Splendour in the Grass @ North Byron Parklands, Byron Bay (24-26/07/2015)
As we pack our bags, and circle timetables, we prepare ourselves for a weekend of music, mud and mayhem. Anticipation mounts as we slip forward in the muddy crowd towards day one of Splendour in the Grass.
I often find that the hidden gems of festivals lay within the first few hours. This is where you’ll find your up and comers, your brand new buzz bands and the soon to be overplayed. The sweet sounds of Gengahr can be heard sweeping through the festival from the GW McLennan tent as we descend into a day of talent. The London lads capture the audience with their debut material and leave an impression on avid day drinkers. |
But forget sweet because in times of trouble DZ Deathrays come to us in place of British drop-outs Catfish and the Bottlemen. These Brisbane boys have never met a stage they couldn’t set fire to and apparently trash. Lead singer and guitarist Shane Parsons all but obliterates his guitar in closing after a vicious set of punk as fuck tracks.
Keeping the sweat up, we step to Client Liason for a complete funking as the retro radicals from Melbourne hit Mark Ronson with a hard act to follow. If there were ever a reason to dance your dick off, Monte Morgan’s pelvic thrust will show you the way. It’s always impressive when a band invests their fee into the show and the duo’s costumes alone drip in eccentric opulence. If that’s not enough to get you on your feet, the authentic 80’s RetroSweat girls bring the shows energy to a whole new level. A niche not be missed and one of the best reason to spill your beer at a festival, Client Liason almost own day one.
It’s back to mellow as we visit #1 Dads or as a dude I once went to trivia with calls them the Really, Really Great Fathers. Tom Iansek of Big Scary knocked Australia out with his sophomore solo collection featuring a band of merry men from the Melbourne music scene. Tracks like Return To featuring Tom Snowden intoxicate a strong crowd who squeal in delight as the Lowlakes lead hits all the right notes. Iansek is soft spoken and appreciative of his surprise success but leaves fans uncertain of #1 Dads future as he returns to the arms of Big Scary.
The sun drops into a dark sky as the night pushes us into the headliners. We’re soon treated to the band almost made famous by the fictional Seth Cohen, Death Cab For Cutie. If you were fighting with your boyfriend over the last of the smuggled goon sack, indie romance was about to heal all wounds. Ben Gibbard emerged from a recent divorce and dropped an album worth crying to earlier this year, the first since 2011. Although they open with an old favourite The New Year, the Washington lot wanted you to hear about a new girl who fucked them over (Zooey Deschanel for those of you playing at home). Black Sun drenches the amphitheatre in its bleakness and though the new record is good, you can’t help but notice the lack of buzz in the crowd. Death Cab are great and there are a lot of songs from our first iPod’s we can enjoy but it’s an intimate affair that suffers from a looming downpour.
The rain falls heavily into deepening mud as friends split hairs on folky Of Monsters and Men, Porter Robinson and Ryan Adams. However the main attraction gathers an impressive number of punters to dance in the rain and sing along to a man so well dressed you just know he was ugly in school. I’m talking about the most metrosexual man on the bill, the great, the talented and the very suave beat maker, Mark Ronson. The UK producer revolved guests for hits like the gorgeous Daffodils featuring our very own Kevin Parker and managed an emotional tribute to the late Amy Winehouse during Valerie. As bodies tossed in the rain, Uptown Funk brought the whole house down closing a day that was dirty, dripping wet and action packed.
The sun shows itself across picturesque blue skies as day two kicks into gear. Those ready to play hard hit the amphitheatre for the heavy handed Circa Waves. If you want to see a drummer earn his keep, band newcomer Colin Jones brings his A-game to hits T-Shirt Weather and So Long as he stands on his stool, throws drum sticks and eggs on the crowd.
The rock reigns supreme with Melbourne’s Dune Rats and The Smith Street Band knocking out stunning sets. With music comes message and The Smith Street Band weren’t shy to spread their thoughts on the government's unpopular stance on asylum seekers. The passionate lads performed in front of a white and black banner proclaiming Real Australians Say Welcome with roaring support from the crowd. You can’t help but be reflective of the days of yore when Midnight Oil, the Goannas and Paul Kelly sung of strong political passions. You’d like to think Gen Y would have more to say but The Smith Street Band are ready to fight for the rights of others the best way they know how, with the power of music.
Politics aside it’s Canberra’s SAFIA that stops us in our tracks. The electro three piece pack out the Mix Up Stage as they drop news about their upcoming record and delve into the chart topping Peking Duck collaboration Take Me Over. The crowd is heaving as mud enthusiasts dive dramatically into the slush with one guy being dragged around by a friend and others just happy to dance in the thick of it.
