Diversity was the theme of the day and Kadimakara - who was in full swing when this reviewer walked in - epitomised this with their multicultural line-up and hard-to-pin-down sound.
Serving up a broody-but-bare mix of smooth, soulful vocals and percussive beats, they offered the perfect mix for an afternoon slot. Their humbleness of being included in Sad Grrrls Fest was admirable, with a lack of similar opportunities in their birthplaces hitting home.
Next up, collective Sports Bra favoured short, sharp, DIY bangers for their set this afternoon. They got the crowd out of their armchairs and grooving - a first for the festival thus far. Swapping vocalists kept the set interesting, although their harmonies need a bit of work but, hey! It went with the DIY nature of the day, so no sweat.
Soloist Okin Osan had a band in tow this afternoon, but chose to make the drummer front and centre while sticking to side of stage to play her downbeat set. The trio played well together, but a lack of charisma made the set feel a bit subdued - even their cover of My Chemical Romance's I Don't Love You felt run of the mill and missed that emotional punch. This was in stark contrast to The Last Exposure, who busted out a very in-your-face kind of set. Chelsea Barnes' big, brassy voice was the centrepiece and anchored their accomplished ska-rock sound, with single The Boys resonating well with the audience.
Fifteen-minute intervals between sets saw the afternoon fly by and soon enough Froyo, the first electronic act of the day, took to the stage. Feeling a bit inadequate among all the guitars, the trio played a shimmery set with melodic bite and '80s synth throwbacks.
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Antonia & The Lazy Susans were just what was needed to pick up from the lull and get the dancefloor in full swing. Dishing out some serious Camp Cope vibes - with guitarist Kieren Turnbull even sporting their merch - the band played some angsty heart-on-sleeve alternative rock. The crowd was appreciative of their rawness, with Grandfather sticking out as a highlight.
Finally, the most anticipated act of the day, and the reason the festival was even possible, graced the stage. Rachel Maria Cox, founder of Sad Grrrls Club Records, a label that champions gender diversity in the music industry and promotes most of the acts seen today; had their turn in the spotlight. Thanking the traditional custodians of the land - as many acts did - and thanking us for showing up and making this inclusive, diverse event viable, they began their heartfelt set.
"This first song is called If I'm Smiling (It's Because I'm Thinking About Zac Efron), and I've been smiling a lot lately, so take from that what you will," stated Cox, before launching into a guitar pop haze. In the business of Writing Songs & Feeling Feelings, Rachel Maria Cox excels and engages, while Stronger Lines was a perfectly danceable closer.
Drawing comparisons to Letters To Cleo, Moaning Lisa channelled a serious '90s vibe. Their fuzzy-yet-composed guitar pop resonated with the audience, while their cover of Jumpers by Sleater-Kinney was dedicated to a friend in the audience. Closer Time drew us closer and rewarded with worldly harmonies.
Electro-pop act Huntly were evocative yet serene. Lead singer Elspeth Scrine burnt through a lot of topics between songs, discussing everything from the Jonestown Massacre to break-ups between their self-described "doof you can cry to", and the crowd was kept thoroughly entertained. We Made It was dedicated to all those who survived the same-sex marriage postal vote and this was not the referendum's first mention of the festival, while a song about threesomes was cut short due to a keyboard mishap.
Hailing from Adelaide, Nakatomi wanted to be friends as they didn't really know anyone. Thankfully, their music was a great conduit, dishing out fun electro-pop with an '80s synth sound. They even made Chris Isaak's Wicked Game sound fun. Nakatomi's songs were bold and their energy high. They were deserving of a pumping crowd, but unfortunately due to the length of the day the crowd had started to thin out.
Headliners Major Leagues were tasked with bringing the festival to a close. Playing breezy indie pop, they let their music do the talking for the better part of their set; although their bassist broke the silence, declaring that playing in overalls was very hard. Swimming Out and Endless Drain went down a treat.
The point of Sad Grrrls Fest is to champion diversity and inclusion in a highly sexist, exclusive industry. Across the board diverse, non-male acts are making great music, but they just need the recognition they deserve by those in power to enact change. The talent on display tonight trashed the view that there aren't enough good non-male acts to book - maybe promoters should give Sad Grrrls Club Records a look in.
