Live Review: Day One - Splendour In The Grass 2018
#TheMusicAtSITG
Ladies and gentleman, down your breakfast tequila and plaster on the glitter because it's time for Splendour In The Grass 2018.
As 12pm hit, the Amphitheatre was finally open, and thousands flocked down the hill almost like herded sheep to catch the first act of the day, Kwame. And like you’d expect for the very first act of Australia’s greatest music festival, the crowd went into absolute overdrive, jumping up and down as the western Sydney rapper ran and danced around the stage. If there was one peak moment during this set though, it’s when Nirvana’s Smells Like Teen Spirit came blasting through the speakers – and the entire crowd by the stage lost all control! And along with his counterpart Phil Fresh, so early into the day it was clear that greater things were yet to come. After closing with WOW, so many of the crowd look completely decimated & sweaty already.
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Alice Ivy was honoured to open Splendour's Mix Up stage, and the crowd was more than happy to participate in her sober dance party. Immediately deeming us friends, Ivy aka Annika Schmarsel played Be Friends, following it up with the thumping Touch. Bertie Blackman hopped up to sing Chasing Stars before the set took a turn to instrumental party town. Blackman appeared again to sing Get Me A Drink, within which Ivy instructed us to kneel and jump up at the drop, we obliged, and she rewarded us with a soulful Love Don’t Cost A Thing outro – energies were sure to be high for the rest of the day.
The first act of the festival on the GW McLennan stage was the up and coming singer songwriter Didirri. His velvety smooth voice and personal and thoughtful songwriting (along with the billboard advertising on the way into the festival) attracted an unsurprisingly solid group of punters keen to witness the wunderkind wearing all white. "Here's a long list of things I'm scared of to start with", Didirri announced as he started the set, solo, with Breathe. Before long he was joined by his very talented band and a ripper of a solo from guitarist Daniel O’Keefe in Jude. The first goosebumps of the weekend came from a soaring and joyous rendition of Bird Sounds. I Can’t Get Last Night Out of My Head provided an opportunity for the relaxed crowd to participate and the tears came with Formaldehyde. An initially sensitive version of Worth The Wait developed into a fully rocked-up version as Didirri completed his first Splendour set and certainly not his last.
With a big 5031 taped on a drum kit that was rolled out from backstage, many knew the next band up on the Amphitheatre stage is South Australia’s West Thebarton. Rocking a Port Adelaide Power jacket, frontman Ray Dalfsen ran out with the rest of the seven-piece band. Shredding into track Anatomy, there was a mess of hair and head bangs by the security barrier. They played Bible Camp to an absolutely amazing reception, and with each piercing jolt of Dalfsen’s vocals alongside their armada of guitar solos, each second of the set got greater than the last. Playing their cover of Florence + The Machine’s You’ve Got The Love, West Thebarton proved they’ve got something for everyone. And after finishing with Stuck On You and Moving Out, it was time to head along to the next acts of the day.
A huge crowd at the Mix Up tent had arrived to see the set from Wafia. Moving from sampler to microphone throughout the set and accompanied by a drummer, she built a wall of sound around her pristine lyrics. "Thanks for coming early," exuded the achingly shy singer. Only Love was an early favourite with the crowd as the vibes swelled and by the time 83 Days was played, there was barely any room under the tent, with dance groups forming on the fringes. As she warmed into the set, so did the crowd. Heartburn gave us a chance to really hear how good Wafia’s voice can be. Final track, Bodies saw the crowd bounce with euphoria. An impressive Splendour debut from a star well in the making.
Next up at GW McLennan stage, Nashville four piece Bully were leading a 90s grunge revival. Frontwoman Alicia Bognanno’s raw voice was tearing through the small crowd who looked on in respect, as the rapport between the four-piece ensured not a chord was missed. However, this heads down concentration made it a bit hard to engage with the band, so crowd interest waned. A bit of energy and a smaller space would have done wonders – at least they encouraged us to see their mates DZ Deathrays.
