Arctic Monkeys (with Miles Kane and Violent Soho), The Riverstage, Saturday 13th of January 2011

I spent a long time anticipating this gig, after my year of Arctic Monkeys obsession (particularly their latest release 'Suck It And See'). So when last Saturday finally came, I was ready, and eager, and anticipatory, and keen, and... where's my thesaurus... 


Myself with Arctic Monkeys Super Fans group turned up at the Riverstage a little before 7 to hear Violent Soho starting their support slot quite early. The usuals ("Love is A Heavy Word", "Scrape It", Jesus Stole My Girlfriend") were played amongst a couple of new songs, during which we were able to easily set ourselves up in the mosh amongst the mostly nonchalant audience. I've been told to tear Violent Soho to shreds in this blog, and also to describe them as "the nail in the coffin of 90's grunge". But instead I'll say that despite Arctic Monkey's stadium rock moments that Violent Soho are completely all about, they really were NOT suited to a support slot for the wide ranging audience of the Monkeys. In some ways it would have made sense, but on the day, it just felt odd, and they may have noticed this also, as I don't think they played for much longer than 25 minutes. 

A bit of a mosh wait later and Miles Kane appeared on the scene. Miles is the other half of Alex Turner's side project the Last Shadow Puppets, and was here with a full band and a very spotty shirt. It was during Miles Kane that I finally realized WHY CROWD SURGES HAPPEN! So many festivals and big scale shows have involved me getting all in a tizz as the mosh pit suddenly experiences a rush from one side to the other, leaving people losing their feet in their wake. It's only taken me a million years but myself and gig buddies managed to take advantage of them by moving along with the surges into their resulting gaps to secure ourselves closer positions. Of course, the people driving them are probably just shoving themselves into people which is dangerous and stupid... but I am now appreciative of shitty crowd behaviour! Particularly as we ended up 3 people back from the front before the main act started. 

Miles' selection of tunes were very pleasing to the ear, being consistently catchy, rock driven songs, backed by an exceptional band and a powerful voice. I hadn't heard any of his work before, but it felt much like later Arctic Monkeys with more of an early Oasis-y feel to it. An enjoyable, inoffensive, and entertaining show, I wish I could have paid more attention (or seen... anything...) while I concentrated on edging closer to the stage. However, it definitely put me in the mood for the Monkeys as well as inspired me to check out more of his music. 

Rushes finalized and position secured, it was finally Monkey time. The members came out with Alex Turner following, and they commenced a thundering opener with "Don't Sit Down or I'll Move Your Chair". As soon as the introduction was over, the crowd was in a frenzy. I was also in a frenzy, which kept me from being completely bowled over and thrown to my death. It was an excellent start, with their signature guitar jangles strong and piercing, as was Alex's clear and heartfelt voice. As the songs continued, it was all pure rock, from their debut hits "View from the Afternoon" and "Still Take You Home"; "Teddy Picker" and "Brianstorm" from 'Your Favourite Worst Nightmare' and 'Humbug''s "Crying Lightning". The songs rolled off the band members effortlessly, with drum sticks flying and guitar solos whipped out in a blur. Pauses in the songs (for example, just after "SEE YOU LATER INNOVATOR" in "Brianstorm") were drawn out so that when the finale of the song came it was an unpredictable explosion. During these numbers I was barely standing as I got into the music as well as being knocked around from spot to spot with the crowd. Alex tried his best to be charming and appropriately 'rockstar' with his "HOW YOU DOIN' BRISBANE!" calls, and sometimes it worked, assisted by his James Dean style attire and hairdo, and perchance for pointing in an "I Want You" fashion...

Other times it kind of felt like he was trying too hard to be engaging, when he is obviously more comfortable as the quiet, tortured genius type. It was also a little disappointing to hear that at their Sydney show two nights prior, which a few gig buddies attended, he had engaged in the exact same banter without any variance, like a script he was set to follow. 
It was however, easy to forgive Alex's odd connection with the audience, when he and his bandmates treated us to such faultless productions of their best crafted songs. The Monkeys became massive very quickly, and having stayed that way as a band they sound massive and full bodied to complement their fame. 
A few slower moments occurred, particularly those tracks from the new album that I had a soft spot for (e.g. "Black Treacle", "She's Thunderstorms"). They were beautifully executed however, despite not really being melancholy tunes, they did let the momentum down a little. This was to be expected as thanks to the new album's maturity, the Monkey's have improved on their range- however, it kind of felt like they had slowed things down a little too much somehow. Other rockier songs from 'Suck it and See' travelled quite well, including the drummer Matt Helder's vocal spot in "Brick By Brick" and rollicking "Library Pictures" (with perhaps the worst line of their career: "well ip, dip, dog shit rock and roll", screamed by everyone up front). 

