Live Review: Splendour In The Grass 2017 Day Three

The heat really hasn’t been much of a worry throughout the duration of the festival thus far, but the sun is belting down pretty fierce as the Amphitheatre gears up to commence the final day.

It’s a treat to hear Kendrick Lamar’s Backseat Freestyle pumping out of the speakers before The Murlocs take the stage, and the contrast between the two makes their opening all the more powerful. The relatively small turnout is likely more of an indication of the previous days’ toll than anything else, because they’re surprisingly tight for a self-proclaimed ‘sloppy’ band, and they are certainly deserving of more numbers.

Producers may be the stars these days, but that doesn’t mean they should be. In light of this, seeing electronic artist Kuren is opening the Mix Up stage this morning, and watching him play a couple of live drums along to pre-recorded backing tracks, one wonders when this reverse-karaoke became passable as an artistic performance. Nonetheless, this uninspiring dance music seems to be entertaining the crowd gathered under the big, blue tent, as the sea of glitter and flesh writhes to the beat.

You’d think on the last day of an already stupendously fun (and exhausting) festival, it’d be hard to get a few hundred people out of bed and out to see one of the first bands of the day at GW McLennan - say that to the thousand or so that turned up to see Brisbane sweethearts Good Boy. They’re a diehard bunch of fans too, dancing and singing along to every song, and shouting affections and endearments up at them in between. They gift us a couple of new songs, and play us the old favourites, with a disappearance of Triple J favourite Transparency - nobody seems to mind or notice, though. 

It takes a couple of songs and the familiar atonal chords of Carol for many in the Amphitheatre to leave their spots in the shade and join The Peep Tempel in an early afternoon thrash-about. Lead by a friendly-yet-menacing Scott Blake, the Melbourne hard rock trio crashes through passionate renditions of Neuroplasticity and superb “punk ballad” Constable, but it’s a little too much noise for those on the third day of their Splendour bender.

Over at Mix Up, there’s a bunch of people dancing around, seemingly unaware they’re under a tent, in a field, and not in an inner-city nightclub. Moonbase sounds like something spooky and space-like, a digital fusion of something satisfyingly futuristic. 

The hotly hyped LANY take to the Amphitheatre ten minutes early and as a result are met with a small (and very young) throng of fans. The trio offer up a smooth, indie-pop sound, sort of like The 1975 but with less funk. Vocalist Paul Klein has a gorgeous voice though, sitting atop snappy cowbell-whacking from Jake Goss and washy synths from Les Priest (which, incidentally, is a great name). By the time their actual start time rolls around, more people are dancing their way towards the pit, keen to get in on the action.

Her hair in twin buns atop her head and a red, white and blue windcheater, Bishop Briggs takes the stage at the Mix Up with a mostly older demographic in attendance. She starts with a relatively slow number, Dark Side, though she soon tears into huge single The Way I Do, showing off her massive soul pipes. Backed by two guys on keys and one on drums, the LA-based Brit has an explosive sound and a commanding stage presence that's perfect for a late-arvo pep.

We’re not sure what we’ve done to deserve being blessed with the enigma that is Kirin J Callinan, but we’re certainly thankful to see him standing up there on the stage in the GW McLennan tent, looking resplendent in a cowboy outfit and delightfully-yellow pair of pants. We’re treated to My Moment and Embracism early in the set, Callinan and his band doing their best to confront with us with their absurd stage performance, including hilarious blasts of EDM, and guitar solos that sound like spaceships taking off. It’s hard to believe that Living Each Day, Bravado, and S.A.D. are all from the same album, and it’s an absolute joy to hear them performed back-to-back before he finishes the set with The Toddler and Big Enough, leaving us, in his own words, full of “heart, spirit, and confidence”. May we never take him for granted.

Local producer Willarus K transports the Tiny Dancer stage into future realms with an aurally and visually rich performance that has the afternoon ravers in a synesthesiac trance. It’s the kind of set that would go down a treat at 2am in the Tipi Forest, but this smooth mix of techo, trance and IDM does wonders for those eager to get into it early. Midway through the set, a pocket of the crowd become enamoured by a small fluffy toy and drop to their knees in prayer of their newfound idol. The music soon draws them back into its folds and the set wraps up with the banging, forthcoming single Down And Out.

Even though it's an absolute scorcher of an afternoon, a cool breeze floats through the Amphitheatre while we await festival-favourites The Smith Street Band. It's midway through the afternoon of our last day here at Splendour, but the energy is still high, as evidenced by the raucous uproar of applause and cheering when the boys finally walk out onto the stage. The crowd is nearly in a frenzy, and frontman Wil Wagner seems to mimic it, drawing upon the crowd's energy as he races around the stage, screaming the lyrics to his enraptured fans. By far the most energetic song, though, would have to be closing number Throw Me In The River, which incites one of the most hectic circle pits/walls of death we've ever witnessed.