Afternoon turns into early evening as we wander over to a full GW McLennan tent housing the killer chords of Meg Mac. A siren all in black, the Melbourne beauty stuns with a gorgeous rendition of Grandma’s Hands and killing it with the ever soulful Roll Up Your Sleeves. A definite a treat for those of us who like to sing aggressively out of tune at festivals and do so without reservation.
Whilst Perth is big enough for more than one psych band, it’s a tough job for Pond to constantly stand in the shadow of one of Australia’s biggest exports, Tame Impala. Although members are interchangeable between the two acts and you’ll often catch them sharing the bill, you can’t help but admit there will always be comparison. Pond are a great band in their own right but their space rock fails to hit the right notes with the sound falling short on the crowd. The setlist boasts a solid focus on the new Man It Feels Like Space Again material but is no match for Tame’s wall of sound soon to come. The night wears on.
There are few bands who can tour Australia as regularly as The Dandy Warhols do and still illicit an excited response. The festival-only slot marks what feels like the annual Aussie visit of Courtney & co but the amphitheatre is full to the brim as if they were in their prime. This was not a time to experiment. The Portlandians played to their strengths breaking out fan favourites like I Love You, Boys Better, Horse Pills and the ultimate song to spill your beer to, Bohemian Like You. The last time is saw these guys I criticised a tired act but Splendour brought out the best in The Dandy’s and they brought the best out in the crowd.
Another band often sited on the festival circuit is one that people hate to admit they actually enjoy. The Wombats are a band that deserve the late slot on the bill because they never disappoint. You might not want to sit around listening to what I call geezer rock on a daily basis but do you want to dance like you’re 21 and fake an accent? Yes. Yes, you do. Matthew Murphy has an infectious energy on stage that keeps you on your toes as he kicks off with Your Body is a Weapon and continues to dabble with new material. It doesn’t hurt that most Wombats songs sound the same but everything is danceable and hits like Moving To New York don’t hurt. Murphy continuously expresses is gratitude to the crowd which is something unheard of over at Azealia Banks. More keyboard warrior than artist, it’s a shame you’d rather be anywhere else but the Mix Up Stage.
Saturday closes with something almost spiritual as Florence and the Machine take centre stage for what will be a festival highlight. Dressed in white, the flame haired songstress sashays across a lit stage and performs her absolute heart out to What The Water Gave Me. An excellent opener followed by an incredible compilation of new tracks like Ship To Wreck and debut favourites like Drumming Song. The set is on fire. Ms. Welch is a gracious guest to our shores as she gushes of Australia’s unconditional support and the special place Splendour holds in her heart. As interactive as it is etherial, a Florence show is not to be missed with tender moments of serenading the crowd and bursts of joy. As the amphitheater unloaded a capacity crowd, the clapping line of Dog Days Are Over can be heard echoing through the night.
It’s the last day and although the weather had remained fortunate for all of Saturday, Sunday brought the morning showers. The drying mud is reinvigorated by the rain and hungry for more gumboots of the less fortunate. We push on. The day starts like most should with a serving of local produce as Adelaide’s Bad//Dreems play to an early crowd in the amphitheatre. Much like the lyrics to their hit Hoping For, the crowd are a bit strung out. Nevertheless the raw energy of the under 3 minutes songs wake our lazy bones and encourage us to do it all again.
The Delta Riggs bring that old school rock ‘n roll next with multi-instrumentalist lead Michael Tramonte flinging his thin body from keyboard to mic and back again. As stylish as he is dangerous, Tramonte swigs from a bottle of Jameson that barely lasts the set. The Delta Riggs are a name you often see around but the sheer power of their performances are highly underrated.
Over at the GW tent The Districts are here from Pennsylvania, USA for the first time and curious punters creep close to the stage. With a sound so instantly familiar you’d be forgiven for saying they sound just like someone else, you can’t put your finger on it. It just seems to be an instant buzz you get from them. This grassy style of indie rock fueled by guitar licks, tricks and lingering jams is a sound all actually their own. The band formed in 2009 but barely look like graduated teens as they take the stage. However all preconceived ideas of high school rock bands are left by the wayside as they kick into the upbeat and catchy Peaches. With a series of EP’s and two studio records behind them, the four piece captivate with harmonic live versions which are a treat to their ears. I imagine this is just the beginning for these young musicians and their relationship with the Aussie shores.
