Live Review: Sugar Mountain

Pedestrians split at the corner of St Kilda Road and Southbank Boulevard with some Australian Open-bound and others anticipating a sweet peak. One cool cat struts down Sturt Street with a massive stack of keys (we're talking prison guard quantity) dangling and clinking from a black, skinny jeans back pocket. The entranceway trees are decorated with pretty gold, silver, pink and blue tinsel. "It's so cool being at uni," says a nearby punter/VCA student. 

The mere sight of this band comprising seven loose units always makes one ponder what ill behaviour they've indulged in the night prior.

En route to King Gizzard & The Lizard Wizard, we pass Ariel Pink who is negotiating a pair of seriously blinged-up, sky-high purple platforms. Dodds Street stage is bordered by psychedelic udders as if purposely designed for King Gizz. The mere sight of this band comprising seven loose units always makes one ponder what ill behaviour they've indulged in the night prior. An old timer in the crowd, whose partner's sensible straw hat matches his own, grabs and then continues to hold onto her arse through flimsy, lightweight harem pants - gross! Closer Cellophane is everything. King Gizzard & The Lizard Wizard are on this year's Bonnaroo Music & Arts festival line-up and are destined to be huge. 

Just one band in and people are already gravitating toward even the tiniest patches of shade. The loading dock behind Recital Centre proves a beaut spot for escaping the sun. Delicious food options (Hammer & Tong corn fritters, anyone?) and craft beer (Mountain Goat) satisfy and Kate Bush plays over the Dodds Street stage sound system in between sets! 

Opening the Car Park stage for the day is Banoffee. There are a few technical glitches that she feels the need to tell us about, but her awkward and adorable banter puts the crowd back on her side. Her stunningly soulful voice is gorgeous and is a lovely, gentle introduction to a big day of music. To get us into party mode, I Got It really lifts the crowd and closer Let’s Go To The Beach encourages plenty of dance moves.

"Fuck YEAH!"

Iceage are taking the piss with a name like that on a hot day such as this. The young Danish punk rockers put on a valiant performance with a rhythm section that calls to mind the brilliance of My Disco. Their songs are prone to interspersions of breathy, coital vocal loops and an impressed crowd member yells out his approval: "Fuck YEAH!" And then spills drink on a flip-flipped foot. Yeuw!

Don't be fooled by its name, Sugar Mountain's Boiler Room ain't nothing like the sweaty Big Day Out tent of yonderyear. It's completely outdoors, there's a refreshing breeze and dance enthusiasts can't help but bop along to Wax'o Paradiso's jazzy selections. Seeing crates of vinyl with chosen selections half pulled out is pleasingly nostalgic. Might this be the first time some of these young hipsters have seen liquorice pies mixed live on decks? An unparalleled vibe. 

Chela absolutely bolts out of the gate with Handful Of Gold, with back-up dancers in tow who join her sporadically throughout her set. For the whole performance she never stops moving, and her Mel C-style karate kicks are a clearly her favourite dance move. Zero is particularly brilliant, and her back-up singers, or ‘doves’ also add an extra element to her already dynamic set. Chela closes with Romanticise to go out with a bang, and she has clearly won more than a few hearts today.

Bo Ningen are killing it. All the while wearing long, mostly black attire/frocks on Dodds Street stage, which is now in full sun. Bassist/vocalist Taigen Kawabe's articulate arm and hand gestures seem to interpret the band's sounds. Closing track riffage is so fast it evokes machine gunfire and the stage right guitarist swings his axe around by the lead like a boss. 

Krell informs the audience that this is what his anxiety nightmares are made of.

There is a lot of stuffing around for the start of How To Dress Well, and it’s pretty clear that Tom Krell is sweating for more reasons than just the unrelenting sun beating down on the Car Park Stage. The Power is a strong start, but more problems keep cropping up, and Krell informs the audience that this is what his anxiety nightmares are made of. Krell does all that he can to keep the mood light with great banter and excellent vocals, but he’s clearly pissed off. The final straw for Krell is when his microphone cord disconnects and he’s only left with the reverb mic for his final song Words I Don’t Remember. As soon as the set finishes, he is outta there.

Body/Head finish early on Dodds Street stage. Whaddayamean we missed 'em!? Okay then, The 2 Bears in the Car Park it is. For the gazillionth time: obnoxious, oversized backpacks must be placed on the ground, never worn, while dancing. Raf Daddy dedicates a CHOON to someone down the front he labels "the worst stage invader of all time". Never mind the bear suits, this pair are always distinctly The 2 Bears. Be Strong takes us there as Raf Daddy grabs the mic to aptly sing along: "Give the music all your loving," When (local legend DJ/producer) Andee Frost wanders up on stage to say hi, it's hands in the air from The 2 Bears before they promptly big him up. The transition into Horse Meat Disco is seamless. Let the dancing continue! 

