Live Review: Homebake 2012

11 December 2012 | 12:04 pm | Lucia Osborne CrowleyRoss Clelland

The best performance of the day was, however, without a shadow of a doubt, given by the unbelievably enigmatic and immeasurably talented Kimbra. One of the highlights of the set was her performance of Two Way Street, where she displayed her incredible ability to sing, dance and play complex tambourine rhythms simultaneously.

The Domain was utterly transformed into an overheated, sunburn-ridden representation of the true beginning of the Sydney summer festival season, with thousands of excited punters dressed up in their festival best and incredibly eager to appreciate some truly outstanding Australian music.

The day began with Sydney band Sticky Fingers performing an incredibly impressive set at the main stage in the bright afternoon heat. The group's set featured expertly-performed, catchy guitar melodies and clear, strong vocals that felt effortlessly powerful.

Seth Sentry performed one of the most upbeat sets of the day. The rapper began by performing Vacation and Room For Rent, then satisfied more long-standing Seth Sentry fans with an energetic performance of The Waitress Song. After a remarkably impressive interlude by DJ Benny, the rapper delivered short but very entertaining freestyle. The MC was then joined by Horrorshow's Solo and the two lifted the mood at the main stage once again with Our Song. By the time the set closed with Float Away, a very satisfied audience dispersed.

Over to the Dome stage, where Tim Rogers performed a vocally and instrumentally impressive, although not overly engaging, set. In the smaller and more intimate Rowland S. Howard stage, DZ Deathrays performed one of the most popular and well-received sets of the afternoon so far. The small space was packed full of committed fans and the heavy guitar and drum music inspired some seriously energetic dancing right across the crowd.

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Brisbane indie-rockers Ball Park Music graced the main stage, who impressed a very large crowd with their technically masterful, well-rehearsed performance. Fittingly, the band closed their set with It's Nice To Be Alive.

Back on the Rowland S. Holland stage, the charming Emma Louise entranced an audience with her soft, steady voice and sweet guitar melodies. Last Dinosaurs then performed at the main stage, and although their set was well-received and enjoyed by a large crowd, it suffered under the weight of technical difficulties with the sound system and as a result sounded slightly muffled and confused at times.

Tame Impala on the main stage opened their set with a full, synth-heavy sound followed by an incredibly textured guitar and drum sound. The band did seem to lose their energy slightly at times, but nevertheless performed impressive renditions of hits such as Solitude Is Bliss and Elephant to a very happy crowd. As always, the band performed the set with flawless cohesion.

Under the Big Top tent, Hermitude absolutely stole the show. The beats were so captivating that they truly gave the Big Top stage an air of blissful seclusion from any hint of the less-energetic world outside. The set varied from fast, exciting piano and synth melodies to slower, heavier bass beats that really energised the large crowd. The two even got the crowd singing along enthusiastically to their version of The Lion Sleeps Tonight.

Back across the park at the Rowland S. Howard tent, Jinja Safari took to the stage and immediately commanded the space with their energy and enigmatic collective demeanour. The band opened with the wonderfully entrancing melodies of Forest Eyes, which simultaneously established the sheer attentiveness of the audience and the competence of the performers. The combination of captivating vocals and varied, catchy melodies made this set one of the highlights of the day.

Seasoned professionals at engaging a festival crowd, Hilltop Hoods certainly did not disappoint on this occasion. The last moments of the set were certainly its strongest, however, with powerful performances of I Love It and Rattling The Keys To The Kingdom, both of which firmly established the 'Hoods as among the most exciting artists of the day.

The strong, powerful vocal skills of Daniel Merriweather commanded the Big Top stage, with the audience totally entranced by these intense vocals and the understated but effective instrumental lines that complimented them. Across at the Dome stage, Angus Stone performed a charismatic set and again commanded the attention of an engaged crowd. While both artists were perhaps odd choices for this time of the evening as both sets were very relaxed and somewhat sombre, both singers nevertheless captured and inspired their gathered crowds.

The best performance of the day was, however, without a shadow of a doubt, given by the unbelievably enigmatic and immeasurably talented Kimbra. One of the highlights of the set was her performance of Two Way Street, where she displayed her incredible ability to sing, dance and play complex tambourine rhythms simultaneously. Another of the set's highlights was Settle Down, which was also certainly one of the crowd's favourites. Something about Kimbra's energy, charisma and musical prowess made this performance a real triumph.

International headliners Blondie also performed an incredibly energetic headlining set. Frontwoman Deborah Harry was incredibly successful in creating an excited vibe at the main stage with her quirky hair and clothing choices and her incredibly powerful voice. The set also, in true rock'n'roll fashion, featured a remarkable guitar solo and impressively complex drum lines. The band performed their own classics, such as Rapture, plus also entertained the audience with a brief cover of the Beastie Boys' (You Gotta) Fight For Your Right (To Party!). The group then finished their set with the incredibly fun One Way Or Another, before returning for an encore. More energetic than ever, the crowd danced happily as the band finished their encore with Heart Of Glass and an incredibly successful Homebake came to an end.

