Live Review: BIGSOUND Festival 2016: Night Two

Ascendant Brisbane producer Golden Vessel can barely mask his appreciation at the sizeable, attentive turnout he's garnered as the opening act at Oh Hello!'s triple j Unearthed stage for night two of BIGSOUND Festival 2016.

Flanked by honey-voiced vocalist/guitarist/multi-instrumentalist Connor Grant, the affable artist (aka Max Byrne) delivers an utterly spellbinding set of laid-back, luscious electronic jams that include easy highlights in the dulcet Before Sleep (which weathers a brief — but quite endearing — false start as Byrne realises he's started the wrong track) and evergreen favourite Control, although, with guest appearances from Lastlings (Never Know) and Woodes (Vines), it's not exactly a performance short on standout moments. A brilliant BIGSOUND debut from a brilliant young artist.

After a minor venue mistake that found us watching death-metal act Hollow World at Crowbar instead of Heads Of Charm at The Zoo, we discover the latter is a bass-heavy indie-rock trio (no satanic screaming here). They've got a pub-rock feel about them and they build a sound that sounds more fleshed out than just the three of them. They're a tight band and we like their stage banter too. 

Who's a Good Boy? Well, Rian King, Tom Lindeman and Stuie McKenzie definitely are. Although probably sick of hearing ‘bad’ band pun jokes, the trio leave their troubles at the door and proceeded with what seemed to be one of the best shows of night two. Still fresh faced to the local scene, the fellas proceeded to enthusiastically bang out their debut EP No Love For Back Home with a couple of newies chucked in-between. Singer King, who looks equally nervous and eager, belted out his vocals with absolute precision and passion, whilst Lindeman and McKenzie cool, calm and collectively held their own on lead guitar and kit, keeping it all together while the Oh Hello! crowd grew close to full capacity. A highlight from the boys was undoubtedly their performance of Transparency, as although King was giving it his all on vocals, he was difficult to hear over the sea of people singing along. What a sobering moment for the local young guns and a showcase we’re sure they won’t forget. 

Adelaide band West Thebarton Brothel Party are a seven-piece old-timey rock'n'roll monster rage machine come to life, brimming with electricity and punchy ‘fuck you’ vocals. As they thrash around on stage, you can hear the attitude rumbling and building into a roar like an aeroplane taking off, and it’s almost as if they’re all competing to see who can break their instrument first. Frontman Ray Dalfsen suddenly launches himself into the crowd, and people are jumping and screaming as he screams right back at him. He climbs up onto the bar, and jumps into the crowd once again, before heading back to the stage for the last, angry notes of the song. Truly, this is music you could destroy your living room to, and enjoy every minute of it.

Local indie-rock 'newcomers' PYNES — actually comprised of some familiar faces from other accomplished acts from this brilliant city — have attracted a voluminous crowd of curious onlookers for their first outing at BIGSOUND, and they don't remotely disappoint. From the get-go, the talented trio serve up some seriously polished and cohesive tunes that nonetheless put the individual players' strengths on show; vocalist/guitarist Mel Tickle is a consummate performer, capable of both ethereal delicacy and deceptive power while dexterous bassist/guitarist Pat Elliott locks in to some beautiful rhythmic synchronicity with drum genius and certified manimal Jac Hicks. The subsequent sonic synergy marks an early standout performance of the night, even though this reviewer has to dash partway through ultra-lush new cut Never Enough to make it to another performance. It's our loss.

The surfy-looking Robbie Miller stuns immediately with a kind of fragile, haunting folk vocal. He's got a drum pad and keys player with him but it gives his rootsy voice a modern twist that you don't really expect. He's got a beautiful voice — albeit an uncommon one — but some killer songwriting could send him down the same road that Matt Corby traipsed, and that's not to say songs like Road aren't good already. Definitely some potential here, plus he dedicated a song to his nanna. 

Hooooly shit, Braille Face. We've been champing at the bit to catch the emergent Melburnian producer since first hearing his tracks Glow and Backwards/Medicated, the earliest tastes of just-released debut album Kōya, and… wow. Seeing Jordan White recreate his gorgeously lush, intelligently arranged and impossibly enticing electronica in the flesh is a true treat of the entire festival. Shifting, ephemeral visuals dance across a backing screen, lending an added sense of depth to his assured and utterly enchanting performance. The minimalist Because is as enticing live as it is on record, but the same could be said of the entire set; it's beauty of the sort you can't help but embrace passionately, despite the sublime delicacy of it all.

The crowd is huge for the equally huge Dorsal Fins tonight. The movement from the nine-piece proliferates outwards 'til we're all moving to their synthy, groovy hooks, led by dual leads Ella Thompson and Jarrad Brown. It's impossible not to have a good time when you've got trumpets and saxes involved and someone playing beer bottles, cowbells and tambourines. It's good vibes all around, but they even rip out a heavier song with an actual breakdown! We're concerned as to why Dorsal Fins haven't blown up yet. Their set ends and the crowd quite literally files out singing Nickelback's How You Remind Me at the top of their lungs. So good.

Melbourne band Totally Mild embody their name in the best possible way. Looking like early-nineties children, the four-piece are the quintessential quiet achievers, their nonchalant brand of indie-rock patiently plodding alongside lead singer Elizabeth Mitchell’s insightful songwriting. It would almost be easy to miss the level of personal depth within her writing at times, but the band are dynamic enough to ensure that the audience are kept listening closely to every shifting syllable. It’s a refreshingly down-to-earth performance that highlights their melancholy appeal.

Back at The Brightside, NAATIONS are on stage, and they are a powerhouse of hip-moving electronica. Bass notes shake the old building as Nat Dunn's powerful vocals fill the room. The group move like a human machine, covering Childish Gambino’s Sober with their own funky, emotional vibe. There’s a certain worldly feeling to their music, with danceable rhythms, catchy hooks, and verses that delve into the human condition.