Some pioneer-bearded blokes look very uncomfortable in this heat - YES!!! Here's a thought: Shave the unhygienic food savers off then! It is, however, pleasing to see some proper old school cameras in use among the crowd, complete with view finder, manually operated button shutter and not a selfie stick in sight.

Pleasing to see some proper old school cameras in use among the crowd, complete with view finder, manually operated button shutter and not a selfie stick in sight.

Sadly, the line to get into Oscar Key Sung X Cassius Select is impossibly long, which has been the case for the Theatre Stage all day. We decide to sacrifice it for the Dodds St Stage appearance by No Zu + Sal P (the local wonky funksters jamming with American Salvatore Principato of legendary groovesters Liquid Liquid - they of Cavern fame, a track which appears briefly at the end of this day’s set). You can’t fail but embrace the tropical funk coming from this large ensemble. While it’s a bit of beautiful chaos to behold, there’s no denying that No Zu is a playful interlude to the rock-heavy line up for Dodds St, and to that we say thanks.

Ariel Pink are a rag tag bunch, but should not be underestimated. Second song White Freckles is expansive and upbeat, and the absurdity of Black Ballerina is particularly enjoyable. Drummer Don Bolles constantly threatens to steal the show in his green bikini and larrikin manner, but that doesn’t seem to bother Ariel. While their music and performance is quite tongue in cheek, they are certainly a collection of talented and intriguing musicians.

Inside The Theatre, Midnight Juggernauts (who rebrand themselves to MJX today) are on a rotating stage, the three members facing inward behind their consoles. Their costumes are beekeeper-inspired. It's interesting, if a little alienating. Two blonde girls on non-rotating surfaces bookend the band holding up what appears to be a perfume bottle in one hand and a stubbie in the other. They look confused as to what their 'motivation' should be. MJX still sound great and 'Tombstone' rules. 

Back outside on Dodds Street stage and it's all about SWANS. Such graceful creatures, such abrasive sounds. The punters are transfixed as this band play what seems like a single, continuous, one-hour track with Michael Gira's voice irritating many. 

Drummer Don Bolles constantly threatens to steal the show in his green bikini.

There is something almost magical about ODESZA’s set, as the sun is setting a cool winds roll through the crowd in moments of stillness, just before the next euphoric drop and everyone starts up dancing once more. Harrison Mills and Clayton Knight are in synch for most of their performance, alternating between drums and mixing, it’s quite enthralling to watch. Highlight is undeniably Memories You Can Call, followed by a remix of Zhu’s Faded.

Dexter performs a tight DJ set, which should only be experienced up close so you can see the master at work. The member of The Avalanches is very content mixing away as the crowd closes in and settles for the final event of the evening.

Jack Ladder is skyped to perform a duet with Callinan. Live skyping is clunky. 

Hoards swarm to The Theatre for Terrible Love ft Kirin J Callinan, perhaps fancying a repeat of his contentious collaborative piece with Kris Moyes (aka 'epileptic fit as performance art') last time we scaled Sugar Mountain inside Forum Theatre (2013). Callinan, resplendent in white suit, brings Grizzly Bear's Chris Taylor out on stage explaining that he curated this show. Callinan then calls out for Ariel Pink, who isn't in the house as it turns out. The awkwardness that follows is probably part of the act. Or is it? There's s lot of crapping on between songs (which, when they finally get going are excellent), a few heckles that make us ponder whether they might be delivered by shills (as occurred in 2013) and then Jack Ladder is skyped to perform a duet with Callinan, To All The Girls I've Loved Before by Willie Nelson & Julio Iglesius. Live skyping is clunky. 

People leave, as do we. 

Nas looks overjoyed to be playing tonight on this street stage, which he says reminds him of home.

When Nas takes the main stage weed smoke fills the air and the excitement is palpable. Nas tears through Illimatic in less than an hour, and to hear songs written 20 years ago that still sound fresh today is truly an experience. The World Is Yours, Halftime, and closer It Ain’t Hard To Tell are all highlights from this trip down memory lane he performs with such professionalism, never skipping a beat. Nas is so humble in his performance, constantly thanking the crowd for having him, he looks overjoyed to be playing tonight on this street stage, which he says reminds him of home. Nas plays a few select hits from his catalogue post-1994 and finishes with the powerful One Mic, concluding a flawless set.

Minimal queuing, clean amenities, freshly poured cocktails, a stellar line-up and attractive, innercity festival site with plenty of shade and places to sit. What's not to like? There's always time to queue for an All Day Donut and what better way to close out Sugar Mountain 2015 than with a sugary treat? We'll be back next year.