Channelling the best sounds of The Beach Boys, Queen, and doo-wop rock, The Lemon Twigs deliver a set full of opera-rock, killer ‘70s flares, and almost non-stop jump kicks. American brothers Brian and Michael D'Addario are at their charismatic best, easily swapping between scintillating guitar solos, rolling drum fills and impassioned serenades. Tracks How Lucky Am I?, Baby, Baby and These Words rapidly transition between soulful, three-part harmony ballads and high-octane classic rock arrangements in a truly theatrical set.

The dynamite duo of AB Original are exactly what Australian hip hop has been in need of for a long time. Briggs and Trials deliver their crucial political messages with a highly focused will, bouncing of each other’s energy, then explicitly inviting the audience to complete the circuit through some call and response hype. Their three-piece backing band are already sounding huge, then they step things up a notch by inviting a number of guests on stage throughout the later half of the set. It seems as if they've hit their peak when they bring out Dan Sultan for January 26, but then Paul Kelly joins the stage and they absolutely blow the roof off with a killer version of Dumb Things.

Melbourne band Client Liaison have always been an exercise in excess, but they haven’t always actually had excess available to them. However, at this point in their career, the band can afford an actual off-white limousine, and are touring as a four-piece these days, with triple j’s Tom Tilly playing bass, and Geordie Miller on guitar. There’s giant water coolers, real ferns, and ancient computers from the early ‘90s lining the stage. The four band members are wearing patterned suits with loafers, strutting around the stage like they’re made of million-dollar bills.

The band begin with Where Do We Belong, as lead singer Monte Morgan even goes so far as to play a real didgeridoo for a quick solo, while producer Harvey Miller gives a shout out to the traditional owners of the land. They follow with Pretty Lovers, Hotel Stay, and Wild Life, before being joined by a group of scantily clad dancers for Feed The Rhythm. What sounds like a new song follows, complete with some very white rap verses from Morgan and Miller, throw some Fosters beer to the crowd, and cover Music Sounds Better With You by Stardust, all before being joined on stage by “the voice of the nation”, Tina Arena (yes, this is really happening). She joins the band in a pilot’s outfit for A Foreign Affair, before performing her own song Sorrento Moon while Morgan grins sheepishly like a starstruck fan. They group perform a cover of Womack & Womack’s Teardrops together, before she leaves the boys to finish with Off White Limousine and World Of Our Love. In a final act of generosity, the band throw flowers to the crowd, as if they haven’t done enough already.

Just a short walk away Topaz Jones is enlivening the Tiny Dancer stage with his own New Jersey brand of hip hop. After hearing the mighty sounding live assemblage of AB Original, Jones' minimal MC & DJ setup seem a little underwhelming but his vocal gymnastics and impassioned performance soon prove enough to carry the show. He forms a strong bond with the intimate crowd and when the requests for Tropicana coming flying, he's more than happy to oblige.

OW! Oh Wonder, backlit by a giant neon O and W soothed the crowds with their mellow tunes and sweet, sweet harmonies. Backed up by a drummer and bassist, Josephine Vander Gucht and Anthony West brought out with them an energy and presence that's hard to muster from a crowd near the end of a three-day bender. Dazzle was a highlight, but the real star of the show was whoever was working the lighting desk — the visuals were just as great as the music blaring out of the GW speakers.

Considering the “38-hours of travel to get down here”, Swedish popstress Tove Lo is in fine form. Lights reflect off her metallic outfit in every direction, as she delves into her hit-laden Lady Wood album, much to the delight of the ecstatic mass of young glitter queens. Gestures to her ‘lady wood’ and dramatic hair flicks add an erotic atmosphere to the dark synth-heavy pop tunes, as her faultless vocals and diva flair combine for an inspired take on her collab with Flume, Say It.

The massive turnout at the Amphitheatre for Schoolboy Q further suggests that hip hop may just be the most popular order of the day. While the sound and performance are not all that impressive, his affiliations are, and no doubt many fingers are kept crossed in hope Q will dedicate a spot to labelmate Kendrick. So, it's no surprise the hill goes into absolute hysterics when he drops two of his most potent joints, MAAD City (Part 1) and Humble. The energy falls off a little from there but slowly builds up again, and he's well and truly flying high by the time he closes with That Part and Man Of The Year.

Riding high on the release of their new album The Weather, Perth’s Pond kick off their psychedelic journey of rolling synthesisers and fuzzy guitars with 30000 Megatons. Most eyes are on Nick Allbrook as he performs some intriguing interpretive moves to his lyrics between his theatrical vocal melodies and dramatic guitar licks. Sweep Me Off My Feet is an early crowd pleaser, before Kirin J Callinan adds his jolting moves and husky vocals to Paint Me Silver. Callinan and Allbrook spend the next couple of tracks trading places on top of each other’s shoulders, with their first few attempts not going quite to plan. Don’t Look At The Sun Or You’ll Go Blind has everyone in the GW McLennan tent happily wiggling along, before the fantastically riff-heavy Giant Tortoise evokes plenty of headbanging and air-drumming in the colossal chorus.

