BigSound Live Reviews - Night 1

Armed with little more than a notepad and pen (read iphone and fast fingers) and their BIGSOUND Live wristbands we sent our crack team of themusic writers out into the night to bring you the best of the music from the first official night of bands.

TOM LARK - BAKERY LANE

The Bill Cosby jumpers, black stove-pipes and knock-kneed poses make us immediately aware that the indie pop signature-look is the same in NZ as it is everywhere else. But while the rest of the world's indie kids are chasing the illusive perfect-chantalong-song-for-a-phone-TVC, Tom Lark are busy harking back to a classic '60s pop sound (as filtered through a classic '80s indie sound). They may have struggled with harmonies in their opening number tonight but it mattered not coz they've got the hooks. They've also got the charm: "Hello to all the important people and all the people who dress like they are important.” They later hit us with "hang around for the rest of the NZ bands 'coz they're better." Gotta love a nice piece of self-deprecation. And ya gotta love an indie band that pull out a slow number without losing audience attention. And to top it all off they pull out a kazoo for that downtempo moment.

- Andrew Mast

FISHING - MAGIC CITY

The salubrious vibes of Fishing permeate Magic City as BIGSOUND Live kicks off. The duo delve in hypnagogic electro undercurrents, backed by blurry and warped VHS footage of the '80s Miami aquatic kind, and is the perfect introduction to a fun filled evening. The boys give a shy thumbs up to the enthusiastic crowd, eschewing the exultant set they present.

- Brendon Telford

GO VIOLETS - OH HELLO

The Brisbane four-piece Go Violets have everything you could want in a guitar pop band - incessant hooks that snag in the ear like a burr, incredible three-part harmonies, and and an undying focus on marrying whimsy with ageless pop aesthetic. It's amazing they have slogged away this long without a multitude of zealous fans losing their shit to every narcotic-laced melody. But when they kill Teenager, you know their time has come.

- Brendon Telford

HENRY WAGONS - QMUSIC STAGE

The cavernous carpark of QMusic is moderately full as Henry Wagons takes the stage sans his crew. He is in dry form, whipping through some country-fueled numbers that are flecked with soul, carnivale grotesquery and gallows humour. He ribs the crowd, dedicating a song to a sole bearded punter called Keep Your Hands Off My Sister, while off ranting in a casino reverie sworn to Las Brisbane. His connection to the crowd is infectious, with revellers hustling to the front to take his rustic sojourns with both barrels. He is "like a grade 4 kid finishing a project" when he gets Canadian songstress Jenn Grant onstage for a duet, and it is infectious. On a bill heavy with pop and garage rock, Henry Wagons does more than "escape his fate" - he sets the bar.

- Brendon Telford

STRANGERS - TEMPO HOTEL

Sydney straight-talkers Strangers operate like a well-oiled machine. Ben Britton's vocals soar. There's the most handsome, shirtless, moustakaed motherfucker ripping on guitar, and Red Brick sounds like it was custom designed for the biggest fuck off wall of Marshalls built. It's a small crowd but they show their love and the band give off a real confidence that will hold some serious weight when they inevitably snatch Birds Of Tokyo's crown.

- Ben Doyle

GREY GHOST - ALHAMBRA LOUNGE

The indie hip hopper-er plays a brilliant showcase set. Everything they're doing is not only instantly accessible, but instantly memorable as well. Mr Ghost himself is confident but there's an air of humility and the set's entirely welcoming. You know from one song that you're going to like this, you know from two that everyone else is as well.

- Scott Fitzsimons

CAITLIN PARK - ALHAMBRA LOUNGE

Alhambra is much less rowdy than usual, the hems are lower and the floor is still relatively free of beer. Three girls appear on stage, and within minutes the entire venue is captivated by the unique voice of Caitlin Park. The song writing skills seem of someone much older, with years of experience in the industry, and even her voice sounds like one tuned and tested through the tougher side of things. The vocals are deep, smoky, and reek of maturity, without losing any of the fun of youth.

One of the first tracks these girls pull out of their sultry bag of tricks is a cover of the Fresh Prince of Bel-Air theme song, with an extra folky twist, and all the best parts of a Western beat. There is even a smattering of Beyonce lyrics, though they come out sounding much more Nick Cave than the original. This is followed by a number of tracks that only reaffirm that she is a talent to keep an ear out for in future. The drum-pad and synths are so much more than an accompaniment, and samples often appear, giving an extra level to what are already well-layered tracks. The multitasking drummer even manages to get a BigSound shout out into her beat boxing, which of course makes the audience chuckle over their Sailor Jerrys. It is working through the levels of what you can hear that separates this gig from the rest; it is kind of the lasagne of the music world, where each layer can be consumed separately, but when you get a taste of all of them together the result is some sort of wonderful. Caitlin Park are deserving of a much better metaphor than that of an Italian food dish, but they also tend to leave the audience in the kind of giddy mood where words fail.

