Live Review: Meredith Music Festival

Friday

As we enter Supernatural Amphitheatre for the 26th Meredith Music Festival, assorted campsites have been in party mode for quite some time. The countdown is up on the stage's back screen and, when it reaches zero, a cheer goes up. Let's begin! Cable Ties score the honour of opening this year and they come out of the gate loud and proud. The band have giddy smiles on their faces while they play, which match the audience's gooey response. Their pummelling latest single Cut Me Down is a clear highlight and overall their set is an excellent welcome to Meredith.

Things are already upbeat and local rock'n'soul act The Sugarcanes' goal seems to be to get the Sup' to get down. They play and jam through a series of covers and originals, but it's trademark hit Testify that goes down smoothest. Cass McCombs is our first international visitor and the acclaimed songwriter switches the mood to laidback. He begins with cuts from Mangy Love and immediately halts our random conversations. The punters within the Amphitheatre space-out. McCombs naturally gets into some alt-country-tinged jams to showcase the talents of his seasoned band. They make the most of every moment; although it would've been nice if they dipped a little bit more into their extensive, more emotionally driven back catalogue.

The Triffids follow seamlessly and the eight-piece line-up seems to appear out of nowhere. Playing a chronological set, the band's line-up changes periodically as different members and their respective instruments come into focus. The feel is reminiscent of an Aus-rock version of Dead Can Dance. Gareth Liddiard appears and it gets loud and distorted - it feels as if Liddiard belongs in this band. Just three songs in and The Triffids turn out to be one of our early festival highlights. This sound system definitely tests out local wildlife's hearing.

Making their way down from Sweden, Dungen have had a pretty great run of late, release-wise, with their latest being a dark and moody exploration through sound. And this is why it's a little bit of a letdown to see the band play their festival set a bit too safe. While they are by no means bad, it would have been nice to see them take a few more risks.

One of the hidden gems in this year's line-up is Washington DC's Kelela. Tracks from her Arca-featuring 2015 EP Hallucinogen are standouts; vocally she is amazingly strong and commands the stage.

The Sup' is showing its peak in both alcohol lubrication and the amount of attendees come hype-fodder King Gizzard & The Lizard Wizard. The band are no strangers to the Sup', although they have released 20-odd albums since their last appearance. Before they take the stage the atmosphere sizzles. They're on point technically, jam out freely and deliver a solid and deserving set for fans (and drunkards). The band's latest single Rattlesnake promises we can expect more great stuff from the band come 2017.

The night flies by and, just after midnight, Sheila E takes the stage before a very welcoming audience. Known for her solo work throughout the '80s (and of course her percussion work with the late, great Prince), it's only natural to have high expectations. The whole band are simply incredible and it feels as if the members were born and raised to come and perform in the Sup'. Excerpts from her work with Prince get an airing, but Sheila E peaks with The Glamorous Life, which is delivered with a stupid sense of urgency while encapsulating both the freedom within their music and that which this festival embodies.

There are no signs of slowing down from the wide-eyed, dribbling audience come Mere-doof time. And Swedish electronic duo Mount Liberation Unlimited deliver. Their set is in constant flux, embracing ideas of classic soul and psych but also bringing in future-funk and synth-pop. The pair seem to jam off one another rather than having a planned set. (Eerie) For Your Love is sped up and it's a banger. These guys own the night with their interterrestrial soundtrack. It's a natural flow into Chiara Kickdrum, who caps off the night with a set of experimental house coupled with an amazing visual backdrop. It shouldn't be 4am yet! Time for the Silence Wedge. Good night.

Saturday

It is a little baffling waking up in your tent, looking around and seeing the destruction from the night before - the carefully organised area now shares a similar aesthetic with the local tip. The surefire cure to any form of hangover is a bacon and egg sandwich and City Of Ballarat Municipal Brass Band (espresso martinis also help). Chapter Music-signed upstarts The Goon Sax are the first 'band' of the day and these youngsters seem a little nervous but still deliver a perfect, couch-sitting set of laidback indie-pop. They tell us a mate of theirs has flown in from Salt Lake City to join the group for a harmonica solo and, considering it isn't that long or even climactic, we kind of wonder why but, hey! Up To Anything makes up for any weirdness.

Archie Roach is without a doubt one of the most talented singer-songwriters this country has ever produced and he and his seven-piece band are lovingly welcomed to the stage. He naturally presents songs from his excellent discography and it's hard not to get caught up in some of the heartbreaking imagery that his lyrics paint.

It's time to snap back into life for Philadelphia-based punks Sheer Mag who instantly receive a mixed response from the crowd. The mix is great but tonally the band come off as a little whiny, while musically and aesthetically it feels like they're trying to bring too much to the table. Mondo Freaks follow and the ten-piece boogie-funk machines are an excellent and unexpected surprise. But they do feel like a bit of a warm-up for things to come.

