Live Review: Bluesfest 2015

No amount of adverse weather can deter the hordes of blues and roots devotees who are descending on the beautiful surrounds of the Bluesfest site in massive hordes – clearly rife with anticipation for the amazing music that is about to be enjoyed over the next few days – but fortunately despite the forecasts and grim outlook the rain mainly stays away for the most part.

Despite the unfortunate late line-up changes and decent rain in the week leading into the festival numbers were high, spirits the same, crowds pouring through the gate come late Thursday afternoon, all to a man, there for one reason and one reason only – to check out as much top flight roots music as is humanly possible. This is after all, what Bluesfest is all about.

THURSDAY

Over at the Jambalaya stage Chris Robinson Brotherhood live up to expectations and then some. Their towering Californian psych grooves, drenched in layer upon layer of warm country rock’n’roll, sweep out from the small stage enveloping all in attendance, a building, churning, living beast of a set, incredible music from an incredible band and clearly proving a festival highlight to many in the crowd so early in the piece.

Canadian Matt Andersen clearly made a lot of followers two years ago at Bluesfest who have been anticipating his return, because he receives a rapturous reception at the Delta Stage from the get-go. He has the crowd in the palm of his hand telling humorous back-stories about his songs such as the anecdote about “that best mate’s girlfriend no one really liked”, but it’s his blues tunes and captivating voice that hold the attention and get the big crowd swaying, with I Play The Fool For You, Drift Away and Working Man Blues among the crowd favourites.

It’s hot and humid but the crowd keep pouring into the Mojo Tent to see Sydney upstarts Sticky Fingers at their Bluesfest debut. From the outset everyone is grooving to their reggae and rock-infused tunes, songs such as Velvet Skies and Liquorlip Loaded Gun from their aptly-titled album Land Of Pleasure proving very in sync with the crowd’s loose vibes. Frontman Dylan Frost fearlessly dives into the sea of people, amping up the crowd even further and getting everyone roaring, before they pull out the party bangers and end a fun outing with their big guns How To Fly and Australia Street.

A must-see international act at a gathering such as this is Trombone Shorty & Orleans Avenue, who bring the funk and blues to the party in full swing. They have the audience clapping from start to finish and the energy levels just keep on building, everyone in the band enjoying a spotlight moment including the bass player who keeps things authentic and strips it right back to the genuine blues. As always Trombone Shorty blasts the brass like no other!

Brother and sister act Angus & Julia Stone close out the Crossroads Tent to finish the opening day of Bluesfest 2015. Julia’s unique voice dominates a great sound that has the audience swaying, Paper Aeroplane – a frequently played track on triple j about five years ago at the start of their rise to fame – proving that it’s still a favourite across the crowd. All Of Me also proves a crowd pleaser, the chilled vibe abetted by some ‘60s-sounding guitar parts and innovative use of the banjo. The pair’s visual component also proves a winner, with Julia always great to watch and the beanie-clad Angus also looking very cool onstage.

FRIDAY

The Crossroads Tent is in a mid-afternoon trance, enjoying the laid-back reggae vibes that eight-piece band Soja produce so effortlessly. Rest Of My Life and I Don’t Wanna Wait have everyone singing along en masse, while dreadlocked frontman Jacob Hemphill shares a special moment when he has the audience clapping and singing to I Believe with bubbles floating in the air amongst the waving arms of the crowd. It all joins together to provide a great atmosphere, with people either bopping to the tunes or spread out across blankets soaking up the sounds.

"The audience feel every word and react with reverence and appreciation."

Goosebumps. Beth Hart is one of a kind, putting her entire being into every word she sings – her voice grips you as you listen, but her narratives are so gripping you also feel what she has to say. Moving through Monkey Back, Spirit Of God and Might As Well Smile, Hart definitely leaves a lasting impression. After the band shuffle off the relentless and restless crowd demand more, a cover of Nutbush City Limits kicking off the encore with the signature Nutbush dance moves widespread across the masses of people. As hart finishes off with her spine-shivering take on I’d Rather Go Blind, the audience feel every word and react with reverence and appreciation.