There’s a little bit of confusion as to where English rock band Marmozets were for a little while, but as they came onto stage a little less than 20 minutes late, they still managed to put on a great set full of wailing guitars and heavy drum crashes. However, frontwoman Rebecca Macintyre didn’t make amazing use of the huge stage space and it appeared somewhat awkward amongst what could’ve been an absolute crowd pleaser. Playing track Why Do You Hate Me? brought a few fans forward yelling out every lyric and partying on. And after throwing the mic off stage, the band walked out, leaving the audience with overdoses of mic and guitar feedback.
Back at Mix Up, the tent was spilling over to see Riton and collaborator Kah-Lo. Kah-Lo was a vision dressed in gold, effortlessly mastering the stage and the vocal lead on most tracks, bringing the energy to the set; while Riton’s grime beats were enabling us to get down. A song was dedicated to those in the crowd with small butts, but it was Rinse & Repeat that really tipped the crowd over with most not caring that they may of peaked too early. Also, apparently cargo pants are back in vogue and red was the colour to don on the costume front this year. Did anyone say 90s fashion revival?
Stella Donnelly took to the GW McLennan tent stage acknowledging the elders and the country on which we stood. Armed only with a guitar and coming straight from imparting her wisdom and experiences at an important #MeToo panel discussion about consent, Donnelly quipped with the crowd about being branded a “political artist” with Alex The Astronaut. “Alex wrote a song about being gay and I wrote a song asking not to be raped and apparently that’s political” — cue roaring applause. Donnelly is absolutely charming. With tongue-in-cheek commentary on top of rollicking guitar, she is a force in the music industry with something important to say. And the fact that the loudest we heard the crowd was screaming “It’s time to pay the fucking rent” in Boys Will Be Boys means people are listening.
Melbourne duo, ALTA, brought the upbeat vibes straight out of the box to the Tiny Dancer stage. Hannah Lesser and Julius Dowson made the most of their Splendour experience, dropping their track, Fix It. The beatmaking of Dowson is top notch and Lesser tries hard to get some movement in the crowd, but it was a tough sell that early in the afternoon. Lazing in the sun with the downbeat tracks was a pretty great way to prepare for the first night of the festival though.
It was then a mad rush to get to the barrier for DZ Deathrays’ set at the amphitheatre, there was a huge crowd pouring in from every single point of the hill. And running out onto the stage in Adidas tracksuits, the welcoming roar of the crowd was deafening. Playing tracks like Blood On My Leather, Gina Works At Hearts and Pollyanna so early into the set, it was anyone’s guess for what was in store for the rest of the show. After frontman Shane Parsons encouraged everyone to scream with him, they played Shred For Summer and Total Meltdown, and the moshpit that was ever-growing looked brutal, yet wildly enjoyable. There was a brief pause for a moment, and then as the stage erupted in smoke as the opening riff of Like People began, Murray Cook — the former red Wiggle — ran on stage with his Gibson SG guitar and the entire crowd lost their minds! DZ along with Cook finished their set covering AC/DC’s Highway To Hell – it was definitely too much of a tease and a crowd pleaser to leave the crowd wanting so much more.
Woodes was donning a striking reflective hood over at Tiny Dancer. The singer-songwriter has been receiving some attention lately for her tunes laced with hypnotic electronics and sweet vocals. Having to compete with Mix Up, which was seemingly popular despite it still being daylight, Woodes kept her set upbeat, with the crowd more than happy to listen to her voice transcend while the sun went down. A cover of Vance Joy’s Lay It On Me was a highlight, with the excellent bridge embellished by a horns section, while newbie Change My Mind was an instant hit.
