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BIGSOUND 2017: Day 3 Roundup (Part 3)

 
By on Friday, 29th September 2017 at 2:00 pm
 

Tuesday at BIGSOUND 2017, I’d seen Evan Klar play at The Brightside outdoor stage in blinding sunshine. He told me to wait until the rest of his live band arrived in Brisbane for a better experience watching him. He wasn’t wrong. The addition of a string section to his nighttime appearances at BIGSOUND, including Thursday night at the Mane Stage of the Woolly Mammoth, made for a unique performance.

Evan Klar Thursday night at BIGSOUND 2017

Listening to Evan Klar live, you get the sense that when he’s writing songs, he really thinks about how his voice can be used as a rhythmic element and alongside whatever other sounds he’s going to put in. We’re in an era where doing that is becoming less unusual, as the lines between pop and r&b and soul get further blurred. While most music in this category tends to land on the r&b side in America, Evan Klar’s seems comfortably on the pop side, which suits my ears just fine.

Heading downstairs to the Alehouse stage and after a brief set change, it was time for Mammals. Guy Brown is living the dream: formerly worked in doing music for advertising and film, one day he decided he was going to make music for himself. Like fellow BIGSOUND showcasing artist Willaris K., he’s impossible to class in a single genre. Electronic would be simplifying it way too much. There’s a sunny, summery feel to his and his live band’s performance, whether he’s wailing on his guitar or hitting drum pads.


Mammals Thursday night

You’d have to be a rock to not get swept up in Mammals’ bouncy beats and catchy melodies. ‘Chase Your Bliss’ sums up Mammals, as well as the BIGSOUND experience, perfectly: wrap your brain and ears around good music and moments are short-lived, so savour this moment.

@mammalsmusic's beautiful 'Chase Your Bliss' 😍 #mammals #BIGSOUND17

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I contemplated leaving the Mammoth. Maybe I should have braved the claustrophobia of sleepmakeswaves at The Brightside outdoor stage to end my night. But having already landed at synthesiser cloud nine after Mammals’ set, my ears wanted to continue the electronic party in my head. Yoste and Mansionair appeared for a second night in a row, this time upstairs on the Mane stage. As I’d already photographed them in the night before, I took advantage of videotaping both acts, plus Mammals as seen above for good measure.

Sydney's @mansionair sounding huge on the final night of #BIGSOUND17. Jack's voice, OMG! #mansionair

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I will leave you with this photo of Jack Froggatt of Mansionair, as it encapsulates my experience at BIGSOUND 2017 and how music discovery makes me feel. It’s an emotional thing, to feel a connection to music someone else has made that meant something to *them*. We’re living in an age where bad people seek to divide us for their purposes. Let’s keep music as a language and medium for love and understanding, and support musicians and bands so they can keep on making music. Open minds, open hearts. Over and out.

Mansionair Thursday night at BIGSOUND 2017

 

Live Review: Saint Etienne at U Street Music Hall, Washington, DC – 27th September 2017

 
By on Friday, 29th September 2017 at 1:00 pm
 

There are some bands that you know will always put on a good show. Further, if it’s a band who have survived the test of time, the odds are even better. So naturally, I went into the Saint Etienne show in Washington Wednesday night knowing I was in for a good time. There was a nearly 30-minute delay to their start, despite there being no opening act. Also, I think they made some questionable choices in their set list. Despite all that, Sarah Cracknall and co., which included five additional live members to Bob Stanley and Pete Wiggs on synths, put on a show that got their audience grooving. Well, as much as the U Street Music Hall crowd of mostly bespectacled men with varying degrees of baldness could stand. (Sorry, couldn’t resist. It’s a very strange feeling to be stuck in a crowd of men, some of whom barely moved for the entire set except to snuffle, take a photo of the gyrating Cracknall with their phones, then resume with almost stony-faced immobility.)

We'rre Actually Very Tired Saint Etienne

Saint Etienne were in town to promote their latest album released in June, their 9th called ‘Home Counties’, a love letter to the commuter towns of London from where they themselves came from. You can read my review of the LP here. Before they got onstage, an impressive array of equipment was already set up, while a series of phrases in English droll wit, in the font on ‘Home Counties’, shuffled on the projection screen behind. “Contains Thematic Elements!” “We’re Actually Very Tired!” But of all of them, “Skilled Musicians With Over Twenty-Five Years Experience!” was my favourite, as if to remind any young whippersnappers in the audience that Saint Etienne had been around the block and could teach them a thing or two.