Jimmy Cliff opens his set with Bongo Man/Rivers Of Babylon with bongo in hand and is welcomed by a huge day time crowd, followed by the upbeat mood changer You Can Get It If You Really Want. Cliff’s energy is matched only by his shimmery polyester suit as we see the whole crowd singing through a sea of swaying arms to the chorus of Cat Stevens’ chestnut Wild World. His cheeky passion and tight band help round out a stellar set for the reggae legend, his decree “I’m very happy to be here today in Byron Bay!” delighting the audience. Cliff dons the guitar for I Can See Clearly Now, dishes out some Tai Chi dance movements and finishes up with his solid catalogue of feel-good classics including Hakuna Matata, Many Rivers To Cross, The Harder They Come and Wonderful World, Beautiful People.

Over at the Delta Tent Declan Kelly is presenting his Diesel N Dub extravaganza, reinterpreting the hits of Oz rock legends Midnight Oil through the cruisy filter of dub and reggae music. The huge band favour plenty of space and the relaxed tempo changes the vibe of these songs vastly, but the message of iconic tracks such as Power & The Passion and Truganini remains intact despite the disparate moods that the treatments bring. They are joined by singer-songwriter Frank Yamma for the iconic Beds Are Burning, which has people gently swaying with their eyes wide shut as they soak in the wonderful Aussie aura.

The soft rock stylings of Train still prove resoundingly popular as they pull a massive crowd to the Crossroads, songs like I’m Drinkin’ Tonight and Hey, Soul Sister eliciting mass singalongs. It’s all pretty earnest but frontman Pat Monahan knows how to work the crowd, and when a faithful cover of The Band’s classic The Weight segues into their big smash Drops Of Jupiter there is a lot of love in the tent and just proves the staggering diversity of this great gathering.

Melbourne indie rock band British India are a last-minute replacement following the sad pull-out of The Black Keys, and they have the masses crawling into the Mojo Tent before they take to the stage and certainly don’t disappoint the massive throng throughout the duration of their powerful set. The crowd seem to know all the songs and constantly chant along, the band playing a mix of older and newer tunes including Run The Red Light, Suddenly and Wrong Direction. Frontman Declan Melia is very humble on the band’s behalf, finishing with, “It’s an awesome festival, and we’re very glad to be a part of it!” (he was busy over the weekend, featuring on Rockwiz Live where his music knowledge was put to the test and the played a couple of tunes). A great addition to the weekend.

The turnout is massive for from Scottish singer-songwriter Paolo Nutini over at the Mojo Tent, his soulful voice gracing the enraptured crowd with an incredible set. His onstage presence and captivating vocals have the crowd mesmerised, Jenny Don’t Be Hasty, Let Me Down Easy, the acoustic Better Man, Iron Sky and Candy proving standouts of a stellar set.

Alabama Shakes have stepped up to the plate to close the massive Mojo Tent (after the kerfuffle caused by The Black Keys) and they do a great job, pulling a massive crowd and holding their attention for the duration. Frontwoman Brittany Howard is an absolute powerhouse performer – effortlessly charismatic to the point where it’s virtually impossible to take your eyes from her – although her band is equally impressive and with their Southern rock seeming so unaffected and authentic they prove a perfect fit for this festival. Their sophomore album is about to drop and the new songs like Don’t Wanna Fight seem more complex and ambitious, Howard putting her heart and soul into the delivery, although older tunes like I Found You are equally well-received. They go down so well and so naturally that it seems fairly certain we haven’t seen the last of this great band at Byron Bay in the next few years.

SATURDAY

The rain has finally arrived but the heat has remained, leaving us in a strange mixture of water, mud and humidity – none of which can alter the innate happiness permeating the grounds.

Clad in their black Mexican Charro suits Mariachi El Bronx looking nothing like their punk alter-ego The Bronx, and they bring the sounds of Latin America to Bluesfest with an assured set of Mariachi-inspired rock. Tunes like the languid Sleepwalking go down a treat, and frontman Matt Caughthran seems so sincere in this more restrained guise (although there remains plenty of punk fire and spirit in his bawdy between-song banter). Despite tapping into a whole other ethic and ethos they’ve drawn a huge crowd who seem totally into numbers like Wildfires and High Tide, the stabbing horns and spicy percussion getting the huge crowd happily dancing and clapping and completely caught up in proceedings.