The stage show of Baker Boy is fast becoming infamous and a huge mid-afternoon presence in the Mix Up tent will only enhance that. Air sirens blasted as Baker Boy took to the stage, solo, with that gigantic smile of his. He started with Black Magic before exposing a whole new generation to his updated version of Yothu Yindi's legendary track, Treaty. There was a real feeling of synergy in the crowd and watching him before thousands of people was exciting to be a part of. Baker Boy's dancing prowess was brought to the fore with a couple of dance breaks that included, what is surely the first, Fortnite dance tribute ever seen. His cheeky chicken dance seeing him grinning ear to ear. Accompanied by Dallas Woods, who treated the crowd to his explosive new track, 9 Things Out Of 10, and Kian who features on Cloud 9, there was constant energy on stage. The dance vibes were maintained up till the inevitable closer of Marryuna. It was a highlight of day one to see the joy in Danzal Baker's face throughout the set.
There was an enormous rush of people heading into the GW McLennan tent, more than likely coming from the Amphitheatre direction to come and see Jack River. The wondrously talented artist, alongside her band, captivated the crowd in waves of dances. Playing Limo Song and Fault Line, was a near impossibility to find someone without a smile and dancing with their friends. She played her cover of Tal Bachman’s She’s So High, once again getting an entire crowd jumping around. Finishing up with heavy vibrato dosed track Fool's Gold, it was beyond sad saying goodbye, but perhaps we’ll see her sometime soon.
It’s a real shame heavier bands at Splendour have a tough time drawing punters. Especially for a punk band as iconic as The Bronx. A strong band of OG’s and one guy in a #frothlyf shirt (think he was lost) answered the call of guitars though, and the Ampitheatre was transported to the Michigan punk scene of Iggy Pop’s womb. Lead singer Matt Caughthran headed into the crowd to rile punters up and a swarm of people descended on him like rats on a ship. Closing with History’s Stranglers, Caughthran dedicated the set to the enduring power of guitars and drums saying “This one’s for rock and roll.” Long may it live.
Following a DJ set to pump up the crowd, containing Kanye, Drake and any number of crowd bangers, Manu Crook$ entered late to an already amped Tiny Dancer tent. Sporting a pink hoodie and bounding around the stage, Crook$ did the hard work keeping everyone vibed with what he does, including asking the crowd “If they’re still with him” whilst his DJ slammed the air-horn button. Shtick aside, the tactic seemed to work. Set highlight, Ridin’, saw some sort of record for the ratio of people on each other’s shoulders, but also scaling the support poles of the Tiny Dancer tent. The set seemed to entertain, although it was lacking in variation.
Touch Sensitive drew a crowd at the Mix Up tent. Festival-goers were lapping up every bit of 80s synth goodness that the producer and band were laying down. Embellishing his set with live drums, guitar and vocals, elevated it above many of the other DJ sets seen so far today. A sensual cover of Rufus’ Sarah really got the packed tent in the mood to boogie. He clinched the set with a remix of Pizza Guy, but it was triumphant hit Lay Down which had everyone beaming as they spilled out to their next set.
The GW McLennan tent lighting was dropped to a pitch-black level, almost reflecting the night sky outside. But then, there was a roar of applause as blue neon lights begin to fill the backdrop with the letters of Cub Sport. Teasing the crowd with a new song called Sometimes, the audience was left in absolute captivation as they finally closed with Come On Mess Me Up. Cub Sport definitely know how to put on an absolute shower of lyrical and compositional perfection.
Unfortunately for duo Human Movement, the beginning of their set at Tiny Dancer had to compete with the end of Touch Sensitive’s. The pair are one of many Australian DJs to have broken into the European scene recently, and remained behind the decks to serve up a classic set that would be at home in the clubs of Ibiza. The stage placement of Tiny Dancer along with the steadiness and length of their set meant patrons were provided with a soundtrack to dance to en route to their next act.
