Live Review: The Best Victorian Artists At BIGSOUND 2024
Though it’s near-impossible to whittle down the extensive list of acts to a handful, here are some of Melbourne's brightest stars who performed at BIGSOUND.
Armlock (Source: Supplied)
As Brisbane’s BIGSOUND launched for another year, music lovers were once again spoilt for choice when it came to the talented names on offer as part of the annual showcase.
From solo artists to bands to extensive collectives, those hoping for soothing tunes of cathartic crescendos were well-catered for. As usual, no location was better catered for than the likes of Melbourne, with a veritable embarrassment of riches on hand for fans of Victoria’s live scene.
Though it’s near-impossible to whittle down the extensive list of acts on offer to a palatable handful, a select few of these names managed to stand out amongst the crowd as some of Melbourne’s best and brightest.
Though now based further south, Jamahl Yami’s heritage lies within Far North Queensland, where his connection to Indigenous culture was instilled within. He shares this culture with the wider world through his music, which manifests as some of the most striking hip-hop on offer.
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With his foot in both the classic old school and daring new school of hip hop, Yami’s live performance is one that contextualises his music and message. Soulful and slick, yet pairing pertinent messages with a sense of fun and pride, it’s hard not to be taken by what Yami has to offer his audiences, and it’s clear that they feel privileged to be in his presence.
Every BIGSOUND thus far has one or two artists dubbed as ‘the one to see’, whether by tastemakers prior to the event or by word of mouth circulating around crowds every night. Undoubtedly, one of those names in 2024 was Armlock, the slowcore/indie-rock duo comprising Simon Lam and Hamish Mitchell.
Hardly a single conversation about which acts punters would recommend, or love was complete without Armlock being peppered into it. For good reason, too. Despite the massive crowds bustling for pride of place at each show, Armlock’s music was intimate and ethereal, with the expanded live setup (which also featured fellow showcase artist Juice Webster) speaking to each and every member of the audience for different reasons.
Though they’ve been described as performing “music for having your head in the clouds”, it was hard to be anything but present for the outfit, with every single second feeling more vital than the last as they delivered some of the best sets of the entire event.
Unlike many other artists at BIGSOUND, punters only had one solitary chance to catch Belle Haven, and if you missed it, you definitely missed out. One of the loudest sets of the three days, Belle Haven’s passionate performance was a late-night highlight for many, with the fury and ferocity working in tandem to bring together anthemic singalongs with truly brutal instrumentation.
It’s not all anger and animosity, of course, with a few moments of sweetness being thrown into the mix along the way to remind you that even if your ears are ringing, you loved every second of the process.
WVCHWY, a Kalkadungu and Bidjara producer and DJ, is the very definition of what makes BIGSOUND’s programme this year so unique. Though primarily a purveyor of some of the finest club-thumping electronic music that blends the likes of acid, techno, and house (and makes you feel like you’re stepping into the Boiler Room all over again), it’s WVCHWY’s points of difference that makes for a standout set.
Infusing Indigenous culture and imagery into their music, one of the most mesmerising moments of any artist’s set at Bigsound this year was undeniably WVCHWY’s immeasurable talent at blending live yidaki/didjeridoo into the set. Truly one of the most enthusiastic responses from any audience (despite their far too small number), WVCHWY is destined for great things.
Launching his current project back in 2020, the house fire that inspired Cody Brougham’s musical debut feels like an easy way to make a ‘phoenix rising from the ashes’ metaphor, but the music that underlay makes is just as grand and triumphant.
Though describing the group’s music as ‘nervous pop’, underlay’s forceful (yet contrastingly confident and reflective) sound proved immensely accessible to the eager BIGSOUND crowds, with the jangly guitars and warm analogue synths helping to serve as a bit of respite from the hustle and bustle of the Fortitude Valley streets across their many sets.
Even after just a few moments in the presence of Stella Bridie, it’s clear that no one is going home unhappy. Boasting a truly endearing casual charm and an uncanny knack for writing some of the most emotive and affecting lyrics possible, Bridie feels like the definition of a breath of fresh air.
Combining her rock influences with her truly incomparable vocals and melodic sensibilities; it was difficult to find anyone leaving Bridie’s set early. Even those who might have turned up as curious onlookers would have left converted into longtime fans.
Described as a force within Victoria’s indie rock scene, The Belair Lip Bombs are as unassuming as they are powerful. On the surface level, they look like four close mates hell-bent on having fun, but on stage, the frivolity is set aside, and it becomes business as usual in the vein of Skegss and Wavves.
Fresh off the back of their debut album, Lush Life, The Belair Lip Bombs blend a blissful mix of fuzzed-out alt-rock with some outer-suburban grit. Equally as forceful and urgent as it can be reflective and dreamy, the Frankston rockers know how to deliver a wall of sound but leave you with some breathing room where necessary.
As far as wildcards go, it’s hard to look past Playlunch. Purveyors of their 'bogan funk' breed of R&B and soul, it's hard to tell whether the racecar play mat outfits they wore make them stand out or their fondness for Aussie nostalgia and dance icons of years gone by. One thing is for sure though, and that is that anyone who happened to cross paths with Playlunch (be it on stage or out on the street), certainly won’t be forgetting the experience.
This piece of content has been assisted by the Australian Government through Music Australia and Creative Australia, its arts funding and advisory body
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