West Australian four-piece Verge Collection admit that the empty-ish room is making them a bit nervous and ask that punters move closer to the stage — a common thread at BIGSOUND, it seems. The band play jangly indie rock with catchy lead lines and triple vocals in a slightly ocker slacker-style. There aren't a lot of people here but they're all having a good time, ignited a bit more when the band banter light-heartedly. 

Rolls Bayce are another local Brisbane band, taking BIGSOUND by storm with their deep drum beats, rhythmic guitar riffs and '60s soul roots. Delving into more of an indie/psych vibe, smooth vocals fill the stage, maintaining a hypnotic control of the room. The room is lively and upbeat, and the band’s energetic banter has everyone grinning as they await the next song. Tightly wound choruses give way to dense jam-outs, the band wringing as much sound from their instruments as the three individuals can muster.

In the tiny, dark corner of The Valley’s Heya Bar, Clea and her four band-mates cramp onto the bar’s minuscule stage to play the songwriter’s dreamy and eclectic style of folk-indie tunes. Unique and unlike many other artists at BIGSOUND this year, Clea brings a fresh blend of alternative indie and folk to the showcase stage, utilising tempo changes and mid-song break downs to keep listeners on their toes, all whilst showing off her ability to write beautifully complex yet seemingly relatable lyrics. With the help of fellow illustrious songwriter Alistar Richardson (Zefereli) on drums and vocals, Clea puts on a glorious display of her songwriting range, including pumping out acoustic single Polyester and finishing off her set with Dire Consequences. It may be Clea’s first BIGSOUND showcase, but hopefully sets her on a path of successful future releases.

Call it what you want — a resurgence, a renewal, a revival — but don't call this a reunion. Less active in recent years but never truly gone, Brisbane indie vets I Heart Hiroshima have made their full return to action, and it becomes swiftly apparent that we're all the richer for it. Having lost none of their vitality or energy in their years laying low — in fact, appearing utterly rejuvenated — the trio unleash a wonderfully ebullient mix of songs both old and new, providing countless moments of joy for fans who were on-board the IHH train during their nascent years as well as an easy point of access for punters only discovering their excellence for the first time. 

Man, if you're looking for sheer, unabashed fun, it's impossible to look past the loveable larrikins who've packed out the Empire Hotel this late in the game. Back in their homeland on tour, The Gooch Palms let fly with a rambunctious and insanely appealing performance, proving as adept at busting out endearing and affable banter as they are at concocting irreverent, infectious tunes. Yes, guitarist Leroy Macqueen eventually gets naked — briefly — but this band are so much more than any little gimmick; they're super-warm, engaging, in-form and wonderfully entertaining, hitting repeated highlights from their excellent new album Introverted Extroverts (including impossible-to-resist highlight Don't Look Me Up). This is the sort of showing that just makes us depressed that they've relocated to the States. Come back anytime, Goochies. Come back all the time.

New Zealand natives Yumi Zouma are playing as a three-piece at The Brightside Outdoor Stage tonight, backed up by a drum machine that perfectly replicates their pristine studio sound. Technical difficulties mean they’re only playing out of half of the sound system during the gliding Text From Sweden and Long Walk Home, however the band sound resplendent by the time the issue is fixed for The Brae. The group are loosening up throughout the set, as shy shimmies from leader singer Christie Simpson win the audience’s affection. “Come over here and dance with me,” she sings on their final song, and that’s exactly what everyone does. 

It's near impossible to weasel your way through the Oh Hello crowd for Sampa The Great. She's a great emcee, backed with two singers and a jazzy band, bringing a fresh angle to Australian hip hop. Coming from a background of slam poetry, her sassy personality really comes out through her lyrics and the way she enunciates some words, dragging them out or ending in a yelp, is super cool. It’s reminiscent of Kendrick Lamar's To Pimp A Butterfly somehow. She gets a "f-e-m-a-l-e" chant going for the song of the same name and her command of the crowd is really impressive. We love Sampa. 

To top off an unbelievable night of acts, The Zoo has one final treat for us: thrash punk lords DZ Deathrays have returned to home soil. As the first piercing scream fills the room, heated games of pool are forgotten, and a once-murmuring crowd grows into a roar as people shout the words back at the band. Drumsticks fly wild as Simon Ridley throws himself into his kit, with frontman Shane Parsons encouraging fans to sing along with him. The set is an exercise in itself, the effort visibly exhausting, but they never ever let up for a moment as bodies start to surf over the crowd. Towards the end of the set, some over-excited fans jump up on stage and nearly break an instrument, and are escorted offstage by security as the DZ boys heckle them, gearing up for the final song, and it’s a doozy. On to the stage struts Melbourne performer Ecca Vandal, and suddenly she’s screaming into the microphone, the band behind her in a renewed frenzy as the crowd screams so loud it nearly overpowers them. What a night!

At the end of a huge couple of days of watching new bands and artists, there’s really nothing quite like attending a showcase with the surety of the band being able to blow your socks off. Babaganouj is most certainly that band for many punters and delegates at BIGSOUND. Opening the night with a seemingly modest number, guitarist and vocalist Charles Sale congregates the room with his predominately solo track, assuring the crowd that sound-check is over and the ‘Nouj are ready to rawk. Playing a set full of mainly new tracks, such as Do Rite With Me Tonite, Interpol and Sorry, Babaganouj ease the festival-goers out with their infectious, optimistic indie-pop back-catalogue, getting that tiny Heya Bar stage room pumping with jumping punters. Playing a bang-on, tight set, it's easy to see why the locals were invited back to close out BIGSOUND this year.