Back to the Amphitheatre, we were in for another time warp, this time back to the ‘90s for an ode to Britpop — Adidas tracksuit compulsory. From the number of punters crammed on the hill you’d think the Gallagher brothers had gotten their shit together, kissed and made up but DMA’S were more than up to the task, taking the crowd on a journey across their two releases. Step Up The Morphine was a sombre affair as people regrouped on the hill and tried to recoup their last shreds of dignity in preparation for the rest of the night’s debauchery. Then, giving the people what they clearly wanted, their triple j Like A Version cover of Cher’s Believe was pure, unadulterated, singalong happiness. Love was definitely “in the air” for one couple in particular on the hill. We won’t go into details but surely you can put two and two together. Ahh, Splendour romance.
With the sun well and truly down, the site seemed to be split. The Amphitheatre rammed at one end, the Mix Up tent at the other. Festival veterans, SAFIA, led by the affable Canberran, Ben Woolner dived straight into Over You to the adulation of an overflowing tent. With a mix of the old, a sneaky sample of Gorillaz' Feel Good Inc. and a brand new, never played track, Starlight, SAFIA knew how to compile a winning festival set. Transitioning from Oops, I Did It Again into Counting Sheep was a novel move. A reliable festival favourite, but one that never disappoints.
The GW McLennan stage lights are dropped once again, and even with strong clashes, there was still a big turnout for Los Angeles indie band Lord Huron. Opening with Ancient Names, the several guitars combining together with drums, synth and vocals gave this set an experimental yet beautiful feel. Even with a guitar in his hand, frontman Ben Schneider still found time to dance around between verses, and it was a precious thing to view. They play Back From The Edge and there was a small group of the crowd singing along. As Schneider put down his guitar, he serenaded the crowd with Wait By The River and then finished with The Night We Met. With the combined vocals of the band and crowd, it was a blissful, yet powerful ending to the set.
Angus & Julia Stone made a broody entry to the Amphitheatre, with Julia playing a violin solo to welcome us. The brother-sister duo were as mesmerising as ever, graciously taking turns to wow us with their equally beautiful vocals as they effortlessly floated through their set. Their set was a awash with embellishments as unique as the duo themselves, including a mandolin solo, horns and angelic harmonies. The Amphitheatre and stage were lit up for Big Jet Plane, with phone lights held high for the now iconic number, while they chose new hit Chateau to close, letting off confetti cannons to add a bit of pizazz.
When we saw Henry Rollins’ name on the Splendour line-up our eyes immediately lit up. Could it be? A rare live gig? With no idea what to expect, punters that made the pilgrimage to the GW McLennan tent to hear Rollins speak were in for a Splendour Ted Talk of epic proportions. Weaving his way effortlessly through Trump’s America, spraying an audience with chewed deer eyeball goo, being in LA's hottest power couple with RuPaul and fanboying over Bowie, Rollins is pure energy and makes those in attendance believe we can change the world. From deep inside North Korea to a tunnel in the pyramids of Giza, he speaks optimistically and claims he knows things are getting better "because everywhere you go there is a cheerful Australian." Closing the set with a powerful statement he declares that “Change isn’t coming, change is here”. And we are all there with him.
The layout of the Mix Up tent allows for easy food and drink access in between sets before sticking around to experience the new album track from The Presets. Julian Hamilton and Kim Moyes have crafted an album in Hi Viz that is pure festival fodder and right from the second track of Martini, the crowd seem to have been digging it. We were treated to a special appearance from Touch Sensitive, playing guitar on Downtown Shutdown, before harking back to This Boy's In Love, inspiring a huge wave of glow-sticks to be thrown into the air. Album and set finisher, Until The Dark, was just a huge song to end with completing what started as another fill-in slot at Splendour (replacing London Grammar in 2014 and Chromeo this year), but becoming one of the highlights of the day.
