Live Review: Laneway Festival Fremantle

An unusually mild summer continued its agreeable run and provided delightful conditions for the last stop of Laneway Festival's run. Events past have copped some blistering heat and afternoon acts on the two main stages have suffered, but there were no such concerns this year. Alex Cameron, fresh from considerable support slots for The Killers, worked the sizeable early crowd with his band, which included saxophonist Roy Molloy and guitarist Jack Ladder. The majority of the set was comprised of tracks from last year's excellent Forced Witness record with the irresistible Runnin' Outta Luck a clear highlight. A mid-set pause for Molloy to conduct his standard stool review was in keeping with lighthearted nature of Cameron's persona.  

British-Icelandic outfit Dream Wife, buoyed by the very recent release of their debut record, delivered their driving, slightly abrasive punk to an energetic bunch with a fair degree of intensity. The mix didn't do them any favours, but they soldiered on, determined to leave a lasting impression on the building crowd.

With a stage presence that betrays her 16 years, Billie Eilish was an effervescent ball of fun, and there's no shortage of talent. She has been making considerable waves on this tour of Australia and there's nothing to suggest that she'll be slowing down anytime soon. 

Backed by record that graced many of 2017's best-album lists, there was substantial intrigue awaiting Moses Sumney's set. It's always a mixed bag when artists whose recorded presence demands attentive, dedicated listening are dropped in the middle of a festival line-up, but Sumney held the crowd's attention with some comfort.

Somewhat familiar with Fremantle, having blown apart Mojo's at the end of last year, Rolling Blackouts Coastal Fever are riding a powerful wave of popularity and have recently capitalised on it with the release of new single Mainland. That was reproduced here with great energy, their multi-faceted vocal approach invigorating tracks that could survive on their strength of melody and musicianship alone. Predictable favourite French Press sizzled in the early-afternoon air and served to cement the band's status as one of the country's most promising live acts.

Aldous Harding occupied similarly lofty positions in end-of-year summaries and, like Sumney, is more suited to a singularly fixated crowd. Hers was a sublime performance, a still, delicate pool in the midst of a frenetic storm. She was utterly captivating and tracks like Imagining My Man showcased her singularly unique voice, which drew everyone right in.

With a reputation for a ferocious live performance, Wolf Alice stuck an exclamation mark on a tour that has seen them scoring universally positive reviews. Ellie Rowsell is clearly the jewel in the band's crown, her stellar voice and magnetic presence reason enough to watch. Having impressed on their first Laneway tour back in 2016, The Internet were just as compelling this time around. As a band, they were well polished and continually locked into tight, melodic grooves as chief vocalist Syd effortlessly sashayed across the top. Despite their youth, this is a seasoned outfit that warrants much greater plaudits.

As the afternoon heat started to break apart so too did the sophistication of many in attendance. When Laneway's Perth iteration was a smaller, more focused festival in the CBD, it was the music that was front and centre. Over time, that nuance has been replaced by a less-discerning crew, with more importance placed on who's seen you rather than who you've seen. But that's just the way of it and a performer like Mac DeMarco is perfectly suited to the unhinged nature that ultimately creeps in come evening time. While his social antics may lend him a loose, unserious persona, beneath the untidy exterior is a musician - and band - that performs with aplomb. Here they were well-drilled and the humane, genuine spirit that imbues tracks like This Old Dog and opener On The Level had a gravitas that was impossible to ignore. SURVIVE may have worked wonders for Stranger Things, but as a live entity they leave a fair bit to be desired. Their heavy synth was powerful and sporadically engaging, but the band's stage presence was virtually non-existent.

Anderson. Paak and his band The Free Nationals cranked things up from the moment they hit the stage and finding the space to drop R Kelly's Ignition was inspired. Punters were perfectly primed for an energetic set and that's precisely what they got. It was the perfect marriage of intensity and showmanship, and .Paak leading from the front was the ultimate celebration.

Father John Misty may make headlines for dubious reasons, but there's no questioning the quality of his songwriting or his dedication to performing. He was in fine voice tonight and rightly commanded a big crew of onlookers.

The intensity of Bonobo's set was without equal at this year's event, with his live band adding considerable muscle to what comes through on record. Now a few albums into a robust career, it's shows like this that make it clear that Simon Green is approaching the peak of his musical powers. His visual backdrops, which were in keeping with the aesthetics of last year's Migration album, only served to deepen the experience and resulted in an amazing show.

Proficient in every sense, BadBadNotGood have dropped instrumental backing for a slew of MCs, but as an out-and-out hip hop band they have few peers. Their energetic, infectious spirit was lapped up and they capped off their tour with a banging show.

Slowdive had a dedicated band of punters that got lost in their swelling, robust rock and the band looked like they were having a cracking time. Rachel Goswell's vocals needed a little more presence in the mix, but overall these veterans showed precisely why their comeback last year was met with such enthusiasm.

Closers Pond and The War On Drugs may lack the explosiveness of headliners from years gone by but they both proved themselves more than capable of delivering where it counts. Pond, back in their hometown, were always guaranteed an ecstatic reception but they showed it was merited. This is a band that has grown ever tighter and more powerful, and the waifish Nick Allbrook was a mesmerising presence. Adam Granduciel of The War On Drugs may lack the arresting persona of Allbrook, but his songwriting is without parallel. Tonight the six-piece took some time to get going and penultimate track Under The Pressure was where they showed us why they're considered one of the best live acts going around. It was a fine end to a superlative day.