With an unfortunate withdrawal of Allday, English rockers The Vaccines get the audience they deserve. Lead vocalist Justin Hayward-Young recently took to the press to say he felt his band should be a lot bigger than they are and you have to agree with them. As good looking as they are talented, the should-be models are indie rock perfection in every sense. Their songs boast commercially viable radio flare by dressing up meaningful lyrical sorrow with pop worthy hooks. It’s hard to ignore their energy on hits Wrecking Ball, If You Wanna and the slower tunes like Wetsuit. The Londoners wind up being one of the favourites of the weekend and keep everyone dancing into the last night.
Jamie T takes to the amphitheatre next with the charm only a former acoustic soloists can harness. Now he’s grown a little more as an artist, Mr T has expanded his live set in not only personnel but sound. The Man’s Machine gets everyone on their feet as my friends and what feels like everyone around me sings all the words. He slows things down for somber songs like Emily’s Heart but never loses his grip on the crowd. For a guy who once stood in the geezer rock line behind The Kooks and Arctic Monkeys, Jamie T shines in his own right and has the credibility to headline with the best of ‘em.
We’re down to the wire and as the final hours of SITG 2015 wear down, Tame Impala bring the festival to its knees. The darkness sucked on smoke and purple lights as Kevin Parker and co drop into full psychedelic force. Most Australian bands will never be as fresh as Tame Impala and never move a crowd like 2012’s Elephant does every time it starts to play. There’s no fuckery in the playlist just good song after good song. As the marijuana wafts strong, another epic Tame show comes to a close.
On the last night in the final hours we are treated to something really special. Since their last Australian show in 1997, Blur have been the golden egg in terms of festival headliners and Splendour have delivered. With high expectation comes great chance of disappointment but the bitterness that once plagued the Brit poppers is out of sight on this incredible night. The highly popular lads keep their legacy in tact as they perform and exceed any expectations even the most diehard fan would have. From the first lines of their new track Go Out, squeals can be heard from men in their late thirties and twenty year old girls alike. Damon Albarn although getting on in years is still the youthful figurehead of his heyday. The nostalgia of Coffee and TV, Out of Time, Beetlebum, and Parklife intoxicate the crowd. Things even get emotional when we’re treated to an incredible performance of Tender but the energy reemerged for the feverish Song 2. If you loved Blur when you were ten, fifteen or not until the day this show left a mark on you and the band seemed to feel the emotion of it themselves. It’s all over too fast and you probably punched your mate in excitement but it will be a show to talk about for many years.
Just like that Splendour has come to a close for another fantastic year and maintains its place at the top of the pack. There’s a reason this festival sells out every year and although the line-up helps, there really is more heart in it than most of its competitors. From the friendly volunteers, to vendor truck delicacies and live Q&A panels, Splendour offers more than you expect in every facet. Even in the face of a changing festival market, I’m sure we’ll be trudging mud and pitching tents in Byron for a long time to come.
Samantha Dickson
Keeping the sweat up, we step to Client Liason for a complete funking as the retro radicals from Melbourne hit Mark Ronson with a hard act to follow. If there were ever a reason to dance your dick off, Monte Morgan’s pelvic thrust will show you the way. It’s always impressive when a band invests their fee into the show and the duo’s costumes alone drip in eccentric opulence. If that’s not enough to get you on your feet, the authentic 80’s RetroSweat girls bring the shows energy to a whole new level. A niche not be missed and one of the best reason to spill your beer at a festival, Client Liason almost own day one.
It’s back to mellow as we visit #1 Dads or as a dude I once went to trivia with calls them the Really, Really Great Fathers. Tom Iansek of Big Scary knocked Australia out with his sophomore solo collection featuring a band of merry men from the Melbourne music scene. Tracks like Return To featuring Tom Snowden intoxicate a strong crowd who squeal in delight as the Lowlakes lead hits all the right notes. Iansek is soft spoken and appreciative of his surprise success but leaves fans uncertain of #1 Dads future as he returns to the arms of Big Scary.
The sun drops into a dark sky as the night pushes us into the headliners. We’re soon treated to the band almost made famous by the fictional Seth Cohen, Death Cab For Cutie. If you were fighting with your boyfriend over the last of the smuggled goon sack, indie romance was about to heal all wounds. Ben Gibbard emerged from a recent divorce and dropped an album worth crying to earlier this year, the first since 2011. Although they open with an old favourite The New Year, the Washington lot wanted you to hear about a new girl who fucked them over (Zooey Deschanel for those of you playing at home). Black Sun drenches the amphitheatre in its bleakness and though the new record is good, you can’t help but notice the lack of buzz in the crowd. Death Cab are great and there are a lot of songs from our first iPod’s we can enjoy but it’s an intimate affair that suffers from a looming downpour.