Khalid drew a crowd at the Amphitheatre, with most genuinely keen to see the Texan singer who’s managed so much success in such a short time. The singer-songwriter enlisted four female dancers to entertain the emotional aspects of his songs this evening, with the singer himself also participating in the choreography as he sung his downbeat tracks. He took to a stool more than once throughout the set, drawing attention to his smooth vocals against a backdrop of simple production. Inevitably, Young Dumb & Broke resulted in a mass singalong, which he followed up with another hit, Location. Khalid chose to end his set with newer track OTW – much to the crowd’s delight.
Since Dune Rats placed the ‘& Friends’ on their name on the Splendour lineup, speculation has surrounded as to who exactly they might be bringing with them. The GW McLennan tent was completely packed, with some punters outside the tent too, attempting to find out what the band have in store tonight. Their stage production alone was spectacular, with a drum kit on a hugely elevated platform, several microphones lining the front of the stage, and another small drum kit there too. The Dunies ran out to an incredible crowd roar, and with their intro track set to The Rembrandts’ I’ll Be There For You, the crowd joins along in one big singalong. They got right into their set with Bullshit, Six Pack, and Dalai Lama, Big Banana, Marijuana, and if there’s one thing anyone should know – if they’ve dished out their best tracks straight away, something big is about to happen. Suddenly, the first set of friends, Hockey Dad, jumped out on stage to help them play Don’t Talk, and after disappearing, DZ Deathrays made another stage appearance to join them! The combined group of DZ/Dunies play Red Light, Green Light, and even though drummers Simon Ridley from DZ and Dune Rats’ BC Michaels were insanely off-time from each other, the crowd kept on going & destroying each other. Others jumping up on stage included Drapht, AB Original and WAAX, all delivering a mess of genre’s thrown into one big wild set. And after each guest left one by one, the Dune Rats had the stage to themselves again for Braindead, and as the stage dims again, the band introduce Alex Lahey to join them for Like Before. Delivering a different vocal aspect to the song, Lahey beautified it. And during Superman, long time pals The Gooch Palms then joined the band on stage. After the crowd sung Happy Birthday to Leroy Macqueen, he sung the chorus of John Farnham’s You’re The Voice. There were many guests that came out on stage next, Tkay Maidza, The Bennies, Mallrat, and Shane Parsons from DZ Deathrays yet again to deliver a powerful cover of The Black Eyed Peas’ Pump It. As the Dune Rats took the stage for themselves again for Scott Green, the tent was clouded with the stench of marijuana – but you shouldn’t expect any less. And finally, as every single friend comes out on stage to sing Dune Rats & Friends, confetti was launched into the air, and their set had finally concluded.
The swagger of the Mix Up tent headliner for day one was immediate. Miguel launched with a bombastic opening on Criminal before asking the crowd, "Are we gonna get weird tonight or what?" His provocative dance moves were enough to evoke Beatles-esque screaming from the audience up the front but it was his vocal dancing that really stands out. Performing with a full band was admirable, but there wasn’t much else to focus on than the talented moves and charisma of the Californian native. He chilled us out temporarily with Banana Clip before asking the mostly rhetorical question, “Do You Like Drugs?”, then setting the scene for a rapturous performance of Sky Walker.
After a full first day of acts and the weather being very kind, the crowd seemed to be mostly pacing themselves for the long haul, which is just as well, because the really big acts were still yet to come. As Lorde stepped onto the Amphitheatre stage in all her metallic, silver glory, it was hard not to be taken back to her debut five years ago, before she subsequently took over the world. Accompanied by a band of dancers, Lorde showed Splendour the seasoned performer she has become while beaming with a smile that showed pure happiness and humility. She tells the crowd that she is a dreamer, a crazy over-reactor and that she thinks the audience is too because we’re all at the Lorde show tonight. A cover of Powderfinger’s My Happiness (one of her favourite songs) was received with as much love as you would expect but the set reached its climatic glory as Green Light started and all of Splendour channelled their heartbreak into a moment of collective, cathartic release. Green confetti rained down onto the crowd and we think Lorde has found that Splendour is one of those perfect places she was searching for…
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