Wandering over and having a gander at the merch, the, 'Oh, yeah, that's sick!' award definitely goes to Badbadnotgood for their Tim Tam-inspired shirt. As they take the stage before the packed amphitheatre they have looped footage from Art Attack playing on the giant screen. But isn't this band from Canada? They are clearly the happiest band on the bill. They begin by warming us up through jamming with each other and instantly their playing becomes much of the focal point - it's bloody incredible! They approach their set with a level of playfulness within their professionalism. Confessions, Pt II is the first highlight that sees the entire amphitheatre get down and Leland Whitty's trademark wandering sax solo is as sexy as it is academic. IV is (pleasingly) featured heavily throughout and, with each song falling just short of 15-odd minutes early on, we accept they can't squeeze in every fan-favourite. But when they go their most hip hop with a more up-tempo version of Lavender, it's called: time to get down on the ground, rip your boot off and hold it up high. The Meredith footwear display impresses while the band bring the track in and out again as they please. We keep a tinnie in one hand and boot in the other for the rest of the set. As the beautiful sounds of Cashmere kick in, talented drummer/MC of sorts Alexander Sowinski gets the crowd to place both hands in the air and flow like a wave in "any way you want". They end with a crescendo having just jammed themselves outta time. The band applaud the crowd nearly as much as we applaud them and, after Badbadnotgood pose for a photo with the crowd, they become this year's Meredith kings.

Performing with a bit of a tacky backdrop and with her six-piece band in goofy matching suits, Angel Olsen instantly asserts herself as badass with a death stare accompanying her heavenly voice on opener Never Be Mine. Her latest LP My Woman has been hailed by many as one of the records of the year and it is noted for its genre diversity and experimentation. With that in mind, we are treated to an alt-country-flavoured set, as she does jump into her back catalogue. Shut Up Kiss Me is that bubblegum-rock track that has punters singing the song's chorus to the nearest person. A lot of the instrumental sections are stretched out into some epic jams that are simply unreal and led by Olsen's incredible voice. When Olsen drops the guitar and makes her way to the synth, it's time for Intern with only two members of her backing band accompanying the singer. From the first line, it's hands up in the air as we try to sing each line with the same passion that Olsen delivers. Argh, what's this!?! Boots are raised for the second time. Even though there are a few technical issues with this track, it's pure beauty.

As Fee B2 spins Champagne Supernova by Oasis, a huge dance circle forms to reveal all kinds of weird and beautiful shit: there's a guy necking a shoey, a stupidly professional-looking hula hooper and a shirtless guy attempting to do backflips but instead landing on his head (plus more).

US sludge/metal act Baroness have been killing it of late with their fourth LP Purple a highlight for the 2016 heavy scene. The band back up the quality of this record with an equally as intense performance perhaps best embodied by Shock Me, the weirdest song in their catalogue.

It was announced yesterday that two of the members of iconic roots reggae act The Congos were detained in Jamaica and so the classic line-up will not be appearing this year. And everyone seems to think they have the best joke of the weekend by referring to them as "The Congo" (with Roydel Johnson the act's sole representative). We're taken to Jamaica and get down to the groove.

While having a yarn with the staff of Heaven Eleven about Ross Wilson, they just casually ask, "Oh, you gonna pull your dacks down for Eagle Rock?" Naturally, the response is, "Ah, what?" But apparently this is a long-standing tradition for the 45-year-old song. As Wilson starts, we remember Wilson has a few other gems in his arsenal apart from this song that your dad used to play and this set is quite good and consistent - they are truly seasoned performers. But when Eagle Rock starts, initially no one drops their dacks then, looking about following the first chorus, we see a few punters in their tighty-whities with their pants around their ankles. What's more daggy? The song or us? Just FYI, Wilson and his band will be back in Meredith come February for a gig at The Royal Hotel.

Japandroids have a tough act to follow and they kinda don't deliver. In the band's early days, they would have been a great addition to the festival but now they have just gone too broad to fit in. The duo deliver a quality performance, but it sounds a little dated especially in the context of this year's line-up.

There are no real 'headliners' at Meredith but if you had to pick one of the debut Sup' performances, Peaches has gotta be it. With no band and just a drum riser on stage, opening with the title track from her latest LP Rub, she instantly asserts herself. Her voice is amazing and her costumes (which she just changes into on the stage) are otherworldly. Vaginoplasty sees two males with their penises connected by some form of chain. Free Drink Ticket is dark and dirty, and How You Like My Cut is equally as badass. By the time the inflatable cock appears, which Peaches jumps into to walk over the crowd, it's total overstimulation. Then Boys Wanna Be Her and banger Fuck The Pain Away make an appearance and we officially declare Peaches as queen. There's boots aloft aplenty and it's a little bizarre walking by a group of children studying The Teaches Of Peaches from up a tree.

Last time they were here, Jagwar Ma owned their set in the amphitheatre. And this year follows suit, with their blend of modern electronica that incorporates elements from psychedelic music sounding incredible in the natural amphitheatre. But it's hard not to just go 'meh' as anyone following Peaches is not gonna be able to hold one's attention. The crowd are getting there and it's time to get down to some late night beats for the second round of Mere-doof. Throwing Shade kick it off with a good, natural flowing set that complements the sounds of Jagwar Ma, bringing a quality mix of experimental DJ funk for us to groove to. We lose time and get lost as Ben UFO takes the stage. In his final moments, the sun makes its first appearance for the entire festival.

Sunday

The iconic Fred & Toody Cole take the stage stupidly early. They are bizarrely quiet, but still retain a legion of fans. Terry prove the perfect Sunday pick me up. Cowboy hats are this band's theme and they are just a natural fit for this bill.

The Breadmakers follow, attempting to wake us up some more but go a little under appreciated. Wearing a skin-coloured bodysuit, Judith Lucy is this year's Meredith Gift MC along with The Town Bikes (wearing Peaches-inspired vagina suits). There are stacks, false starts and some incredible sportsman (and woman) ship is on display.

Miss Destiny close things off and it's a perfect way to call it with their fast, catchy punk. But must we pack up the tent and go home? Can't we stay here and wait for Golden Plains?