Miles Kane joined the band for a number I hadn't heard before, "Little Illusion Machine (Wirral Rider)", and added a little more charisma to the stage, working quite well with Alex and looking dapper in a velvet burgundy suit. After a fantastic helping of songs, they powerfully ripped through "When the Sun Goes Down" and left the stage without much ado. Their encore was short and sweet, commencing with the lyrical gem "Suck It and See", and then one of my favourites, "Fluorescent Adolescent", Alex spitting out the words without a hitch. They ended with Miles Kane's assistance again on "505", which, as a darker song I am not too familiar with, felt a little flat as a final send off. 

I'd seen Sydney's setlist prior to the show (as the travelling gig buddies managed to obtain a torn up copy) and it was a little disappointing for me (and moreso for them) that the band had stuck completely to it for the Brisbane gig. Whether it means anything that they don't wish to change things up each show, I'm not sure, but I would have loved to hear "Piledriver Waltz" or at least something more explosive to send us home with. But all that aside, it was a very good selection of their musical journey so far, and most of the moments I anticipated seeing live were reproduced to my satisfaction. And what better way to have such an anticipated live experience than right up front with a rowdy bunch of fellow fans? Even if it did mean needing to take Voltaren and walking around with bruised feet for the next two days. Worth it.

8 and a half hellcats out of 10.

Harvest: A Civilized Gathering, Brisbane Botanical Gardens, Saturday 19th of November, 2011

WARNING. This is a long'un.

Last Saturday's Harvest festival- sorry, gathering, was a hotly anticipated one for me. This was not just due to the fact it had been advertised as a gathering, (implying a mature group of people interacting jollily and respectfully (to me)) rather than a typical flustered festival at the botanic gardens, (implying energy drinks, bare skin and sweaty metro males rubbing up against you... well, boganfest). But it was also as if the organisers pressed shuffle on my iTunes and created the lineup based on what came up. And what an eclectic selection: Flaming Lips, Mercury Rev, Portishead, TV On the Radio, Hypnotic Brass Ensemble, The Family Stone, Bright Eyes, The National, and the list went on. There was plenty more, and I didn't even get to see half of those I just mentioned. But here was my experience nonetheless.

After pre-festival drinks, I trundled into the festival just in time for US indie scenesters The Walkmen (missing the Holidays and H.B.E. doh.). The Walkmen are one of those bands that have a distinct, enjoyable style, but despite a few listenings, I have only found a couple of songs that really stand out for me. But they are a pretty attractive band...

Come onnn camera... well, believe me, they are. Anyway they opened with one of said standout tunes from latest album 'Lisbon', "Blue As Your Blood", which frames frontman Hamilton Leithauser's uniquely heartwrenching voice with a simple drum and bass riff. There was much off 'Lisbon', and not a lot else, obviously constrained by time, but each song had something to pay attention to, even if it was just their exceptional musicianship.

Trust me, you'd go there. Anyway, they played what everyone expected, second to last, being their big debut hit, "The Rat". The familiar opening guitar jangles were presented with all the energy this song expresses, and it simply rocked. Hamilton's voice erupted with everything he had, screeching "CAN'T YOU HEAR ME" when it was just too hard not to listen. I saw these guys at the first Laneway back in 08 or whenever that was, and I don't remember it being as powerful as this. Already pre-empting that these guys would not be the biggest highlight, it was a fantastic start to my day.

After the Walkmen men walked, I had some time to wander around the festival grounds before grabbing some food (ahh gozleeeeme.) At this point, the distinct LACK of bogans and complete totality of hipsters was totally apparent. And while stupid fashions were rife, it was damn amazing. Little touches of the festival's decore, such as umbrellas in trees, an animal discoball (may have been a pig?) and park benches made it a little kitschy but also just quite lovely. The best part is where I spent most of my day, at the Windmill stage, was just small enough to have prime access not only to the toilets, but the drink tent, AND the gozlemes. The drink tent sold STRAWBERRY PEAR CIDER (which sold out by 5pm of course), and was nicely stocked with wine, and I don't think I waited more than about a minute in any of the lines. Just so well organised and idiot free. Well. Mostly idiot free (you'll see).