- Eleanor Houghton

AWAKEN I AM - THE TEMPO HOTEL

Opening the 'punk' stage, Awaken I Am are part of the post-emo generation, but they aren't washed out by the trend of mediocrity. Good songwriting is aided by strong melodies, economical use of backing 'beat' tracks and strong guitar lines. Stadium built but club-able. You'd almost compare them to today's The Getaway Plan, but without the reflection and patience that comes with a comeback.

- Scott Fitzsimons

THE FALLS - OH HELLO

Introduced by triple j Unearthed's Sarah Howells, The Falls were playing to a packed room of restless radio listeners. Barefoot and dressed in lace, Melinda was an ethereal hit.  While the duo of vocals definitely dominated, the backup nine-piece orchestration of strings, drums and keys separated these guys from your average guitar toting folksters. The sound was a beautiful kind of epic, which was unfortunately the best way for them to be heard over the endless conversations at the back of the bar.

- Eleanor Houghton

CATHERINE BRITT - MUSTANG BAR

Catherine Britt is so close to crossing over from country to the rest of the world it almost hurts. Nothing hurts as much as the heartache of track Sally Bones though, the stunningly haunting centrepiece of her new album - it stops you in your tracks live.

Bill Chambers is on guitar and back-up vocals tonight, and he adds a comforting depth - it's amazing how he fits in so effortlessly to basically every country artist in the country.

That said, he is totally overshadowed by Britt - and show he should be - who cuts through showcase pretensions to deliver a very human and pacing set.

- Scott Fitzsimons

RUFUS - MAGIC CITY

Undoubtedly one of the names of the moment, RÜFÜS' reputation may be all about having been in the right place at the right time. They hawk the kinda regurgitated pop that made late '80s radio so unbearable. All overwrought vocals, dramatic drum flourishes and cheesy keyboards. Oh the irony of it all might seem great as your friends vomit on your loungeroom carpet after a hardcore session of find-the-worst-song in your mum's CD collection but it doesn't necessarily translate to the stage. RÜFÜS not only face the handicap of UPPERCASE and umlauts but also of following Flume who had Magic City overflowing (there's a lot more space for RÜFÜS). Even with the added EDM beats something smells stale here. But extra points must be awarded for the PA ascent and leap near set's end.

-  Andrew Mast

THE WINTER PEOPLE - THE ZOO

The Winter People are playing a set in the characteristically sweaty and non-winter-like Zoo. The sounds that come from behind the red curtain are those of desert breezes and sunny days, with violins being plucked and whistling that belongs on the soundtrack to the hippest cowboy movie ever. The frontman is humble and charismatic in the friendliest way, with a voice that never quite its the annoying part of country. The strings add a dramatic angle, while the harmonies coaxed the listeners into an upbeat stupor. their final track calls on a heavy heartbeat of drums, getting even the most solemn thumping their feet in time. This is a perfect note for them to end on, leaving people stumbling out onto the toad sweaty and super enthused about music in general.

- Eleanor Haughton

CLAIRY BROWNE & THE BANIGIN' RACKETTES - BAKERY LANE

This is a band who have come prepared. The show has been road tested, the songs acclaimed and everything's firing for BIGSOUND tonight. The Bakery Lane tent is full - albeit a little sedate - and it's hard not to be enraptured by the dance moves, the tight band and - most importantly - Browne's incredible voice and the great songs that they produce, that come from the stage.

She Plays Up To You takes things right down mid-set before Baby Caught The Bus well and truly brings  the groove back to proceedings. But closer Love Letter is their finest pop song and their finest moment tonight.

It's an insanely polished and well thought out set, but one would hope the quality of the songs doesn't get lost in the showmanship of the entire spectacle.

