Live Review: Groovin The Moo Bendigo

It's just past midday as the shuttle rolls up to Bendigo's Prince Of Wales Showgrounds and, even though it's raining (earlier than forecast), there's no dampening our expectations for Groovin The Moo 2016. The entry line flows much quicker than in previous years and, before we know it, we're confronted by that familiar thump that only festivals can provide. There's some seriously funky vibes coming from the (appropriately named) Moolin Rouge stage and Dylan Joel has the tent packed, but we make a beeline for the Channel V stage to catch Harts.

The gloomy weather means that lighting systems are in full effect early in the day and there's a purple glow surrounding Darren 'Harts' Hart - a nod to his late mentor Prince. There's already an impressive crowd gathered in front of each stage. The drum/guitar two-piece (with a cheeky bassist playing offstage) are straight out of the '60s. Harts rocks a white leather jacket and colourful-but-beat-up Strat. They're a little more Woodstock than Groovin and we dig it! It's immediately clear that Hart is a beast on guitar. His fuzzy tone screams Hendrix without ever being a cheap knock-off. New track Peculiar breathes life into the pit, while Breakthrough provides the first (of many) opportunities to clap along. After his request to play guitar for us one last time, Hart dives to the ground, power-slides across the stage and proceeds to play with his axe behind his back in true rockstar fashion. A strong start to the day.

After the crowd disperses and heads over to the triple j stage, we're given our first chance to actually scout out the festival attendees. It seems nobody quite knew what to expect from the weather. The Coachella-fication of Aussie festivals is very apparent - there's bindis and glitter everywhere, and no shortage of floral patterns either. There seem to be a tonne more underage punters than in previous years, but they contribute a different kind of energy and don't seem out of place. One group are overheard discussing VCE subjects in between sets and we're reminded how old we are.

Electronic hip hop duo Boo Seeka take the stage in front of another impressive-sized crowd for this time of day. Boo Seeka (guitar/vocals) bounces along behind the mic and we spy a bottle of Pepperjack on his amp. Meanwhile, his partner in crime Sammy Seeka is very animated behind his set-up. It's refreshing to see producers incorporating more live elements to their set, with Sammy firing off beats and samples from a number of drum pads and synths. Their sound brings Alt-J to mind.

We saunter over to the bar area and finish our tins before heading back into the crowd. It's our first look inside the Moolin Rouge tent and the set-up is pretty sick. There's a bit of a sci-fi feel to the lighting set-up and the visuals on the big screen are trippy but impressive. The energy is already immense as Remi bursts onto the stage, immediately leading us in a "Melbooooouuuurne... Bendigoooooooo..." chant and kicking it up another notch. Joined on stage by the usual suspects Sensible J (drums) and Dutch (decks/MC), they kick things off with crowd-pleaser XTC Party. Ever the showman, Remi bounces around the stage and encourages us to match his enthusiasm, which we have no trouble with. "I know I don't need to warm you up, because you've been waiting for thiiiiiis!" he screams before leading us in a two-step hip hop dance. Remi feeds off our energy as much as we do and it's clear that he's happy to be home again, claiming, "Fuck every other state, Victoria is the ONE!". New track For Good goes off and our arms get tired from all the swaying. We'd love to stick around, but we're tempted back to the triple j stage to get prime position for DZ Deathrays.