Saint Etienne Washington September 2017 1

Shortly before 8:30, they went on to rapturous applause from the audience who had been patiently waiting since doors had opened an hour and a half earlier, not to mention 5 years since their last show here. What followed after the pastoral instrumental interlude of ‘Church Pew Furniture Restorer’ was a pretty good mish-mash of old favourites with ‘Home Counties’ tracks mixed in. On ‘Out of My Mind’, you’re reminded how beautiful Cracknall’s voice still is, as well as just how good Stanley and Wiggs are at crafting a pop melody. The song chugs along at the perfect pace for pop to be able to let the lyrics sink in, and Cracknall’s delivery of them is both pleasing in their rhymes and heart-breaking. I nearly cried. The disco beat-thumping ‘Dive’, another track from their latest record, was introduced as the #1 vinyl single in the UK, which seems to suggest quite discerning tastes of the record buying British public, doesn’t it?

Saint Etienne Washington September 2017 2

Played live, songs from 1998’s ‘Good Humor’ and 2012’s ‘Words and Music’ are a good reminder how consistently Saint Etienne have been over the years as an electropop group. ‘Lose That Girl’ and ‘Sylvie’ from “our electro-folk days”, Cracknall quipped, seem simpler than you might have thought before from the records. Then the synth-dense ‘I’ve Got Your Music’ brings you firmly into the 21st century. Not all bands give you the opportunity to yearn for their songs from totally different eras.

I was sure that they would play the minor key wonder ‘Heather’ from the new record in the encore, but they chose to play ‘Train Drivers in Eyeliner’ instead. (I also wondered what happened with ‘You’re in a Bad Way’, as it too was omitted.) My train drivers are welcome to wear whatever makeup they so choose but as I described in my album review, it’s a strange duck indeed. The sweeping ‘Take It All In’, of a similar speed and played in the earlier in the set, is a far better choice to showcase Cracknall’s voice. Still, all was not lost: ‘He’s on the Phone’ brought things back up tempo to close the night on a high.

Saint Etienne Washington September 2017 3

After the cut: Saint Etienne’s set list.
Continue reading Live Review: Saint Etienne at U Street Music Hall, Washington, DC – 27th September 2017

 

BIGSOUND 2017: Day 3 Roundup (Part 2)

 
By on Thursday, 28th September 2017 at 2:00 pm
 

My schedule for my last night at BIGSOUND 2017 ended up being mostly changed last minute. Deciding that I wanted to mix things up a bit, I started at the venue that was farthest north, The New Globe Theatre. The name of the place sounds more highbrow than the band from Melbourne I was there to see. Post-hardcore group Deadlights opened the venue for the night with ferocity. While electronic might be getting more attention on radio in these parts, it’s clear with fellow Melburnians Belle Haven who I saw Tuesday night and Sydneysiders Polaris that Australia that the hard rock scene is alive and well and worthy of attention too.

Deadlights Thursday night at BIGSOUND 2017

I got the sense that Brisbane girl duo OKBADLANDS had been riding on a wave of hype and wanted to see if the hype was deserved. Kate Gurren and Sally Latter and their live band were playing the upstairs Mane Stage at the Woolly Mammoth. Their combination of percussion with pop and r&b sensibility were a much easier listen than the onslaught on show at the Deadlights set just before. I like the fact that the sound of OKBADLANDS isn’t obvious for a two-girl act. That is, they don’t play the cloyingly too precious pop that seems to always show up on mainstream radio, yet it’s all too easy to get pulled in to their rhythmically engaging tunes.

https://flic.kr/p/YZFxti]OKBADLANDS Thursday night at BIGSOUND 2017

Having some time before my next act, I decided to duck into The Zoo and see who was playing. Do you remember a band called Kins? I sure do. I remember seeing their name on The Great Escape grid for a few years in a row, and now it all makes sense. Turns out they were originally from Australia. Their drummer, Alex Knight, now has his own solo career as singer/songwriter Brightness. He released his debut album in June. His gentle brand of indie rock reminiscent of Sweet Baboo seemed too small for a venue as big as this. Then again, if someone like Conor Oberst can play bigger venues, maybe Knight’s day for that just hasn’t come yet.