Lucia Osborne-Crowley

The walk in the park of Homebake has often had a somewhat split personality. But at times here, it almost seemed there were two festivals going on: one for the triple j kids and one for the 'more mature' concertgoer. Not quite a 'Halfbaked', but somehow a not entirely comfortable line-up either.

Any or all of this, along with premium food and beverage prices, or maybe the sheer surfeit of festivals now on the calendar, might be why this affair appeared to be not the usual sell-out. That's not to say though there weren't some wonderful, surprising and perfectly rock'n'roll moments through the day and into the night.

The future came early – probably too early for most. The nicely wrought The Griswolds and the skittering and engaging Battleships opened the day and, in both cases, they're ones that should be further up the bill of days out – Big and otherwise – soonish. So there are a couple of the young and upcoming before venturing up the hill to The Dome “where the A-list meet, coz any mediocre fucker can get on the main stage – and we have the class to start off gentle and then rock you motherfuckers.” Thus spake Tim Rogers in his best show business style. From that quiet opening of Part Time Dads' bittersweet through to a fearsome rev of Nick Lowe's Heart Of The City – with this Rogers band's guitar hero Shane O'Mara swapping noise with Davey Lane from that 'other' combo of his, this was the business.

Current primary-coloured contenders San Cisco were on the main stage, with added Preatures covering vocals. They were cheery and bright, but maybe need just another couple of really strong songs to go alongside that Awkward one. They smiled, we clapped. Ditto Last Dinosaurs, who just looked a bit lost in the void up there.

The latest version of Chris Bailey's combo led to me explaining the timeline and the Ed Kuepper versus Bailey divide. Again. This is not The Saints of I'm Stranded or even Know Your Product (although there is a brass section attached). The bluesy and soul flavours of Follow The Leader and the still magnificent Ghost Ships are the currency here. And Bailey's Wildean smartarsery was in good effect. Would have quite liked to be a fly on the wall watching he and Rogers trading bon mots backstage.

The crowd are spilling out of the Rowland S. Howard tent for Emma Louise's ethereal voice that wisps and mists over that area, colliding with Housos' bastardisation of Khe Sanh from the 'comedy' tent, which a worrying number of bogans appear to find funny for entirely the wrong reasons. You're being laughed at, not with, arsehats. Seekae's serious boys play to fewer than either. There's an odd dispassionate intensity to their electronic-centred music and an earnest demeanour as they stare and pick which key to press, which just doesn't hold you.

On their recent success and big show band style, perhaps The Bamboos should have had more room to run. Kylie Auldist is all big Motown style and belts it out. But then happily surrenders the spotlight to their guest vocalists. That man Rogers again – in eventually shirtless hip-grinding form – and Megan Washington in kinda pants-less abandon. That's entertainment, folks.

Now world-recognised, Tame Impala remain a bit of an enigma. Foggy psychedelica fuzzes. Some are wide-eyed engaged. Others just see it drift over their heads. If the sniffer dogs and pepper-spray-carrying constabulary weren't in such evidence, many would suspect drugs may have been involved. Or required. To follow that with Hilltop Hoods' full interaction with a crowd jumping in waves to their beat was a necessary contrast. While over in the Big Top, Sam Sparro was the day's great surprise. An unashamedly camp and cheesy display – complete with keytar and sax solos! – it's leavened by the fact that, hell, the boy can sing. He commands we dance The Robot. And by golly, most of us do. Black And Gold medal.

Husky are polite, pleasant and happy to be here. But some of what should be their crowd has drifted to the inevitable sibling get together of ostensible solo artistes Julia and Angus Stone up the hill.

And so to the somewhat disjointed climaxes. Tim Minchin? Smart and witty songs on an arena stage? Crowd cheer when he says Motherfucker, or fucks with Jesus, sure. But are they listening? Could have been The Whitlams, frankly. And Kimbra in the Big Top – bubble-skirted and glittery, it's bouncy and white-girl funky. But you got the feeling some were there to hear that one about a person of previous acquaintance. No, that was last year. But she sparkles and is a star, really.

And finally, Blondie. You worried it might the rock'n'roll equivalent A Night At The Museum, and Deborah Harry's gold lame pedal-pushers and Thunderdome hair were certainly a brave fashion statement. But between those songs – open with Dreaming, go to Hanging On The Telephone and the towering Union City Blue – guitarist Chris Stein's pop sense and Clem Burke's still outstanding drumming – it ended up big colour and movement entertainment. All well and good, but maybe somebody from New South Wales rather than New York next year, eh?

Ross Clelland