Emma Louise is partying on the Channel V stage as we make our way over and it's hard not to get swept up in the atmosphere. She rocks a metallic green pantsuit (say no more?) and even the huge crowd amassing for DZ bop along. But the moment her set ends, the "DZ" chants begin. It's ominous! Packs of revved-up blokes (or in this case, boys) rush the stage and we're left wondering why we got here early when clearly the only pit etiquette seems to be to go mental. The duo of Shane Parsons (vocals/guitar) and Simon Ridley (drums) are joined by touring member Lachlan Ewbank (guitar), and chaos ensues! A circle pit erupts from the first note and there's a simultaneous cheer from the lads (and scream from those not quite prepared to get trampled). Stage presence be damned, the DZ boys barely move from their spots, but boy do they deliver! It's difficult to even concentrate on which track is which with the carnage in the pit. As if it's not already hot and sweaty enough, the sun makes an untimely appearance and (despite the fact that there's plenty of cold and rain left in the day) tonnes of clothing is hurled into the air. Winter wear isn't the only projectile we have to be concerned about, though, Ridley shows off the newest additions to his list of "weirdest shit ever thrown on stage" - including a gluestick and a hot water bottle - and Ewbank checks if anyone is missing a tampon (*cringe*). New single Blood On My Leather unleashes hell upon us again as security struggle to contain the pit. The sense of camaraderie in the mosh is inspiring and, while there's a few punters who may have hit it a little too hard too early, everyone is helped and looked after. A cover of Blur's Song 2 gives us a chance to actually sing along while moshing, and it's a bittersweet closer to their set as we beg for more while limping off to assess the damage.

We make it as far as Channel V stage before we're swept up by the vibe in Drapht's crowd. The stage is packed with six blokes up there - drums, decks, two on horns, a guest MC, and the man himself: Drapht. The enormity of this crowd isn't lost on them and even the trumpeter is caught taking some sneaky video footage on his phone as they walk out. In a similar vein to last year's headliners, HiIltop Hoods, Drapht has that quintessential skip-hop sound and does nothing to mask his very Aussie accent. The boys pick up where Remi left off and we can't get enough hip hop for the day. There's a great energy on the stage as Drapht and his crew bounce from side to side, duelling their words and inciting us to join them. Arms are up and waving again and the chilled, bouncing vibe is a great way to unwind from the carnage of DZ. A mash-up of Flume banger Holdin On and Drapht crowd-pleaser Falling goes down a treat - we're not sure if we're all just bad rappers, a little too messy, or just not that familiar with Drapht's catalogue, because barely anyone sings along - that is, until Bali Party! This is the crew's fourth appearance at Groovin and it's easy to see why. We're treated to a brand new track (the title of which is lost amid the screams of delight) and it doesn't fail to please. Drapht announces that they only have two tracks left and we all know what's in store. The familiar intro of fan favourite Jimmy Recard sees tonnes of punters jump onto their mates' shoulders and we all rap (mumble?) along in full voice. After a quick thank you to us and his crew, they round out the set with party anthem Rapunzel and again we're left wanting more.

We're ruined by this stage so it's back to the bar area for a bite and some hydration. MS MR provide the soundtrack to our break and their fun, dancey tunes mean the crowd is a little less crazy than earlier. We don't feel like we're missing out by seizing the opportunity for a sit on the (finally dry) grass. There's more people in the bar area than the actual pit, but strategic placement means we feel just as much a part of the action as those in the general admission area. Safia is up next and we're still not enticed to move from the bar area. The sun is brilliant, it's easy to spark up a conversation with practically anyone and there's a certain strategy to conserving energy to make it through 'til the end. As Safia kicks into a Stairway To Heaven cover we're left a little confused - not that there's much wrong with it, but anything other than the original is blasphemy. Aside from this misstep, Safia's signature dance-pop style goes down a treat.

Finally we're up and about again, and head straight back to the Moolin Rouge tent for a bit of Client Liaison. The duo of frontman Monte Morgan and producer Harvey Miller (joined onstage by live guitar and bass) have brought all of their signature gimmicks. There's several plants scattered around the stage with two gigantic water coolers either side of Miller's decks. Morgan takes the stage channelling Freddy Mercury, wearing little more than black, sparkling leggings and a matching oversized rhinestone-studded belt. The group plunge into uniquely flavoured synth-pop tracks That's Desire and Pretty Lovers, but, while the energy in the room is electric, the crowd seems to lack a bit of enthusiasm. New single World Of Our Love is well received, and everyone in the packed tent has a good old boogie. In true Client Liaison style, there's always time for a costume change and Morgan returns to the stage in a glorious red-and-white leather suit that would make Evel Knievel jealous! Unreleased track Canberra Won't Be Calling Tonight is catchy as hell, but it's hard not to be distracted by hilarious parliament-themed footage on the big screen. As the set draws to a close, there's time for a cover of Michael Jackson's Black Or White, complete with a rap breakdown when Miller takes centre stage.