Brightness Thursday night at BIGSOUND 2017

I had somehow avoided Oh Hello! and the triple j showcases there all week. I wasn’t doing it on purpose, it just so happened the acts I wanted to see weren’t playing there. As I had hoped to hit every BIGSOUND venue, I stopped in to get a feel for the place and to snap some photos of the talent. Or at least that was the idea. Young singer/songwriter Ruby Fields, whose popularity has blown up just this year, no doubt on the back of triple j’s support, was on stage and in front of a packed club. See the photo below, that was the closest I could get to the front. Don’t doubt the power of triple j’s reach: the Australian radio station most popular with the young’uns, equivalent to BBC Radio 1, brought in hordes simply because they curated this showcase. Here’s to hoping that she’ll appear at SXSW 2018 and I can see her in a venue where I’m not gasping for air and having a panic attack. We shared this adorable exchange on Twitter; I appreciate her appreciation for me trying to get in there and do my job.


Ruby Fields crowd shot at BIGSOUND 2017

Time for a much more relaxed environment, The Empire Hotel. Thomas Calder, who I had seen in Sydney 5 years ago previous as the frontman of The Trouble with Templeton, a band we’ve written a fair bit on. He now performs under the moniker Daggy Man. As one might expect from a singer/songwriter performing alone, his songs are stories from his life or observations on life. While he didn’t have anywhere near the same size of audience as Ruby Fields, he’s got very vocal, devoted fans, some of whom sat cross-legged on the floor to listen to their god dexterously play his guitar and emote through his softly sung vocals. Maybe the Conor Oberst comparison I used earlier applies better here?

Daggy Man Thursday night at BIGSOUND 2017

 

BIGSOUND 2017: Day 2 Roundup (Part 3)

 
By on Tuesday, 26th September 2017 at 2:00 pm
 

From The Empire Hotel where Mama Kin Spender brought the house down and finished to raucous applause, my Wednesday night BIGSOUND 2017 rolled on to the TBC Club. I get it that it’s designed to be a space for DJs and their dance-inclined fans (more on that in a future BIGSOUND 2017-related feature), but I felt the next artist on the bill there didn’t quite fit right for the venue. Maybe I had already become jaded by the festival, but the smooth, honeyed vocals of Adelaide’s Lonelyspeck (real name Sione Teumohenga) made me wonder why, like they do for conventional singer/songwriters, they hadn’t given him a stool to sit on.

Lonelyspeck Wednesday night at BIGSOUND 2017

Given the melding of pop, r&b and electronic we’re seeing in the States and the UK and in ways we wouldn’t have imagined a generation ago, it shouldn’t have come as much of a surprise to me how much r&b inflection there is Teumohenga’s vocals and the overall vibe of his music. I guess if you’re reading this and you don’t fancy electronic but you love smooth r&b, then you should definitely embrace Lonelyspeck.

From r&b and Lonelyspeck, the rest of my evening was populated with dance and electronic acts from Sydney, Brisbane, and even a place found between them. Like all good electronic producer acts appearing at a music festival, Polographia were at BIGSOUND not to risk pretension but with one single goal, to throw a dance party to end all dance parties. Upstairs at the Mane Stage of The Woolly Mammoth, which had quickly become my favourite festival venue on par with Latitude 30 at SXSW, Sydney producers Moktar Youngblood and Daniel Finn were achieving that goal.

I arrived mid-set to squeeze myself between and past sweaty, dancing punters who were getting a workout to their take on chill wave and dance. To make things more lively in the live setting, Youngblood and Finn played guitars and drums live to previously recorded parts, much to the delight of the crowd who whupped it up every time there was an obvious instrumental flourish they’d thrown in as an ad lib. I think I would have been quite happy staying there, had they played a full gig at the Mammoth. Alas, I had a date with another artist…

What a difference 2 hours make. Earlier, Resin Moon’s set at Heya Bar was dreamily sleepy, and I didn’t mind it, as it’s nice to be able to sway to your fave electronic music without having the umpteenth person invade your personal space. No such luck upon my return to the club. I guess if you’re an extremely extroverted person who enjoys being squished up in a crowd while you’re dancing, this would have been your idea of heaven? Yes, I am a funny one when it comes to dance parties.