Anyway, I had just grabbed said gozleme when Mercury Rev started their guitars. I should mention at this point that the timing of everything was almost too good (hey, let me get started on this gozleme fellas).

This is the first time I'd had the chance to see Mercury Rev live, and I was so excited. On the scene since the late 80's (I believe), they're like a more subdued Flaming Lips, with Jonathon Donahue's hauntingly sweet vocals and poetic lyrics their calling card. In fact, during the set you could see Wayne Coyne checking them out on the side, obviously a fan and most probably a friend of the band.

Jonnfen

They opened with "Snowflake In a Hot World", off 2008's 'Snowflake Midnight', a beautiful intro that I hadn't heard before. Swirling, magical percussion, synth and lyrics, the smoke-machine assisted eerie atmosphere, the warm sun on my face (alright a bit hot), my delicious gozleme (the last time I use that word, promise), and Jonathon's eager face, made this a perfect moment. Only to be topped by "Holes" off 'Deserters Songs' which came next.

Oh god. The beauty. It was magnificent. They recreated every sound with such delicate precision and the entire band looked like they were being indulged by each sound they created. Jonathon sang as if he had been holding back a precious gift and he was finally unleashing it upon us, and the audience lapped it up. Apart from "Butterfly's Wing" from their latest, there was more from 'Deserter's Songs', including "Endlessly" and a heartbreaking replication of "Opus 40". The emotions flooding the song were beautifully conveyed by Jonathon and crew, and I have to admit, if I'd let myself go, a little tear could have peeped out my eye a wee bit.

Alas, timetable updates meant that one of my favourite bands ever, TV On the Radio, were on halfway through Mercury Rev's set. And I was not missing a second of them if I could help it. So, while most of the bones in my body told me not to, I left to catch them. As I did the Rev had begun a cover of Peter Gabriel's "Solsbury Hill". Daaaaaamn. I later heard that they ended on "Goddess On a Highway" and "The Dark Is Rising", at which point someone did burst into tears. I probably would have been there with her. Damn you timetable clash!

I pretty much ran to get to the Riverstage (the longest distance away from the Windmill stage dammit), going faster when I heard what I thought was "Wolf Like Me", but turned out to be "Halfway Home". Noooo! I got there in time for them to start a sped up, even-more-brass-filled version of "The Wrong Way", the opener from their debut. It was a bit erratic and I lost momentum while trying to keep up with it, and so obscure that my brother didn't even realise they had played it.

I felt better about leaving Mercury Rev when I noticed that Wayne Coyne had also dashed away and was at the right of the stage watching, unless he has doubles or stand ins like Santa Claus. Considering my brother also reported having walked behind him on his way to the venue earlier that day, perhaps this is the case. It wouldn't surprise me.

It got a bit more normal with a few from their latest 'Nine Types of Light', the upbeat "Caffeinated Consciousness", which got the crowd moving in recognition. While the band, particularly frontman Tunde, had amazing energy and prowess, the sound was just a little too off for it to be the amazing experience I expected it to be. The combination of individual elements that make TV On the Radio so good was kinda missing as they ran together in a blur of distortion, and I feel that was just to do with logistics and the stage set up rather than their own doing. I can imagine a solo show would be a different (and fantastic) story.

Then came the two killing tracks, grooveful "Golden Age" and crowd sing along "Will Do", and then a surprising "Young Liars" from the same-titled EP. While I would have liked to hear more favourites, it was nice that they had a broad selection and some older fare. "Staring At the Sun", their first big thing, was great, but would have been more amazing without that said distortion, but the set closing "Wolf Like Me" excelled despite it, probably thanks to the energy of the crowd due to it's classic indie status. While it ended the set in a brilliant way, the sound did not give the experience the same punch that I expected. I'm sure I'll be satisfied at a later date in a non-festival atmosphere somewhere else in Brisbane... (Are you listening TVOTR?)

Death In Vegas was the next on my list to see, and I slowly made my way over. Flashy lights onstage when it's still daylight is not my thang...

There wasn't a lot I recognised... I only have the classic 'Scorpio Rising' and I didn't hear any songs from that, but it was all very chilled, very ambient, and distinctively Death In Vegas-y. They were obviously very good, and the atmospheric combination of synth and breathy vocals did you carry you along with it... but it felt like the wrong kind of time and place for this sort of music. While a bit alternative, the electronica in amongst the indie rock changed up the feel a bit, so I gave up and decided for my friend and I that we would catch the last of Clap Your Hands Say Yeah, a band notorious for not doing so well live.

