Live Review: State Of The Art

With the twin scents of celebration and sandgroper pride filling the air, Perth Concert Hall and its sprawling, picturesque surroundings played host to State Of The Art's admittedly family friendly showcase of exclusively West Australian music.

We'll start at the beginning – Fitzroy Xpress charmed the early arrivals at the St Georges I stage, having made the lengthy trek down from the country's subtropical north. Rainy Day Women bought some typically festive vibes that ensured their young audience (god bless their endurin g enthusiasm) with a spring in their step. Having just relocated temporarily down south to start recording a hotly anticipated debut album, a couple of new tracks were introduced amongst some jjj favorites in what was an undeniably good start to the day.

Unfortunately, Drum's Dave Hole correspondent fell ill, meaning this publication missed the opportunity to catch the first Concert Hall session. Following Rainy Day, Cow Parade Cow was herded onto stage, launching into one of their many phenomenally quirky percussive moments of eccentric afro-pop. Another act with a new album to keep an eye out for, the sensationally syncopated collective kicked the party up a notch or two, perfectly complimenting the iconic West Australian weather, and lifting a tail for “set of the day”; Dennis Lillee would have loved it. As one ran the gauntlet past the doughnut stand (anyone who bought any less than three could tick that off as a win) to take in the acoustic vibes of Grace Woodroofe at the River stage. Woodroofe is back in Australia after a sojourn in the US; and apparently, she now speaks with a pronounced US affectation – her Australian ahhhs have, in like less than two years, mutated in American arrrs. Hmmm. Nonetheless, her set was well-executed if a little dull.

Heading back to the St Georges I stage for some surf-shredding riffage courtesy of Day Of The Dead, the broad demographic band reflected the equally diverse audience, as it was proven once and for all that vocals can be redundant if you have a masterful ear for melody. The significant radio attention afforded to The Love Junkies of late translated to big numbers as the trio against smashed a ferocious set of big groove grunge. Over at St Georges II stage, three-piece MmHmMm flourished, despite a set time that on paper didn't appear friendly. Intriguing all with their electric percussion and laptop heavy beats; bass grooves and sporadic vocal samples were introduced to the ambient textures, ensuring the set remained engaging in spite of its invariance. We're talking a Deep House revival exploded into experimental hip-hop - thanks guys.

Perth institution Schvendes opened State Of The Art's second artist showcase, occupying the Concert Hall with a cascade of glorious, glorious SFX. Lead singer Rachel Dease reminded the audience it was the second time the act have performed in three years, but you wouldn't have known it – they absolutely nailed their set. Abbe May followed, providing a formal debut for Karmageddon, her majestic most recent record – May took to the stage with the kind of confidence and aplomb lesser souls would be lucky to muster alone in a bathroom with a toothbrush for a mic and a mirror for an audience. Sex Tourettes live was delivered remarkably smoothly, and May's presence seduced the audience in their totality. A stage with standing space for the audience to occupy might have serviced May's drive a little better, but she certainly worked the glamour of her posting to high success.

With what appeared to be Gina Reinhardt (it may have been the Duxton Hotel) illuminating itself as a giant purple towering backdrop, Runner put on a pretty damn impressive display of reverby mood, intricate percussion and vocal harmonies, while across the divide cosmic renegades Usurper of Modern Medicine put on an audio-visual voyage, working the large stage like pros as the group transitioning further towards an international level performance. 44th Sunset had the unenviable task of following Usurper. With a set that sounded like a medley of indie rock, blues and musical theatre, the slightly confusing group shows promise, but let's hope they can stick together long enough for it to start paying dividends. Dub bombers Weapon Is Sound followed up with their big, big sound, and cleaned up a very thrilled audience – setting the stage for Emperors, who sealed the deal on St Georges Stage II with their grunge revival.

Over yonder on St Georges I, the puntery was privileged to witness a trifecta of solid, guitar-anchored Aus-rock glory: The Chemist lead this surge, followed by Sons Of Rico, and ending with Gyroscope. Ben Witt's project has been reeling in love over East-ways, and they felt some of that very love from the audience. Pun-champions Sons Of Rico gave their latest record In Rico Glaciers (geddit) the first live spin since returning home after a successful national tour; they could have tightened their guitar-work a little, but otherwise it was a ripper of a set. Gyroscope were the climax; the perennially superb Perth rockers nailing their spot at the tail-end.

Proving their prestige, Karnivool packed out their spin in the Concert Hall, and somehow made a room of that scope seem surprisingly intimate. A strikingly different crowd to the early proceedings of the day (dare we say, it was the largest number by volume of dreadlocks that room has ever hosted), those in attendance were losing their shit, and apparently indifferent to the seated nature of the event. Playing a perfectly balanced set of their two hugely successful albums and soon to be released material, every song was met with rapturous applause as the impeccable tones, machine like drumming and faultless vocals of the internationally renowned group were followed unconditionally through every riff, and soaring vocal. Earning a standing ovation on completion was a nice touch for the group, as they appeared humbly taken-back by the adoration of the hometown crowd.

Let's see Melbourne do that.