Willaris K., who described at an interview on Friday that he was from a tiny town on the border between Queensland and New South Wales, was up on the decks. When I finally was able to squeeze my body into the main room, I could barely make him out from his pedestal in the corner of the club. This didn’t matter much since I could hear everything he was doing. It was obvious from the gyrating clubgoers around me that were simultaneously in ecstasy over the beats, while simultaneously trying to secure their patch of real estate on the floor.

Unlike the big names in EDM that tend to make electronic music cold to a lot of people, Willaris K. is one of several rising stars coming up keen in doing something different, making interesting and unexpected sounds and turning what used to be pretty predictable electro on its head. In my interview with Willaris K. coming soon to TGTF, he’ll explain more on his songcraft and how important it was to him to hone this craft. At this point, all you really need to know – and what I hope will encourage you to investigate his music further – is that he’s intelligent about how to write and put an electronic song together, taking ambient music to another level with mood and texture. It’s impossible to put his music into words further, so check out his debut track ‘Alchemy’ below.

Back to the Woolly Mammoth’s downstairs Alehouse stage, this time for local young wonder Yoste, which supposedly rhymes with ‘lost’ according to his Twitter. Unlike Dave Bayley of Glass Animals who never managed to complete his medical degree, Kurt Sines just completed his law degree 2 months before this BIGSOUND, and I guess he can actually practise law once he passes the bar. However, just like Bayley, he’d much rather do music and hopes his current musical project will lead to a sustainable career.

Yoste Wednesday night at BIGSOUND 2017

And who’s to stop him, when he can put out some truly stunning pieces of electronic with emotion, cool as a spare finger snap, and at such a young age? The guy’s got serious talent on guitar and synth, as he proves through the rework below of a beloved Vera Blue track that the Yoste touch is golden. As a general rule, I don’t like falsetto, though I suspect Sines will be up there with Hayden Thorpe (Wild Beasts) and Jonathan Higgs (Everything Everything) soon enough if he keeps the quality of his tunes up. Despite an issue with a laptop acting up (who knew that laptops had to be fixed at a certain height to work properly onstage? Is this an Aussie thing?) and some difficulty with some annoying feedback crunches that shouldn’t be there, Sines got through it like a seasoned performer.

If you’ve done any research over the last few years for indie synthpop bands from Australia, Mansionair were sure to have come up at the top of your search. I know they did for me when they first came out to SXSW in 2015, the year after they released their ‘Hold Me Down’ EP. Earlier this year, they guested on Seattle duo and fellow synthpop act ODESZA, and there’s an air of anticipation hearing that they’ve finished an album and we won’t have long to wait to hear it. Well, that’s me being hopeful!


Mansionair Wednesday night at BIGSOUND 2017

While I was heartbroken I wasn’t able to fit them in on their return visit to Austin this year, I felt like I had a lucky star shining down on me so I could see them at BIGSOUND instead. It’s very special to cover a band in their home country, and so was seeing Mansionair in front of their local and very devoted fans. Many acts performing at this year’s festival were still in their early days of being an artist or group, only now just starting to find their feet. With all their gigging experience up to this point under their belts, Mansionair showed everyone how it’s done.

Their single ‘Easier’, released last year, is a prime example of this. Lead singer Jack Froggatt’s heart-wrenching lyrics on the sense of frustration that you’re going nowhere fast, with nowhere to go, is such a universal feeling, one of isolation and failure. They wrote it to be inspirational, to give hope that things do get better. Having been through some pretty dark days myself, a song like this is like an anchor for those days when you feel afloat with no mooring. The fact that Mansionair can convey such feelings, using such a beguiling combination of beats, synths and guitars to heighten the emotion, it’s like magic.

 

BIGSOUND 2017: Day 2 Roundup (Part 2)

 
By on Monday, 25th September 2017 at 2:00 pm
 

Following the first day of official conference sessions at BIGSOUND 2017 plus a visit to the Cattleyard Promotions’ sausage and beer party with music at Ric’s Backyard Bar, I was excited for the second evening of showcases. My first band of the night was a Brisbane group who had actually spent some time living and writing music in Manchester. As mentioned in my best bets preview back in August, Osaka Punch (it’s a pun, say it slowly with me) winningly meld funk, metal and prog and do so in a way unlike any other act you’ve ever heard. To be honest, how they sounded on the internet seemed to be too good to be true for real life. After seeing them live, I’m happy to report that they are exactly as advertised.

