Live Review: A Festival Called PANAMA

Day 1

For those that couldn't wait until the morning to begin their long weekend, PANAMA gave a limited amount of ticket holders early access to the site. Under a Bedouin tent, various bands who would play the main stage in the coming days set up for a more intimate performance. Each musician played a stripped-back version of their songs, intimate in that performers and the audience were dancing, singing and sweating all on top of each other. Over the course of the evening we were treated to an Australiana sandwich: in the moody rock of Shining Bird, the infectious fun of Flowertruck and the clothes shedding romp that was A Swayze & The Ghosts.

Day 2

Morning started reluctantly for some, as black cockatoo cries woke heavy sleepers and they begin sorting through the haze of the night before, wondering how all that glitter got on them. For others it was a more pleasant affair, beginning with a morning yoga session on the cricket oval.

The music program kicked off with local Tasmanian band Quivers, appearing as a duo and mixing heartfelt lyrics, easy rhythms and fun banter for a growing crowd. It was a pleasant vibe that continued with the delicate vocals of Angharad Drake, the impressively mature songs of rising local performer Kat Edwards, the shifting sounds of The Sakthi Ravitharan Ensemble and Gabriella Cohen's beautifully honest lyrics wrapped up in fuzzy pop-rock.

Come afternoon, the festival site gradually felt full as patrons took their place among the gumtrees, ferns and logs that made up the very natural amphitheatre. You won't see a tinny or Dagwood dog at PANAMA. The event has embraced Tasmania's gourmet food and beverages, offering Lone Star Cider brewed right there on site and a Tasmanian whisky blend unique to the festival. There was even a farmer making juice from vegetables that appeared to have been picked from his field just minutes earlier.

Enter the evening and in the Tasmanian forest, full of wholesome food and drink, PANAMA patrons were soon feasting again on the sounds of Shining Bird and Flowertruck. This was in between performances from Julia Jacklin, who moved assuredly between delicate storytelling and dreamy guitar work, and later D.D Dumbo, who was absolutely impressive delivering his highly acclaimed and intricately layered latest release Utopia Defeated in a live setting.

Headlining the main stage, topping of a magnificent run of Australian songwriters and musicians, is Big Scary. The musical duo were joined by three others on stage allowing them to build a sophisticated soundscape, drawing largely on songs from their 2016 release Animal. The Opposite Of Us and Luck Now got the biggest responses, and it's an apt way to close the main stage when strong lyrics delivered within alluring sounds were the order of the day.

Once the main stage was closed PANAMA left patrons to choose their own adventure. For some, star gazing in the paddock was enough. Others settled in to listen to Emma Louise by candlelight, as she delivered what she described as "virgin songs". The songs might have never been heard before but they were enchanting in their familiarity and delivered by Louise's sublime vocals. At the same time, such delicacy was contrasted for many by a late night cabaret performance which soon became an early morning dance party. The night can go many ways, but each adventure seems to find willing participants.

Day 3

It was the sound of nature and a bed full of glitter that greeted campers again on the final morning of PANAMA. Early on, many stretched into the downward dog on the cricket grounds, while others stretched the coffee lines throughout the main area.

It was a diverse set of sounds that began the day's music program. Tasmanian musician Calypso was dreamy in her early morning melodies, while Emerson Snowe was shirtless, bereted and highly entertaining in his one-man performance. Next, Jack Grace delivered some atmospheric, minimalist sounds paired with delicate vocals. It was a set that slowly built and woke people from their slumber, but it couldn't prepare them for what was next.

It's difficult to do nine-piece Sex On Toast justice through words alone. But perhaps try to imagine what sex on toast might look like personified, then add to that strange vision: clothes drenched in sweat, all-white uniforms, red lipstick, growling Elvis-esque vocals, sexually charged tambourine shaking, horns and soaring guitar solos. Among this, an explosion of diverse sounds spanning rock, disco and funk was formulated. It was a set of many things and PANAMA away swept away in a raucous dance in the forest.

With a hard act to follow 30/70 delivered and kept the grooves alive until it was time for headliner Kurt Vile. Vile delivered a solo show that relied on his own guitar and banjo talents while highlighting his lyrical ability. Coming down from an early afternoon dance fest the mood was suddenly sombre in comparison. As a whole, however, it was a set where Vile delivered his signature lyrics, mixing kooky prose and honest observations for a crowd that was happy to be carried along at this new pace.

Turning up the tempo again was Margaret Glaspy, taking to the PANAMA stage in what was the last show of her Australian tour. Donning a gold jacket she beamed out at the crowd who smiled back, many wearing newly possessed outfits from the Great Panama Clothes Swap earlier that day (picture: a glorious gender bender of colours and mismatched threads). It was a crowd that was carried away by favourites such as You & I and Emotions & Math.

The final main stage act was soulful Australian voice Ngaiire, who delivered a powerful performance, weaving her set between absolute delicacy and powerful grooves.

Again, nightfall brings a sense of adventure. One of Australia's most highly acclaimed songwriters Gareth Liddiard went acoustic under the stars, while one of the nation's most exciting yet illusive groups Confidence Man set the dance floor alight in the Bedouin tent. Whether letting the mind wander with Liddiard or the body groove with Confidence Man, it was revelry into the night.

It was with slightly sore heads that many emerged from the forest and back in to reality. In this familiar post-festival snap back to normalcy, we could finally consider whether PANAMA continued to deliver on the hype of previous years. The short answer is: yes, totally. In many ways, 'festival' has become a dirty word. Somewhere along the way it lost its sense of magic, instead conjuring up post-traumatic images of offensively long food queues, obscene toilet situations and scenes where the music plays second fiddle to beer guzzling and obnoxious shoulder sitting smartphone photographers. In start contrast, A Festival Called PANAMA is a cleansing force. Ultimately it's a festival that makes you feel better about festivals, and hopefully, life itself.