Down at the Juke Joint Melbourne country-noir ratbags Wagons bring a good dose of fun to the fray, larger than life frontman Henry Wagons ramping up the charisma as they open with catchy original Goodtown. From there they totally mix things up, throwing in a raft of completely apt covers such as Neil Young’s Are You Ready For The Country, The King’s Never Been To Spain and The Boss’ State Trooper, while from their own catalogue Why Do You Always Cry mixes pathos and guitars and I Blew It brings a healthy dose of humour. At set’s end they get a raucous reception for their version of Willie Nelson, the Wayfaring Strangers’ song that they long ago made their own.

Melbourne Ska Orchestra have a monster crowd gathering and they’re ready to dance, including the multitude of barefoot bandits! The weather doesn’t stop the audience going wild as horns start offstage, the band marching onto the vast Mojo stage to the propulsive beat as always looking very hip and suave in their suits. The orchestra takes cues from frontman Nicky Bomba’s dance moves as they play songs like Lygon Street Meltdown and The Best Things In Life Are Free. As ever Melbourne Ska Orchestra doesn’t disappoint and even manage on top of their incredible set to raise $3000 for mosquito nets in Africa, a cause close to their collective hearts.

"A ball-tearing set indeed."

Celtic folk veterans The Waterboys have been in the game for over three decades now and it shows, the band coming off like consummate professionals with their textured rock and rich arrangements. Their masked fiddler seems like a strange curio until frontman Mike Scott dons a similar mask later on, and they bring an intellectual bent to proceedings with snippets of spoken-word Kerouac and a rousing version of WB Yeats’ The Second Coming. Yet it’s the outpouring of love for their big hits The Whole Of The Moon and jaunty jig Fisherman’s Blues which remain seared in the memory, people showing their gratitude for these songs which have clearly helped soundtrack their collective experiences.

Come early evening Dave & Phil Alvin – the brothers responsible for roots rocking legends The Blasters – reunite after a long hiatus, and time has done nothing to dull their chemistry. Backed by the tight rocking The Guilty Ones, they turn the Delta stage into a steamy, sweaty, shit-storm honky tonk, a rumbling mixture of swamp country and outright vicious blues, a ball-tearing set indeed.

Hozier has been a highly-anticipated addition to Bluesfest this year, and crowds flocked to see his second show of the weekend, and with his multitude of songs about love the Irish singer-songwriter has everyone captivated. During tunes like From Eden, It Will Come Back and Someone New Hozier’s backing band sound amazing, before the second last song where Hozier modestly offers, “sing along if you along is you know this one” as Take Me To Church begins and the crowd lose their shit!

From the very first notes he plays with his seven-piece band Pokey LaFarge comes across like an awesome anachronism, his intoxicating amalgam of Western swing, country, ragtime, bluegrass and jazz sounding for all the world like the music you’d imagine played on a Mississippi steamboat a hundred years ago. Songs like Knockin’ The Dust Off The Rust Belt Tonight and Underground seem like they’re being beamed from a bygone era, and LaFarge is both friendly and happy to be here despite protestations that he’s losing his voice. He’s definitely one of the revelations of the weekend, songs like Bowlegged Woman seeming like classic hits from yesteryear despite their actual recent genesis.

Closing out the day at the Juke Joint are the Music Maker Blues Revue, a regular showcase at the festival who are playing every day this year, and they take punters back in time, their ensemble of little-known players (Cool John Ferguson and James ‘Super Chikan’ Johnson amongst them) bringing people back to where it all began – the blues, and these cats can play the blues.

SUNDAY

Armed with harmonies and a ukulele it is amazing to witness the young girls of Three Little Sisters – seemingly oblivious of their talent – continuously surprise the audience at the Busking Tent. Their set – made up of covers by artists like Kate Miller-Heidke and Landon Pigg with a few originals thrown into the mixture including crowd favourite Je Suis En Retard – is made even more dynamic by the girls changing up their instrumentation; favouring keys, cahon and ukulele, their on-point harmonies prove the cherries on top. Stopping people in their tracks, Three Little Sisters draw a big crowd for relative unknowns and it’s little surprises like that which add to the Bluesfest magic.