Osaka Punch Wednesday night at BIGSOUND 2017

The shape of 256 Wickham, the venue Osaka Punch opened Wednesday evening, seemed to be perfect for them. The stage itself had enough real estate to let frontman Jack pogo and roam around the stage like the crazy cat he is, the band tearing through energetic number after number. Local fans (or those from further afield who love their 2016 album ‘Death Monster Super Squad’?) filled the cavernous club, all more than willing to headbang along to the group’s brash tunes. They are unique with a capital U, and you should check them out.

From Wickham Street in the north, I headed south on the Valley’s main drag Brunswick Street to Heya Bar for a bit of a change of pace. From nearly 3,000 kilometers away from Brisbane in isolated Alice Springs smack dab in the middle of Australia, you could almost believe that Resin Moon (electronic producer Dave Crowe) travelled to BIGSOUND in his own spaceship. Indeed, his baggy white jumpsuit outfit for the evening seemed to suggest this and wasn’t lost on this child of a NASA scientist.

Resin Moon Wednesday night at BIGSOUND 2017

The futuristic feel of his brand of electronic fits into the image, too, and if you think about it, the Northern Territory’s desert must be as lonesome to make music in as the moon. Moving between boppy pop to tap your feet to and more chill, dreamy soundscapes effortlessly proved Crowe’s chops as a talented producer.

ELKI Wednesday night at BIGSOUND 2017

ELKI was my biggest surprise of BIGSOUND. As someone who has never felt any sort of affinity to Kate Bush (I know, I know, it’s like hating Radiohead, complete heresy!), I was expecting to react to a set by a woman who makes “subversive, melodic pop” by running away and screaming. Instead, I found ELKI playing the downstairs Alehouse stage at The Woolly Mammoth to be magically mesmerising, her performance theatrical and wholly engaging, with songs oddball, yet also smartly written and most of all, fun. I ran into the lovely lady the next day while waiting at the crosswalk on Ann Street and gushed over this performance of hers. She just grinned back in appreciation.

Seavera Wednesday night at BIGSOUND 2017

Then it was a quick stop up the stairs to the Mane Stage to catch a brief bit of Seavera. The male/female duo from Melbourne excel at sweeping vocal harmonies placed on top of electronica. But don’t worry, they’ve got both electric and acoustic guitars in the mix, so it’s not just synths, okay, guys? Unfortunately, I couldn’t stay long, as I headed over for my first visit to The Empire Hotel, where Mama Kin Spender had already begun their set.

Mama Kin Spender Wednesday night at BIGSOUND 2017

I’m not sure when or why soul singer Mama Kin (from Fremantle near Perth) and producer Spender (Melbourne) decided to put their individual careers aside to join forces. But you’ll find the point is moot when you experience them live. The combination of gospel/roots with pop in an excellent one, and joined by a chorus who, according to Mama Kin, only had a few short weeks to learn and practise before coming along with the two of them to BIGSOUND, it was an ambitious, soulful, foot stomper of a performance that worked. Mama Kin worked hard to win the audience’s approval, and she got it through their repeating back lyrics to her. To get an idea of what this sounds like live, watch the music video for ‘Air Between Us’ below.

 

BIGSOUND 2017: Day 2 Roundup (Part 1)

 
By on Friday, 22nd September 2017 at 2:00 pm
 

After the first night of shows Tuesday at BIGSOUND 2017, Wednesday came and it was time to be serious and attend some conference sessions. I began my day with the Stay Woke, Stay Punk, Stay Relevant session starring a panel of managers and bookers of punk artists and events. Based on the fact that this session even existed, there must be a popular misconception that punk artists are immune, or at least not bothered intellectually at all by the same financial problems experienced by artists of other genres.

Nothing could be further from the truth. The panelists were asked whether they’d be willing to put their artists’ faces on a Coca-Cola can to get sponsorship dollars. While there were some laughs, the unanimous response across the board was yes if the artists themselves decided for themselves they wanted to sign on the dotted line. Los Angeles band This Will Destroy You turning down a potentially lucrative and high-profile tv sync with Walmart is a good example that all bands, not just punk ones, have the opportunity and wherewithal in themselves to stand by their principles. [NB: Walmart has been hit out by musicians in the past for the wares they sell, including Sheryl Crow in 1996 in ‘Love is a Good Thing’.]

