White Hills, Tasmania
Friday February 19 – Saturday February 20, 2016 :
In true Tasmanian style we slapped on our sunscreen and our hats and headed from the airport to the Paddock. Upon arriving at our destination which was a mere 20 minutes outside of Launceston, we were met with clear skies, a crisp breeze and an atmosphere that could only be described as electric. Smiling faces could be seen everywhere and it felt truly comfortable to be on this land with these people, all of us sharing in this experience. I knew we were in for something special and I was oh so right!
Opening the main stage at midday on Friday, Launceston locals Sumner kicked off the festival with some ethereal melodies, the singer’s restrained vocals floating above subwoofer straining yet artfully minimal electronic beats. Despite the punters still rolling in on the first day, Sumner managed to draw a crowd and rightly so – their style being just the right kind of chill to accompany the beginning of a day of excellent music.
Woolloongong duo Hockey Dad fed the crowd some dancey energy with their unique brand of summery surf rock for a hazy afternoon. Despite being a simple two piece group they managed to whip the crowd into a frenzy with their fast paced grooves, the drummer looking at times like it was all he could do to stay seated and refrain from jamming out to his own rhythms! The combination of energetic drumming, trebly guitar riffs and the guitarist/singer’s melancholic lyricism was well balanced and a pleasure to listen and of course dance to!
Next up were Brisbane psych rockers The Belligerents, their reverb-drenched, psychedelic arrangements wafting over the paddock of revellers and getting everyone moving despite the afternoon heat. Their dreamy, multi-layered grooves and eccentric yet energetic frontman place these cats firmly in psych-nostalgia territory while still feeling fresh and exciting.
Things started to get intense as Ecca Vandal took the stage, their tight rhythm section, fast and furious drumming and distortion soaked guitar riffage providing the perfect backing for the band’s namesake’s wailing vocals and spitting lyrics. Despite the common thread of heaviness throughout the set, Ecca Vandal’s vocal stylings spanned from delicate, high-register melodies to angry, punchy rapping reminiscent at times of Rage Against the Machine. Born out of their dynamic, shifting, all-consuming sound, each band member had powerful stage presence making for a thoroughly entertaining set.
Backing up the intensity of Ecca Vandal was Melbourne-based one man band Harts, delivering funky, high energy beats (courtesy of a touring drummer) combined with warm, shredded guitar licks with just a touch of synthy goodness. Harts’ soulful vocal style completes the piece with soaring melodies and sweet falsetto, reminiscent of 80’s pop and funk idols such as Michael Jackson and Prince (one of his biggest musical influences). A seeming crowd favourite, he had the audience eating out of the palm of his hand with funky wah-wah licks and looped, synthesised basslines. His guitar riffage revealed more than a hint of Hendrix influence, which was later confirmed by an explosive cover of ‘Purple Haze’ to finish his set just before nightfall.
Ringing in the steadily cooling evening were Sydney post-rock mainstays Sleepmakeswaves. Their set was extremely tight, fast and atmospheric throughout, the lack of vocals making way for an instrumental assault. Their urgency and heaviness kept the crowd warm as they absorbed the high-energy sonic blitzkreig. The band members were obviously loving it, jumping around and getting down just as much (if not more) than the already charged-up and appreciative audience.
By Saturday the festival was in full swing, with Vibestown Village opening up for some more diverse festival fare such as group yoga early in the morning, slam poetry and stand up comedy for those in search of something a little different. There was no shortage of music to gravitate to either, with the Blundstone Stage running from mid morning until the evening and the Bakers Big Top and main stages running back to back into the night.
The Surreal Estate Agents rocked the 12:30 slot at the Big Top with their groovy psych jams. Their funky bass lines, atmospheric effects and inventive, driving drumming harking back to bands like the Red Hot Chili Peppers while the vocals and chord progressions seem to take more influence from old school psych like Jefferson Airplane. Well rounded and a good choice for ringing in the day’s listening.
Next up on the main stage was hip hop fusion 7-piece Koi Child – formed from the melding of two existing bands Kashikoi and Child’s Play, they combined jazzy, intricate drum patterns, groovy, smooth bass licks, erratic, psyched out keys, and a tight brass trio, providing a full-sounding backing for the MC’s slick and accurate lyricism. Their technicality paired with unconventional breaks and arrangements made them one of the most enjoyable acts of the festival. MC Shannon Cruz Patterson – when questioned if he knew of Brisbane band Astro Travellers it was revealed that Koi Child is heavily influenced by Astro’s sound.
The Bennies easily stole the crowd for the sunset slot, with a high energy performance, these guys really know how to party and had the crowd pumping as people passed around “The Bennies” party boat. Their passion and dedication to their art really shines through in all that these guys do. They are like those crazy fun friends that when they rock up to your party you know the nights about to get wild and boy did it get wild! Although guitarist Julz had recently come out of hospital due to an operation he was anything less than a rockstar shredding from his seat in his classic yet true musician “the show must go on” style. The Bennies are really an amazing example of what a combination of clever musicianship, passion and friendship look like. They really are “Party Machines”. Keep an ear out for new stuff from the guys coming to a radio near you!
The Preatures seduced the crowd with their sexy grooves. Playing a cover of Fleetwood Mac’s ‘Tusk’ was a winner for sure and their dance moves and stage presence were undeniable. The Preatures are an interesting band as their sound is reminiscent of a time only history can remember, yet still as fresh and relevant as 2016 all at once. Their overall fusion as a band is remarkable as their sound remains paradoxically tight and spontaneous. From the crowds response they were a Paddock favourite I am sure of it.
The entire weekend was killer tunes stuffed with magic and wrapped in fun. Such an amazing display of what the Australian live music scene currently has on offer and in such a fitting location! A huge shout out to the Party in The Paddock crew for putting on such an awesome celebration of all things Australian Music! Thanks for the good vibes and rad time.
Until next year Tasmania!
Reviewer and Photographer: Kirsty-Ann Nicholls & Sam Finerty
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