It’s been incredible watching the ascension of Justin Townes Earle from unknown troubadour with a famous father to a bona fide star in his own right, and he holds court to a huge crowd at the Delta stage armed with just his acoustic guitar, swag of great songs and bottomless reservoir of charisma. In solo mode he jerks around like a marionette at times as the music courses though him, and after a swag of his own tunes such as Ain’t Waitin’ and the heartbreaking Mama’s Eyes he shows his credentials by throwing in perfect renditions of Billy Joe Shaver’s Georgia On A Fast Train and Lightnin’ Hopkins’ My Starter Won’t Start This Morning. Still it’s his own talent with words and melody which shines though the brightest, songs like Harlem River Blues proving his indubitable talent as the crowd sways in appreciation.

Inside the Jambalaya Tent it remains dry while rain tumbles down outside, the crowd growing not to avoid the deluge but to witness blues legend Mavis Staples perform. It almost feels churchlike as Staples comes onstage, singing “everybody look what’s going down’’ as everyone takes to their feet. To call the veteran a respected artist is an understatement, her incredible voice and presence along with amazing band bringing peak enjoyment throughout, Staples preaching that she could “take us there” like the Staple Singers have been doing for the past 65 years but could we, the audience please “take her there” for one minute? That is her little favour she asks of us, and of course the audience delivers! There’s a poignant moment when she introduces the song Freedom Highway written by her father the legendary Pop Staples about the freedom march in 1965 from Selma to Montgomery; “I was there, I’m still here, I’m a witness, and I’m still fightin’, I’m a soldier, in this army of love. Fighting for peace, hope and love”. Mavis is a legend.

North Carolina native Nikki Hill isn’t a massive proposition in her home country, but after five sets in five days at Bluesfest her firebrand amalgam of rock’n’soul is sure earning her a fanbase in this neck of the woods. She’s just the right amount of sassy as she cajoles the crowd into getting involved in the action, and when she finished a hard-working set with a killer take on AC/DC’s Whole Lotta Rosie her hard work pays dividends and she has the crowd eating out of the palm of her sweaty hand.

Mexico’s acoustic guitar darlings Rodrigo Y Gabriela can sure coax some massive sounds out of their nylon strings, and it’s borderline surreal watching the huge Mojo Tent completely transfixed by two lone figures and their upbeat instrumentals. They have a huge presence despite travelling so light, and when they introduce some vocals during well-received covers of Silverchair’s Tomorrow and Radiohead’s Creep it brings a whole new complexion to the equation, although they return quickly to their more traditional waters much to their followers’ frenzied delight.

"The energy is relentless from both sides of the fence and the buzzing didn’t cease."

Four days into Bluesfest and Jon Cleary & The Monster Gentlemen jostle for most memorable moment of the festival! The Delta stage allows us to enjoy an intimate show as the audience keeps on growing to experience the New Orleans rhythm and blues, a bit of funk and some Latin elements which at one point usher the urge to Salsa. Getting a sneaky preview of what’s to come they play new tune Beg, Steel Or Borrow from their album which is dropping in August, the way Jon Cleary plays those keys proving super funky and mixed with his smooth voice has the audience getting down en masse. It’s always amazing to have these discovery moments at Bluesfest and be introduced to such incredible musicians.

Closing the night at the Crossroads tent, the audience can’t stop moving as Jurassic 5 grace us with their funky beats. The LA alt-hip hop veterans are not your stereotypical Bluesfest act, however the crowds have voted with their feet and are soaking up every inch of the sounds that are sent their way. The energy is relentless from both sides of the fence and the buzzing didn’t cease even as the lights went up and everyone went on their merry way.  

Spilling out of the vast Mojo tent, the mud-stained masses gather for Bluesfest veteran Ben Harper and the long-awaited return of his erstwhile backing band The Innocent Criminals. Taking things way back into the past Harper dusts off old faves such as like Burn One Down, Excuse Me Mr. and Roses From My Friends, while massive crowd-pleasers Gold To Me (from his 1995 album Fight For Your Mind which is now staggeringly 20 years old) and Amen Omen have people singing and swaying and enjoying this fun romp down memory lane in unreserved unison.