The rain falls heavily into deepening mud as friends split hairs on folky Of Monsters and Men, Porter Robinson and Ryan Adams. However the main attraction gathers an impressive number of punters to dance in the rain and sing along to a man so well dressed you just know he was ugly in school. I’m talking about the most metrosexual man on the bill, the great, the talented and the very suave beat maker, Mark Ronson. The UK producer revolved guests for hits like the gorgeous Daffodils featuring our very own Kevin Parker and managed an emotional tribute to the late Amy Winehouse during Valerie. As bodies tossed in the rain, Uptown Funk brought the whole house down closing a day that was dirty, dripping wet and action packed.
The sun shows itself across picturesque blue skies as day two kicks into gear. Those ready to play hard hit the amphitheatre for the heavy handed Circa Waves. If you want to see a drummer earn his keep, band newcomer Colin Jones brings his A-game to hits T-Shirt Weather and So Long as he stands on his stool, throws drum sticks and eggs on the crowd.
The rock reigns supreme with Melbourne’s Dune Rats and The Smith Street Band knocking out stunning sets. With music comes message and The Smith Street Band weren’t shy to spread their thoughts on the government's unpopular stance on asylum seekers. The passionate lads performed in front of a white and black banner proclaiming Real Australians Say Welcome with roaring support from the crowd. You can’t help but be reflective of the days of yore when Midnight Oil, the Goannas and Paul Kelly sung of strong political passions. You’d like to think Gen Y would have more to say but The Smith Street Band are ready to fight for the rights of others the best way they know how, with the power of music.
Politics aside it’s Canberra’s SAFIA that stops us in our tracks. The electro three piece pack out the Mix Up Stage as they drop news about their upcoming record and delve into the chart topping Peking Duck collaboration Take Me Over. The crowd is heaving as mud enthusiasts dive dramatically into the slush with one guy being dragged around by a friend and others just happy to dance in the thick of it.
Afternoon turns into early evening as we wander over to a full GW McLennan tent housing the killer chords of Meg Mac. A siren all in black, the Melbourne beauty stuns with a gorgeous rendition of Grandma’s Hands and killing it with the ever soulful Roll Up Your Sleeves. A definite a treat for those of us who like to sing aggressively out of tune at festivals and do so without reservation.
Whilst Perth is big enough for more than one psych band, it’s a tough job for Pond to constantly stand in the shadow of one of Australia’s biggest exports, Tame Impala. Although members are interchangeable between the two acts and you’ll often catch them sharing the bill, you can’t help but admit there will always be comparison. Pond are a great band in their own right but their space rock fails to hit the right notes with the sound falling short on the crowd. The setlist boasts a solid focus on the new Man It Feels Like Space Again material but is no match for Tame’s wall of sound soon to come. The night wears on.
There are few bands who can tour Australia as regularly as The Dandy Warhols do and still illicit an excited response. The festival-only slot marks what feels like the annual Aussie visit of Courtney & co but the amphitheatre is full to the brim as if they were in their prime. This was not a time to experiment. The Portlandians played to their strengths breaking out fan favourites like I Love You, Boys Better, Horse Pills and the ultimate song to spill your beer to, Bohemian Like You. The last time is saw these guys I criticised a tired act but Splendour brought out the best in The Dandy’s and they brought the best out in the crowd.
Another band often sited on the festival circuit is one that people hate to admit they actually enjoy. The Wombats are a band that deserve the late slot on the bill because they never disappoint. You might not want to sit around listening to what I call geezer rock on a daily basis but do you want to dance like you’re 21 and fake an accent? Yes. Yes, you do. Matthew Murphy has an infectious energy on stage that keeps you on your toes as he kicks off with Your Body is a Weapon and continues to dabble with new material. It doesn’t hurt that most Wombats songs sound the same but everything is danceable and hits like Moving To New York don’t hurt. Murphy continuously expresses is gratitude to the crowd which is something unheard of over at Azealia Banks. More keyboard warrior than artist, it’s a shame you’d rather be anywhere else but the Mix Up Stage.
Saturday closes with something almost spiritual as Florence and the Machine take centre stage for what will be a festival highlight. Dressed in white, the flame haired songstress sashays across a lit stage and performs her absolute heart out to What The Water Gave Me. An excellent opener followed by an incredible compilation of new tracks like Ship To Wreck and debut favourites like Drumming Song. The set is on fire. Ms. Welch is a gracious guest to our shores as she gushes of Australia’s unconditional support and the special place Splendour holds in her heart. As interactive as it is etherial, a Florence show is not to be missed with tender moments of serenading the crowd and bursts of joy. As the amphitheater unloaded a capacity crowd, the clapping line of Dog Days Are Over can be heard echoing through the night.