We got there and not long after, they finished "Upon This Tidal Wave of Young Blood", from their self titled, and walked off, 10 minutes before their scheduled end time. Good one Steph. Another friend praised their show today, but I was skeptical, as the few minutes I caught sounded a bit off kilter. But maybe it was amazing! I'll give them the benefit of the doubt.

Some much needed grass time later, instrumental post-rockers Mogwai came onstage, one of the few bands on the bill not from New York. While they kinda do look like they do come from New York....

...they're actually Glaswegians, and I will remember them fondly for their Splendour show in 2006 (OH MY GOD THAT WAS FIVE YEARS AGO???), so was keen to see their thing again. I could have caught bits of Bright Eyes and the National at this point, but I wasn't feeling the vibe of either band at that moment, and I have tried and failed at becoming a proper National fan. So while the rest of the audience rushed off to catch them, I was happy at Mogwai, which was also a chance to get a good spot for the Flaming Lips.

This set was another case of "don't really recognise anything much" as they have done a couple more albums since my Splendour experience, of which they took a lot of their current set list from. Still, they created some amazing moods, which was further enhanced by their anticipation of wildlife ("We've been told we're going to see some bats soon", said one of the guys). And, after some amazing swells of intensity, during a down-tempo, mellow interlude, sure enough the bats came gracefully flying across the sky behind the audience, one by one. The band looked on in fascination as they played solemnly, and the crowd looked up and swayed, supported by the music. It was a very special, awe-inspiring moment. Another highlight was the addition of Luke Sutherland to sing on the deliciously beat driven "Mexican Grand Prix". It was at this point I spotted my first solo drunk idiot, who clapped his hands loudly yelling "YEAH I LOVE MOGWAI" at the crowd's dismay. Luckily he was out of sight by the time the band finished, and I could inch up to one person behind the front in preparation for Wayne and co. of Flaming Lips fame. Even though he was festival old hat by now.

As he did at their show in Splendour last year, as we waited and watched the band set up, Wayne fiddled around the stage looking restless as the roadies put all the little bits and pieces in action. Every now and then he'd greet the stage, which did not give the same reception as Splendour (where there was probably 50 times as many people), and this seemed to disturb him later as he tossed his hands up in the air at random intervals urging us to cheer him more. At the front, we were doing our best to cheer, and it came pretty naturally, so I guess they weren't as receptive further down. But it was a smaller venue, and Wayne's urging the crowd on won some crowd frustration more than anything, particularly as it took away from more music.

Anyway, after much ado, the Flaming Lips set began, in the same way as it probably has for the past 5 or so years, but then again, why fix what's not broken?

If you're not aware, to start a Flaming Lips show, a dome screen displays a dancing glowing naked lady, who then leans down and shows us her lady bits. Except her lady bits are super mega glowing with rays of light, and as you are sucked into her... chasm...

Oh hai, vag

...out comes the band, one by one, and Wayne pops into his bubble, ready for a crowd surf as the band plays on.

Being so close to the front meant I was half excited, half petrified that I'd be squashed by Wayne's bubble body, but luckily, lots of taller people around me meant I really didn't even cop much of a feel. I copped more at last year's Splendour in which I got to push his buttock over within the bubble as it travelled through the crowd. This time I think I got a knee.

Hooray, I had survived the bubble, and the proper music had commenced. Double joy!

Note: I have about 10 photos of the band with the baldy in front, a security guard who insisted on standing smack bam in the middle of everything. I wanted to punch him in the face but instead he's like that guy in the photobooth in Amelie.

They continued on with "Worm Mountain" from latest full length 'Embryonic', and then to my thrill, played "She Don't Use Jelly", and the front crowd sang along with all their might as the Lips recreated their old time signature tune. It was a rather marvellous moment. Unfortunately, the girl on my right had decided that standing was overrated and from this moment until about halfway through the gig (when I had managed to shake her), decided to lean her body, arms, butt, even her thick brick of a head, on my body, continuously. Even though she had a boyfriend in front of her to lean on and plenty of room behind her. She continued to elbow and headbutt me into oblivion, including stomping on my foot a few times, no matter how much I shoved, elbowed, and pushed her off me, trying to inch away from her. At one point she turned to me and said "HOW GOOD ARE THE FLAMING LIPS" and it took me a few seconds of dumbfoundedness to respond with "Yep, pretty good.". Drugs? Lips induced stupor? Just an idiot? Who the hell knows.