MONDAY

"A perfect encapsulation of Bluesfest’s unrelenting good vibes."

You need to remember, Bluesfest is a marathon, not a sprint. As such, as day five kicks off under a cloudless blue sky, people are moving a little slower, numbers are definitely down, the end is in sight. A marathon indeed, and one well worth getting on board with.

If you happen to be around the world and one of Michael Franti’s Soulshine Sessions is taking place it is a must do experience. An incredibly happy outpouring of love and affection, with thousands of people gathered under the Crossroads roof, spread out on yoga mats or letting loose at the front, it proves to be a resounding ‘you have to be there’ moment. For an hour everybody in that tent is transported to a place of peacefulness and merriment, enjoying the moment to the backdrop of Michael Franti playing his stripped-back favourites. By the end this session thousands of voices were echoing Michael Franti’s songs of love, a perfect encapsulation of Bluesfest’s unrelenting good vibes.

Tony Joe White holds court over at an overflowing Delta stage, his deep, dark fuzz and grind enthralling all in attendance, his swampy blues grooves the perfect way to ease into the final night.

Charles Bradley, on the other hand, isn’t easing anywhere. Bradley knows no other speed than full throttle, putting everything he has into his soul-soaked tunes, and with sweat streaking down his face he looks as if he’s in physical pain as he sings. As a result, his set seems almost ethereal, with so much power and passion poured into his music, the great man finishing by jumping off the stage and hugging the front rows, showing the love and getting plenty in return.

Iconic Australian singer-songwriter Paul Kelly takes to the Mojo stage and with the crowds spilling out the sides, the legendary entertainer lets the spotlight shine on some of the other incredible musicians that have joined him for the Merri Soul Sessions; names such as Clairy Brown, Dan Sultan, Vika & Linda Bull and Kira Puru adding their weight to his already considerable charm. The new soul-flecked tunes give everybody the chance to shows off their wares, and as Kelly peppers in his own hits like Dumb Things it ushers a wonderfully relaxed vibe that has everyone swaying as the sun goes down and says its final goodbyes for the weekend.

John Mayall, the Godfather of British blues, shows that being in his early 80s is no impediment to putting on a rock solid show, one of the best blues gigs of the weekend. There are low points (which is probably to be expected at this juncture in his stellar career), but in the main this was a man doing what he does best, backed by his crack band, guitarist Rocky Athas in particular proving a standout.

And then, to finish it all off at the Mojo tent what better than an epic performance by George Clinton & Parliament Funkadelic? Looking far more dapper than his usual haphazard finery, Clinton leads his hordes by example, the band a lot tighter these days but still not short of the funk they’ve become known for over the past few decades – Mothership Connection, Get Off Your Ass And Jam and High In My Hello in particular getting everyone grooving with their hands in the air. The energy coming off the stage is endless.

The final gig at the Crossroads for 2015 proves to be a massive love-fest, Michael Franti & Spearhead sharing not only the singer’s music, but also his love for life and his desire to make the world a better place! Positive vibes and happy anthems are sent our way, with Hello Bonjour and The Sound Of The Sunshine getting the crowd chanting along. Franti says, “I love Bluesfest, it brings all genres of music together, all religions together, if you believe in it put your hands in the air” and you can tell he means every sentiment and syllable as without hesitation a sea of hands fly up and the band moves onto the passionate Everybody Deserves Music. From children jumping up to shake it out on stage to a beautiful proposal it’s a great way to end five days of incredible music.

So there you have it – once more Bluesfest shows just why it has become such an imperative fixture on the Australian music calendar with its rich and luxurious potpourri of all the different strains of the blues and roots oeuvres, delivered in beautiful surrounds and attended by hordes of actual music devotees. Not even inclement weather and the absence of some of the advertised headliners can dull such a joyous occasion – Easter just would not be the same without the annual pilgrimage to hear the music of both the past and the future delivered with reverence and conviction by some of the planet’s finest musical purveyors. Thanks Bluesfest, until next time.