Big Day Out 08
Review of several SA acts on the V Energy Local Produce Stage
By Elizabeth Reid
Posted 6 March 2008
This year's Big Day Out hosted an eclectic line-up of Adelaide acts on the V Energy Local Produce stage, all vying for their slice of a 40,000 strong sold-out crowd at Wayville. Some fared better than others, but each seemed up to the task of proving that SA's original live music has much to offer. Ranging from relative newcomers to stalwarts of the city's scene, there was something for everyone, with indie rock, hiphop, reggae-inspired roots, "country punk", "swamp rock", noise pop & more in the mix.
Having seen the John Woods Band play a tight set the night before at the Grace Emily, the four piece looked equally at home on a festival stage, which provided just the right atmosphere for them to play up to an appreciative audience. Lead by their eponymous and affable singer/songwriter, the band's sound strays somewhat predictably close to the 'John Butler Trio' school of roots, yet with decidedly more emphasis on high energy, danceable, 'feel-good' tracks with (thankfully) a minimum of noodling. Jaunty guitar and a likeable lead voice were bolstered by an effortlessly solid rhythm section, with bassist Tim Bennet in particular showcasing an intriguing array of tricks. His considerable skills were evident in his funky walks and well-deserved solos, and the crowd responded with great delight to his unique ability to ‘pop’ his vocals along to slapped bass notes. Trombone was another nice touch, ably provided by Sydney actor & mate Gavin Clarke who had the peculiar but effective habit of using a stubby holder for a mute. Instead of being overplayed or intrusive (a key risk of using guest musicians), the brass riffs were strong and thoughtful, and while the volume occasionally overpowered the guitar, the trombone added a very distinct flavour to the mix. Altogether they were having a ball, and were easy to enjoy on a hot summer afternoon.
As the 'cool' kids of the local lineup, the much hyped City Riots certainly looked the part, both sartorially and in performance. Their experience and confidence in playing to large crowds was obvious, and with all their amps cranked up to 11, they sounded like they were on one of the bigger stages. Unfortunately, the tinny nature of the V Energy Stage did not favour such an onslaught of volume, and many of their well-known clever riffs and hooks were lost in the fuzz. Nonetheless, the punters were unfazed by the excess (probably having grown gradually accustomed to massive decibels over the course of the day!), nor did it seem inappropriate for the band’s style. It wasn’t a tone that was likely to make new fans, but those in the know were already well-versed in this brand of indie rock. Picking up where Bit By Bats and Pharoahs left off , and with a nod to Wolf & Cub, the City Riots merge dancey hooks with a heavier and (deliberately) messier edge. Managing to be both nonchalant and amiable, they had an air of professionalism about them that sets a high standard for local acts. The crowd probably should have been bigger (with singer/guitarist Ricky Kradolfer giving a tongue in cheek ‘thank you’ to Silverchair for ‘lending their audience’), but the City Riots’ spots on the Fuse Explode Showcase and Adelaide Uni O’Ball will no doubt continue to foster their rep as a band on the rise.
‘It’s about time!’ was the oft-heard comment regarding King Daddy ’s inclusion on the BDO lineup. Having honed their ‘dirty sexy beats’ on Adelaide stages for 10 years, the band were more than ready to unleash some rock mayhem, and frontman extraordinaire Paul ‘Nazz’ Nassari did not disappoint. Believing every movement of his Iggy Pop-on-Ecstasy act, Nazz worked that stage (and security pit) - crawling, rolling, strutting and shimmying his way through the set. How he can manage those moves in the tightest black jeans in Adelaide gives one pause for thought, but you can’t help but be mesmerized by the antics. As per usual in a King Daddy set, the microphone enjoyed an up close & personal tour of Nazz’s anatomy, at one point getting unwittingly hooked into his belt as he re-buckled after another shimmy session. But don’t be fooled by the sly winks and witty remarks - this was serious business. The band was living the dream, and their lusty bass grooves, slick guitar and vigorous drumming were just as compelling as their singer’s guttural blasts and intense screams. Stoic in super cool red heels, bassist Danielle Schriever was a smooth counterpoint to lanky guitarist Rich Gohl, while drummer ‘Pange’ beat the hell out of the snare – literally. The replacement was punished with even more force and they finished their set with raucous energy. Somewhat shambolic, but certainly convincing and assuredly entertaining, King Daddy were worth the wait.
Without question the highlight of the event for most folks was the much-anticipated return of Rage Against the Machine. With throngs of people surging toward the Blue stage around 8:30, it was always going to be a tough battle for any other act playing simultaneously to gain an audience. Yet despite the challenging time slot, Adelaide act Vents enjoyed an impressive turnout. An energetic group of hiphop fans filled most of the tent, arms in the air, heads nodding in rhythmic salute. Having a song in the running for the '07 Triple J Hottest 100 and being signed to Obese Records (of Hilltop Hoods fame) couldn't have hurt the pulling power, but the sheer intensity of Vents (also joined by Trials) was enough to draw additional stragglers, a few of whom seemed surprised to find only a duo onstage. Though perhaps not as tuneful as labelmates the 'Hoods, Vents' delivery was quite powerful, and coupled with a commanding presence and punctuated beats, it made for a hypnotic performance and fitting end to the local lineup.
For the full lineup of local acts, plus other details on the Big Day Out 2008, see the MusicSA Feature Article.