- Dan Condon

BALL PARK MUSIC - THE ZOO

"All right, let's play some fuckin' music!" - Sam Cromack. That's all the intro we're getting and, indeed, need as local indie darlings Ball Park Music take their place in front of those amassed at the sweat-tacular Zoo. The band's unmistakeable good-time clap- and sing-along vibe has well and truly snaked its way through the crowd by the early appearance of "All I Want Is You" and, regardless of your personal feelings about cookie-cutter jindie-pop, it's pretty easy to see why Ball Park have won the legions of fans they have. Affable, catchy, smartly constructed -  though referring to a song as "the first 'chapter' on our new record" is a little art-gallery, in all honesty (disclaimer: this could have been "the first track from our new record" but am fairly certain it was not). Not that it matters either way - for favourites old (iFly) and new (Surrender), the performance and its response remain upbeat, enthusiastic and just a little infuriatingly infectious. Sure, they're not all that new or up-and-coming anymore, but Ball Park Music are a near-perfect example of what Brisbanites can achieve if they just put their goddamn hips into it.

- Mitch Knox

VIOLENT SOHO - QMUSIC STAGE

Watching hometown bands show no mercy on hometown crowds is always special. The 4122 cries are out early -  Luke Boerdam sounds like he's just pumped some JD down the gulp, James Tidswell is hoofing his way through his riffs while  Luke Henery has a bass exorcism to the right side of the stage. Love Is A Heavy Word powers out early and Tinderbox is an utter steamroller late. With the pulsing lights behind the four of them it makes for a hell of a show. This new album can't come soon enough.

- Ben Doyle

HEROES FOR HIRE - THE TEMPO HOTEL

If Heroes For Hire are bringing pop punk back then they're doing a decent job of it. Arguably Australia's best exponents of it at the moment, they put in a solid, under-attended set at Tempo, full of energy and abandon.

Heroes are a long way from their (laughable?) early days, and now have a few tricks up their sleeve.

The songwriting is as sharp as it's ever been and you get the feeling they just need a (the?) break.

- Scott Fitzsimons

THE PREATURES - BLACK BEAR LODGE

To be honest, Sydney's The Preatures are a bit of an unknown entity as this review begins, but they're quick to change that. Keyboardist and vocalist Isabella Manfredi packs some serious vocal chops, showing in the ebbs and flows of Pale Rider that she is a master of the lower, as well as upper, register. A self-described blend of "Gothic soul and rock n' roll", the band offer up a polished set, clearly comfortable in front of their sizeable crowd here at the Black Bear Lodge. At a loss for the Gothic element, but then guitarist and co-vocalist Gideon Benson provides an explanation in the form of his low, washy croon, evoking a more professional, cleaner version of Tiger Army's Nick 13, or the guy from the Nekromantix. Sure, their music is not classically catchy, but it's definitely a pleasant discovery and worth seeking out. The crowd seems to agree, and I always like it when a large number of people agree with me about things.

- Mitch Knox

CLOSURE IN MOSCOW - TEMPO

Closure In Moscow have been so absent from our live scene we'd almost forgotten about them - figured that any new material they would come up with would be over-cooked.

But shit, they haven't lost a fucking inch. They've still that Deloused-era Mars Volta feel but without the embarrassment of being a TMV fan. Pure indulgence.

- Scott Fitzsimons

TEETH AND TONGUE - PRESS CLUB

The audience is quickly growing as more and more people are drawn in off the street by the achingly cool sounds of Teeth and Tongue. Jess is the sultry side of Blondie, a female David Bowie, and one of the most captivating stage presences out here tonight. Every song sounds like a hit from the '70s, with the inexplicable familiarity that only comes with instant classics. With all the vintage hints, there is nothing aged or naff about it. The setup is modest in a BIGSOUND full of many-membered bands, with only three on stage, but the building keyboards and guitars created a sound that demanded to be heard and respected. When she hits the high notes, the singer sends shivers (the good kind) up the spine of all in earshot. We journey with her on every track, and take a strange pleasure in watching this talented lady's heartbreak on stage so eloquently.

- Eleanor Haughton

EMPERORS - OH HELLO

Emperors frontman Adam Livingston is his usual husky self, just dominating front and centre in a matching jumper/kicks combo that is simply a pleasure looking at. This is the second visit in a row that the Perth four-piece have had an underwhelming turnout for and frankly it's bullshit. Whether it's Plastic Guns, Fight Me Back, Drug Mule or older tracks like Favourite Colours, the quartet simply let it fly. There is minimal chat but with such quality tunes getting thrown around it's welcome - be quiet Emperors, just play! Be Ready When I Say Go finishes off a BIGSOUND high point. Delicious.

