the language of our land. Perhaps that is why Aussie Roots is some of the best in the world. And tonight the Deep Roots Festival serves up a fine spread with the power to make you forget the runny noses of an hour ago.

Cherub faced surf songstress Ashley Mannix warms up the Front Bar with her sweet blend of folk, blues and acoustic pop. Versatile vocals trill above her skilfully plucked guitar and a memorable cover of Curtis Mayfield’s People Get Ready is a set stand out.

In the Gershwin Room Papa Chango quickly fill the dance floor with their usual irresistible cocktail of Afro beats, Latin rhythm and reggae dub. Their eleven piece formula combines potent horn lines and pounding percussion at a pace that cultivates the kind of island rhythms that heat you to your core and make you (well, me) curse your hips for their inability to salsa like a saucy Latino on cue.

Next, the Front Bar hosts the Josh Owen Band’s powerful blend of soul, funk and blues. They appear to be taking the festival title as a literal command, applying a depth to their grooves that has the packed dance floor heaving and swaying with every tune. Owen has such an affable way of engaging his audience. The punters are happy to encourage him with hollers and whistles. Creamy soul vocals ride a bevy of rock riffs and driving bass lines. Right On and Can I Get a Witness are clear crowd favourites.

The rock’n’roll baton is passed on to Rogerthat who twist it in to a highly entertaining hybrid of psychedelic garage, surf rock, reggae and rocksteady. Front man Jesse Bailey is a perfect prototype for the late 70’s rock star. Open velour shirt: check. Giant gem stone necklace nestled amongst a suitable tuft of chest hair: check. Shoulder length mane coupled with ironically huge moustache: check. Golden God stance with arms thrown out, head thrown back and steely gaze into the rafters: check. But these boys aren’t all rock star bark and no bite. Deep reggae vibes, rollicking riffs and thumping bass lines throw the room in to a frenzy. Their single Green Room is a set highlight.

Back in the Gershwin Room, Zoophyte offer the rockiest edge of the evening. Front man Cam Lee’s almost Eddie Vedor vocals provide a slight grunge flavour to their solid stew of blues and roots. A little of the focus is stolen by Cam’s clearly ecstatic radio celebrity brother Andy Lee bouncing away in the audience and what we can only guess to be an embittered ex-girlfriend slinging pots and even jugs of beer at the guitarist.

By the time Bonjah are due to take the stage, the painfully slow turn over times of the bands has begun to dampen spirits. If the fest were to run on time the performance times of Bonjah and The Beautiful Girls would be staggered meaning punters could catch a satisfying chunk of both sets. But after an age of waiting for Bonjah to sound check it becomes clear that it will have to be a choice of one or the other and the Gershwin Room slowly filters out, the exiting crowd taking a fair whack of the room’s atmosphere with it.

Bonjah’s uplifting arrangement of powerful percussion, joyful bass lines and deep waves of electric guitar goes a long way towards recovering the situation. The soulful vocals of Glenn Mossop send blissful melodies soaring into the rafters. Spin With the World is belted out by enthused fans and by the time the reggae rhythm of Bring Back The Fire has punters pleading ‘pick me up and take me home’, it’s clear that spirits are high again and that these kiwi natives have the recipe for roots redemption.

Of course anyone choosing to stay out Bonjah’s set sacrificed any chance of seeing headliners The Beautiful Girls without a pillar, post or bopping bar wench completely skewing their view. Although nothing can taint the feel-good flavour of old favourites Music and Periscopes, disappointment sets in again at late running times and the poor choice of putting the final act in the Front Bar. Next time, we beg you, put the headliners in the Gershwin Room so all the kids can cop a view!

CHECK OUT THE PHOTOS FROM THE FESTIVAL HERE