Live Review: Progfest

What a treat it is to walk into a 900-odd capacity venue in the middle of a stinking hot afternoon in Melbourne when there is world-class cricket and tennis on just across the way, when the local beaches would undoubtedly be teaming with people, to find that it's already packed! This is Progfest, 2018-style.

Fierce Mild are a highly enjoyable Melbourne oddity who combine electronics and cello with traditional rock instrumentation. They then channel it into a rather unique and strangely psychedelic package, creating mind-bending soundscapes.

The tremendous variety in this line-up, and also in the Aussie progressive scene itself, becomes instantly apparent when the next act takes the stage. Enlight recognise the Wurundjeri people at the opening of their set - which is great to see on a weekend that is far from celebration-worthy for many across this wide, dry land of ours - and launch into their sweetly melodic, proggy alternative rock. While this is the over-arching vibe of their sound, this band certainly know how and when to rock the hell out when the mood takes them. Enlight are a young band and still a work in progress, but if they continue in the same direction they will become a compelling force in Australian progressive music.

The Acolyte live show is always an adventure. Tonight they open with a rumbling, old-school gallop, frontwoman Morgan-Leigh Brown, with braids in her hair that fall down to her hips and wearing a thick jacket on this sweaty afternoon, is in typically fine fettle as is the fabulous band behind her.

Dyssidia open in a slightly more gentle and melodic fashion than the searing prog metal they're best known for. But their opening track builds into something quite insane, with demented screaming and frenetic drumming. The drums need more presence in the mix, however Adelaide's finest current exponents of progressive heaviness still put on a blistering set on this blazing hot afternoon. It's great to have some metal among the rock, too.

The night takes yet another sharp turn to the left as Sydney's Meniscus take to the main Corner Hotel stage. This three-piece create swirling, post-rock instrumental beauty and the sound that emanates from just the three of them - flowing off the stage like a tidal wave - is almost overwhelming.

Branch Arterial - Melbourne's favourite sons of fired-up, heavy progressive rock - announced a few days before this show that it would be the last hurrah for them. It seems the hardships they've faced over the last few years of their career, and no doubt the grind of keeping an original band going, is finally catching up to them. It's deeply sad, since this band has plenty more to give, but what a way to go out! Playing to a packed house during a celebration of the scene they have contributed much to over the last ten years or so - and playing their super-charged, ultra-catchy tunes like their very lives depend upon it - is a fitting end for this powerhouse, and they receive a reception and farewell with just a little more oomph from the heaving crowd.

AlithiA have become a band that exist in a genre of one: a genre that could be labelled something along the lines of 'chaotic, symphonic, psychedelic, astro-prog punk'. And, yes! Their live show is as breathtaking as that description suggests. By the time they come on the crowd is packed to the very back and they go completely nuts and over the top. The fact that there are now seven band members on stage only adds to the organised chaos and confusion. But, as ever, they just manage to hold it all together and complete a memorable 30-minute blast.

It's back to the side stage and Melbourne three-piece Toehider lace into their frantic, frenetic-but-soaring take on modern prog. Main man Mike Mills is arguably one of the greatest prog-rock singers, songwriters and guitar players that much of the prog world has never heard of and his singing, playing and extroverted frontmanship is absolutely on song this night. As is the virtuoso rhythm section behind him.

Things are building beautifully to a progressive crescendo as Perth's wondrous Voyager take the main stage and dazzle us once again with their uber-fun (but still intense) take on prog rock and metal. Opener Ascension is nothing short of cataclysmic and they race through their head-spinning, 30-minute set from there; a set that leans heavily on their last two fabulous albums, but closes with their classic The Meaning Of I.

As ever, Orsome Welles' grooves are titanium strength. The guitars crunch and the drums pound like thunder, and this is all offset by the overtly theatrical voice and presence of frontman Michael Vincent Stowers, who classily sips his customary glass of red in between ripping out full-throated lines.

Which brings us to the very first international headliner this magnificent festival has ever had. And what a way to start! Leprous are a tantalising prospect and they live up to their billing, and then some. Their music is all about the melody, the atmosphere and, above all, the feels. A phalanx of cameras rise into the air as the band come out on stage. These cameras then remain raised for ages. But even that doesn't deter from the powerful ambience created by this illustrious Norwegian entity. Their one-hour-15-minute headlining set takes the sweaty-but-enraptured crowd through all manner of consciousness-expanding soundscapes and majestic vocal gyrations, and it all culminates in a fabulous single encore of the epic Slave, during which members of Voyager jump on stage and join in the dark festivities.

What a day. Nine hours and 900 perspiring prog punters climbing the sweaty walls makes for one helluva mini-festival. Progfest just reached a new level and now we can't wait for next year.