- Ben Doyle

PHEBE STARR - OH HELLO

Yes, those are lights sewn into her dress. This is Ms Starr's first appearance outside Sydney, and it's clear from the outset that she is dressed to impress, in every sense of the term. She fronts up with fantastic vocal range, power and clarity, swaying with mesmerising fluidity to match her ephemeral and quirky art pop.  Her and her backing band display an adept hand at dynamic electronic and vocal samples, proven as early as her second song, the sublime and atmospheric Young Hearts. It's a little unfortunate more people aren't here to appreciate this newcomer, given the spirit of this festival, but we'd say it's a safe bet, given the response from those who are in attendance, this won't be your only opportunity to get acquainted. Some advice for the next time she rolls through town: make the effort to make her feel welcome. You won't regret it.

- Mitch Knox

MILLIONS - ELECTRIC PLAYGROUND

It's very loud inside Electric Ballroom tonight, but it works to Millions' advantage as they smash their palatable melodic indie pop out with the kind of tightness you only get from a hell of a lot of time on the road - amplified, almost to excess. While some of the intricacies are undoubtedly lost in the mix, they get their point across well enough.

However, they really prove their relative infancy with a set that tends to drag at times; songs meld into one another to the point where one can't really pick a standout. If we see Millions here next year, they'll probably be a highlight; for now they just do what they do really well and nothing more.

- Dan Condon

NORTHEAST PARTY HOUSE - THE ZOO

They mightn't have packed out the venue like some other acts, but Melburnian purveyors of alt dance rock (that's a thing?) Northeast Party House show no sign of being even a little bit disappointed, even admitting more people are present than they expected, and commence a set that would please a crowd triple this size with ease. Stand Tall packs an early RxBandits vibe, sans horns but filled with rolling, maaaaarginally reggae-ish soul. If you can mentally hear that, blend it up with LCD Soundsystem, and you're getting pretty close to the NEPH formula. Vocalist Zach Hamilton does his blessed best, though falters on pitch intermittently, but it must be said it's never for long and certainly not to a detrimental extent - the crowd claps and sways and cheers with reckless abandon, so if the group were in any doubt about how they'd be received, they should be going home doubtless, happy and proud. Bonus points for being a part of the "dance" genre and not being one dude with a MacBook.

- Mitch Knox

KING GIZZARD & THE LIZARD WIZARD - OH HELLO

Melbourne seven-piece King Gizzard & The Lizard Wizard close out the triple j stage tonight with some mental rockabilly garage nonsense that kicks the balls and steals the heart. There is crowd surfing from the beginning as they tear the place apart with Garage Lilliard, Bloody Ripper and others from killer record 12 Bar Bruise. A small pocket of the crowd lose their shit, the rest lose their minds and hearing in what is the most raucous set of the night. Harmonica solos, flailing guitars and reckless abandon reign supreme. The king is dead - all hail King Gizzard!

- Brendan Telford

THE SLIPS - MAGIC CITY

There is a happy place located somewhere between rock and dance, and The Slips are currently sitting right in it. Under the dance cages, under the obscene number of disco balls, under the framed and spotlighted portraits of Chris Brown  and LMFAO, The Slips shred the air with beats that are, thankfully, in no way inspired by Skrillex. The lighting isn't great, in a venue obviously not used to actually showcasing live acts, but this only proves the strengths of these guys as they tear the stage a proverbial new one with the most fun techno this side of Cut Copy. The dancefloor is shamefully empty, as it becomes clear that not enough people know what they're missing out on.

- Eleanor Houghton

TIGERTOWN - ALHAMBRA LOUNGE

One of the first things you'll notice at a Tigertown show is their grasp of harmony. That might sound glib in an age where Fleet Foxes havea been around for years, but it's not meant to be - if this Sydneysider five-piece do one thing well, it's demonstrating a layered melodic sensibility from go to whoa. Luckily (for everyone, probably), they do more than one thing well, and their interweaving vocal lines are just the icing on what appears to be a damn well-made cake. What Makes It Harder, a cut from their impending EP, is a highlight, but the quintet put nary a wrong foot forward throughout. Granted, they might play things a bit on the safe and inoffensive side (c'mon, there's even an acoustic guitar) but let's not act like there's not a huge market for it. They're easy to listen to, easy to watch, and easy to appreciate - and while the easy road isn't always the most rewarding, Tigertown, in this case, prove to be the exception to the rule. Or, at least, the packed, responsive room at the Alhambra Lounge resoundingly gives off that impression. Definitely an act to watch.

- Mitch Knox