It’s the last day and although the weather had remained fortunate for all of Saturday, Sunday brought the morning showers. The drying mud is reinvigorated by the rain and hungry for more gumboots of the less fortunate. We push on. The day starts like most should with a serving of local produce as Adelaide’s Bad//Dreems play to an early crowd in the amphitheatre. Much like the lyrics to their hit Hoping For, the crowd are a bit strung out. Nevertheless the raw energy of the under 3 minutes songs wake our lazy bones and encourage us to do it all again.
The Delta Riggs bring that old school rock ‘n roll next with multi-instrumentalist lead Michael Tramonte flinging his thin body from keyboard to mic and back again. As stylish as he is dangerous, Tramonte swigs from a bottle of Jameson that barely lasts the set. The Delta Riggs are a name you often see around but the sheer power of their performances are highly underrated.
Over at the GW tent The Districts are here from Pennsylvania, USA for the first time and curious punters creep close to the stage. With a sound so instantly familiar you’d be forgiven for saying they sound just like someone else, you can’t put your finger on it. It just seems to be an instant buzz you get from them. This grassy style of indie rock fueled by guitar licks, tricks and lingering jams is a sound all actually their own. The band formed in 2009 but barely look like graduated teens as they take the stage. However all preconceived ideas of high school rock bands are left by the wayside as they kick into the upbeat and catchy Peaches. With a series of EP’s and two studio records behind them, the four piece captivate with harmonic live versions which are a treat to their ears. I imagine this is just the beginning for these young musicians and their relationship with the Aussie shores.
With an unfortunate withdrawal of Allday, English rockers The Vaccines get the audience they deserve. Lead vocalist Justin Hayward-Young recently took to the press to say he felt his band should be a lot bigger than they are and you have to agree with them. As good looking as they are talented, the should-be models are indie rock perfection in every sense. Their songs boast commercially viable radio flare by dressing up meaningful lyrical sorrow with pop worthy hooks. It’s hard to ignore their energy on hits Wrecking Ball, If You Wanna and the slower tunes like Wetsuit. The Londoners wind up being one of the favourites of the weekend and keep everyone dancing into the last night.
Jamie T takes to the amphitheatre next with the charm only a former acoustic soloists can harness. Now he’s grown a little more as an artist, Mr T has expanded his live set in not only personnel but sound. The Man’s Machine gets everyone on their feet as my friends and what feels like everyone around me sings all the words. He slows things down for somber songs like Emily’s Heart but never loses his grip on the crowd. For a guy who once stood in the geezer rock line behind The Kooks and Arctic Monkeys, Jamie T shines in his own right and has the credibility to headline with the best of ‘em.
We’re down to the wire and as the final hours of SITG 2015 wear down, Tame Impala bring the festival to its knees. The darkness sucked on smoke and purple lights as Kevin Parker and co drop into full psychedelic force. Most Australian bands will never be as fresh as Tame Impala and never move a crowd like 2012’s Elephant does every time it starts to play. There’s no fuckery in the playlist just good song after good song. As the marijuana wafts strong, another epic Tame show comes to a close.
On the last night in the final hours we are treated to something really special. Since their last Australian show in 1997, Blur have been the golden egg in terms of festival headliners and Splendour have delivered. With high expectation comes great chance of disappointment but the bitterness that once plagued the Brit poppers is out of sight on this incredible night. The highly popular lads keep their legacy in tact as they perform and exceed any expectations even the most diehard fan would have. From the first lines of their new track Go Out, squeals can be heard from men in their late thirties and twenty year old girls alike. Damon Albarn although getting on in years is still the youthful figurehead of his heyday. The nostalgia of Coffee and TV, Out of Time, Beetlebum, and Parklife intoxicate the crowd. Things even get emotional when we’re treated to an incredible performance of Tender but the energy reemerged for the feverish Song 2. If you loved Blur when you were ten, fifteen or not until the day this show left a mark on you and the band seemed to feel the emotion of it themselves. It’s all over too fast and you probably punched your mate in excitement but it will be a show to talk about for many years.
Just like that Splendour has come to a close for another fantastic year and maintains its place at the top of the pack. There’s a reason this festival sells out every year and although the line-up helps, there really is more heart in it than most of its competitors. From the friendly volunteers, to vendor truck delicacies and live Q&A panels, Splendour offers more than you expect in every facet. Even in the face of a changing festival market, I’m sure we’ll be trudging mud and pitching tents in Byron for a long time to come.
Samantha Dickson