Back at Mix Up, Australian hip hop group Thundamentals are in full swing. There’s a decent crowd, considering they’re clashing with rap artist Schoolboy Q and psych rock collective POND, and they’re taking full advantage of that. They interact with the crowd really well, and after each song there’s resounding applause and an incredible amount of cheering. You can’t even feel the cold in between the mass of moving bodies. 

It may seem a little strange that Sigur Rós are on the bill for the second year running, but Splendour have done a great service to music fans by inviting the band back. Their slot on the main stage this time round allows them to present their full-scale production, and it's an utterly exquisite joy to behold. They commence by playing the opening section of Saeglopur behind an LED screen, which slowly rises up, clearing a path for them to move to the front of the stage and explode in the rapturous body of the song. From here on it's a transcendent journey through a setlist that doesn't cater in the least to typical festival demands. Their depths and heights are utterly bewildering. A truly majestic and singular experience that is unlike any other live band on this planet — thank you Splendour!

Five minutes before Meg Mac was due to start her set the GW McLennan Stage started packing out. She emerged to raucous applause, donned in a white leather suit and her trademark wide-brimmed hat. Smashing through old-school hits like Known Better and Every Lie along with new tracks off her fresh release Low Blows, Meg Mac and her big, brassy voice deserved every cheer and clap that came from her enraptured audience.

Deafening chants of “Stormzy!” go up well before the one of the most anticipated artists of Splendour In The Grass 2017 bursts onstage. Backed by his hypeman DJ TiiNY, Stormzy is unstoppable and barely leaves time for a breath, hurtling through cuts from Gang Signs & Prayer such as Cold and R&B burner Cigarettes & Cush. The heaving Mix Up tent shakes as thousands of the ‘energy crew’ bounce as one to Stormzy’s venomous bars, with some grime heads even attempting to secure vantage points hanging from the roof and towering pillars. The remix of Ed Sheeran’s Shape Of You comes across a little soft between his shouts of #Merky2017 but — as requested by the South Londoner — Big For Your Boots sees “absolutely carnage” as several mosh pits take hold.

Oneman drops techno and house tunes mixed in with popular hip hop, rap and pop tracks like Outkast's The Way You Move, Cyndi Lauper's Time After Time and Eminem's Superman. The crowd is thin but all the more space to move around — one girl is still topless with glitter body paint on her boobs and it's literally single-digit temperatures. Oneman's a talented DJ, mixing and flitting between eras flawlessly, for those still kicking on.

It's impossible to get anywhere close to the GW McLennan tent as Melbourne supergroup King Gizzard & The Lizard Wizard begin to play — the entire tent is packed out, with people crowded around the entirety of its circumference, blocking the path around it completely. Some people are even standing on top of the wheelie bins scattered around, and somebody even attempts to climb the giant felt 'Splendour In The Craft' letters on the tent opposite. King Gizz fans go wild as the band plays Sleep Drifter, and again later for fan favourite Rattlesnake. Actually, King Gizz fans are going wild for every song. They don't stop. They love this band so much (but can you blame them?) They finish their set to seemingly never-ending applause.

Bonobo has a big team on stage, building a beautiful, atmospheric wall of sound to ring out Splendour as the final act on the Mix Up stage. Adding sax, trumpet and trombone to the mix, Simon Green and co are well seasoned in delivering an immersive, almost meditative experience. In a metallic turquoise coat, vocalist Szjerdene steps out for Break Apart and her powerful voice foregrounds the wash of sound that the band have built. They're backed by spacey, abstract graphics in stark colours and to add to the whole experience in the crowd, we smell a spicy mix of incense sticks and marijuana. It's a stunning set and all the hype makes perfect sense.

Almost seven years after they “called it quits”, Brooklyn live-electronic juggernaut LCD Soundsystem take to the Amphitheatre stage to conclude a weekend of incredible live music. Their stage set-up has to be the most complex of any touring act, with chunky synthesisers, percussive stations, guitar amps and plenty of keyboards sprawling across the stage. Without fanfare — well, except for a giant disco ball spinning above — the group kick off their Australian reunion party with the alien-disco tune Yr City’s A Sucker and well-known track Daft Punk Is Playing At My House, which they seem to have even more fun playing than we do dancing along.

I Can Change is greeted like an old friend by the LCD faithful — with many making the wobbling synth sounds in their own way — as frontman James Murphy beautifully croons his hopeless romantic plead. The crunchy, thumping synth epic Get Innocuous! paired with some hectic visuals sends those closest to the stage down a psychedelic rabbit hole, while the guitar-driven You Wanted A Hit and Dance Yrself Clean descend into glitchy raves propelled by some mind-bending manipulation of their Moog synthesisers. Murphy and Nancy Whang showcase the band’s softer side in their mournful duet Someone Great, before New York, I Love You But You’re Bringing Me Down and All My Friends close Splendour In The Grass 2017 with two almighty sing-alongs. With Murphy promising “we’ll be back pretty soon, so don’t worry”, it seems LCD Soundsystem have flicked their engines back on for at least a couple more glorious years.