Along with bubbles and LED's, there was a crew of dancing people lined up on each side of the stage dressed as Wizard of Oz characters (I entered the competition to be one of them, but apparently writing to them that my dancing style is akin to David Brent wasn't favoured?), an extreme mass of balloons, a wind machine, and Wayne's hand held streamer machine, set free whenever he felt it necessary. Basically, a party onstage, in every sense of the word. This all culminated in a peak moment during the next song, "The Yeah Yeah Yeah Song", which was an absolute orgasmic joy. Idiot girl was totally forgot as I was just taken away into ecstatic stupor, chanting "WITH ALL YOUR POWER" with the rest of the crowd. Wayne coupled the explosiveness with theatrics by popping confetti filled balloons with his guitar as they came near him, resulting in confetti blasts in time with the musical peaks. It was satisfyingly fun to watch.

Things got weirder with the Neon Indian collaborated "Is David Bowie Dying?" (No, guys! Noooo!) and 'Embryonic''s "See The Leaves". Around this time Wayne brought out the giant hands with lasers on them and played with them on the mirror ball, creating an abso-fucking-lutely magnificent effect. It was like, another world...man.

just to reiterate: the lasers are coming from his HANDS

I was surprised to not hear "Fight Test" but very happy to hear an extremely slowed down acoustic version of "Yoshimi Battles the Pink Robots (part 1)", the title track off their critically loved album. The final moments also consisted of the uplifting "Pompeii Am Götterdämmerung", in which a giant gong lit up with every smash of Wayne's streamer-wrapped baton. And then, as expected by all, but still an amazing delight, came "Do You Realize". I did feel tears in my eyes at that point. Already a gorgeous and heartwarming song, it filled the auditorium with hysterical bliss as the crowd sang along with Wayne and the music built around us, and I honestly could not think of a more amazingly felt moment in my life at the time. I said it on facebook and I'll say it again. If you can condense a Flaming Lips concert into some kind of pill or remedy, there would be nothing but joy and everyone would be happy and bake a pie full of rainbows and smiles together.

LIFE IS BEAUTIFUL!

While the rest of the band looks on quite vaguely, it doesn't matter (and perhaps they know it), as all eyes are on Wayne and the theatrics. Wayne is either the most mentally insane person in the world, or he has discovered the truth to happiness, and either way, I'm very grateful for it.

So, I did say that there cannot be a comedown after a Flaming Lips Pil, but if there was one, it would be in the form of Portishead.

life is tragic.

Exhausted and exhilarated, I sat up on the hill with the others to listen, late to get to the headlining show. The sound at the Riverstage was again, a bit distorted, but the sound was still quite good and the beats compelling. Beth Gibbon's voice sounded slightly weak, probably for the same technical reason, but was beautiful and haunting and without a single hitch, not ageing a day. I was delighted to hear "Sour Times", the hammond organ penetrating and mournful, and the jarring "Machine Gun" from their 3rd album a few years back. "Over" and "Roads" were hauntingly magnificent. I found myself singing along to "Glory Box", trying to imitate the delicate emotion in Beth's voice which was all there as it is on the record. There was no faulting their live show despite the sound-carrying limitations of the stage set up, just pure, gorgeous melancholy. For their first Australian tour in almost 15 years, I could understand why they headlined and were so anticipated... tenderly intricate, their live interpretations were pretty much to perfection.

Wow though. After such a high, it was an odd way to end a festival. Instead of bubbling and giggling off to post-festival pancakes, we trudged back a bit neutral, despite the amazing day we'd had. It's the way music affects you I guess, that's the power and beauty of it; it can change a mood in a heartbeat.

Looking back, I really could NOT fault Harvest. Yeah there was a timetable clash I didn't need, and yeah the biggest idiot at the festival ended up next to me, but it really lived up to it's promise as a civilized gathering, and every band I saw was really, really good. There was not a negative thing about it, really. Really. I have extreme hopes for Harvest to return next year and make itself a staple, but I worry that with added advertising and interest, its return may gradually turn it into the monster that once-small festivals are now becoming (Splendour, Laneway without the lane). Perhaps it can't be avoided... or perhaps together we can make this our special musical gathering, lovers of good sounds. Yes we can!

As peppered within this day were moments I will look back on as the best of 2011 and perhaps the twenty-teens, I give Harvest TEN out of ten confetti filled giant balloons.