We've barely noticed the sun go down while under the cover of the tent, but the main stage's lighting definitely kicks up a notch. As The Rubens take to triple j stage, we strike up a conversation with a few punters about their impending set - the general consensus seems to be that the NSW five-piece may be a little TOO polished and that their live performances rarely differ from recordings. That doesn't seem to faze the thousands who pack into every available space to catch the Hottest 100 winners and we decide to forego the enormous crowd to find a higher vantage point from within the bar area. An a cappella intro to The Day You Went Away provides a rare change-up from the band, but from a distance it's easy to appreciate just how talented they are. Every track incites a mass singalong, almost drowning out the band, and it's impossible not to tap a foot or get into a groove for most tracks.

It's that time of the night where EDM seems to take over the stages and we make our way back to Moolin Rouge to catch producer Golden Features. Having dropped a brilliant, heavy-yet-dancey debut EP last year (featuring the likes of Thelma Plum on vocals) we expect more of the same, but, unfortunately, what Golden Features dishes up is more suited to the stages of (now cancelled) Stereosonic. Melodic elements from the popular EP are few and far between, replaced instead by sci-fi inspired laser samples. There's a decent-sized crowd, but we all seem to be glazed over, trying to figure out how to maintain the buzz from the day. The heavy strobing certainly doesn't help either. We take a walk to see what's happening at the main stages, but Alison Wonderland pumps out heavy bangers with little more musicality than where we left Golden Features. Back to the bar it is!

It's not long before Illy. Joined on stage by a drummer and DJ, it's up to another hip hop act to restore the vibe - and boy do they! The contrast between Remi's, Drapht's and Illy's unique takes on hip hop is testament to our Aussie scene, as each is so vastly different from the other. Illy's sound takes elements from EDM and pop, for a more commercial sound (which is in no way a gripe). One For The City provides the first of many chorus sing-along opportunities. Illy's stage presence seems to mirror the other hip hop acts of the day, racing and bouncing from side to side, but we embrace it and join in. "Something really cool happened this week. I finished the vocals for my new album", he announces to a huge roar before breaking into upcoming track Looks Could Kill. Steam jets lining the front of the stage get a workout and we love it! Down-tempo track Cigarettes and older tune It Can Wait are a welcome change of pace as we start to struggle to keep up, but a live rendition of his triple j Like A Version mash-up brings us back to life - how could original tracks mashed together with the likes of Hilltop Hoods and even Paul Kelly not!? We keep the energy going, joining in on the curse-fest that is Swear Jar, with some of the younger punters singing a little too enthusiastically. We're treated to a new track before Illy brings out special guests Peking Duk for a version of his favourite remix he's ever done, Tightrope. They beg us to crouch down with them and explode with the drop, but we're not sure our legs have the energy left and few oblige. As Illy breaks into the next track, a stagehand has to drag the Peking Duk boys from the stage as they continue their mischief, drenching us with whatever liquids they can find on stage. An explosion of confetti and steam sees the end of the set, and we're wrecked!

Luckily, US electronic imports Ratatat (one of very few international acts on the Groovin The Moo bill) are set to close the festival. The instrumental duo has an extremely unique sound and, while it's fun, it doesn't do much to maintain energy levels; perhaps another scheduling decision based on popularity rather than consistency or flow. While their duelling guitars and crazy synth are entertaining, their set does little to stifle the urge to join the masses exiting and catch an earlier V-Line back to reality.