Stay Woke, Stay Punk, Stay Relevant panel

Warped festival’s decision to kick The Dickies off their tour after the band’s frontman made misogynist comments to a female punter was also unanimously agreed on, reflecting the changing tide in how women are treated both in the music industry and as fans demanding safe spaces. On a slightly different note on the same topic, Melbourne metalcore rockers Drown This City received what they perceived as unwelcome attention when it was revealed that they were one of only two acts at UNIFY festival in 2016. While they were encouraged by various outlets to speak on their unique position at UNIFY, frontwoman Alex Reade passed on all of these opportunities, preferring to be judged by their music alone instead of the words they might have said on a soapbox.

In terms of things directly applicable to TGTF, Hayley Connelly of UK company Little Press explained a time when she had to convince a now established punk act to do an interview with a grass roots punk outlet who had championed them before they had ‘made it’. Having been denied press with acts we have helped on the way up, I can certainly relate to the story and appreciate that some PRs like Hayley understand and support what us little guys do.

You might be wondering why I would attend a session called ‘The Growing Asian Market’. The last time I was in Australia, I was here for the ARIAs and attended the first-ever Masterclass as part of the inaugural ARIA Week. In case somehow you never thought about this, Asia is looked upon as an easier market to break and gain experience from for Australian artists. A big part of this is simply geography: have you ever looked at how expensive plane tickets from Oz to North America or Europe are? As an American with roots in China and Taiwan, I wanted to hear just how different the music scenes and industries in Asia were and how difficult they were to crack.

Unlike the Western markets we’re used to, gigs and tours are driven by demand by Asian fans to see artists, not album releases. Also, social media is an even bigger king in Asia: with the speed of media being spread around by young fans, it’s easy to go viral in a certain country or region if you’re considered a hot commodity. Knowing these tips are important keys in being successful in marketing artists and their shows in Asia. It makes sense, too, that similar approaches can be used in markets such as Melbourne, where large student populations made up of temporarily transplanted Asians act similarly to the way they do at home. The past success of Asia Pop Fest in Melbourne proves this. One wonders if similar efforts to spread Asian music should be done in cities with large Asian student populations like Sheffield and in an exchange program of sorts so artists from both countries can benefits. [NB: Later Wednesday afternoon, I also attended a session on blockchain and how it assists artists in receiving the royalties they deserve. Rather than make a mistake in explaining what some of these companies do, I suggest you follow Jaxsta, Paperchain and Zimbrii on Twitter and follow along.]

But it wasn’t all about sessions. The number of lunchtime and afternoon parties during BIGSOUND were astonishing, and upsetting if you were disappointed you had to miss any of them. Cattleyard Promotions offered up a BBQ at Ric’s Big Backyard and naturally, they had artists lined up to serenade those noshing sausages on the barbie (sorry, had to go there) and partaking in the free beer. The first act on fit perfectly into my afternoon: the elusive Didirri, whose Laruche showcase the previous night was the place to be. Is the lanky, long-haired singer/songwriter the next Hozier or Ed Sheeran?

Didirri Wednesday afternoon at BIGSOUND 2017

Maybe not exactly, but it’s obvious his lovelorn tales turned into song are easily relatable. If ever in the future he recounts a story about showing up repeatedly at a girl’s door like a lovesick puppy, only to find she’s been sleeping with other men and he couldn’t get the hint, I’d guess BIGSOUND 2017 was one of the first places he ever told the story publicly. I think we all root for the underdog and the downtrodden, so even though it seemed like a bit of a ploy to get the audience on his side, it worked like a charm. I expect Didirri to pop up to play shows in America and the UK soon enough.

Annie Bass Wednesday afternoon at BIGSOUND 2017

Annie Bass (solo, above) and Tia Gostelow (with a band) followed Didirri. Maybe it was the burning skin sensation I was feeling, standing in Ric’s backyard , but I wondered if either of these acts would have worked better in evening club settings. The voice of Sydneysider Bass got lost in the outdoor setting, as it was no match for her electronic soundscapes that took the lion’s share of attention front and centre. The country twang of tunes by Mackay, Queenland’s Gostelow and her band, while jaunty, wasn’t my cup of tea either. Imagine a young Stevie Nicks, but with dreamy and not rocky backing.


Tia Gostelow Wednesday afternoon at BIGSOUND 2017

I’m including a photo of RVG (Romy Vager Group) from Melbourne at an unofficial showcase at Bloodhound Bar later in the day, as there’s a lot of buzz behind them. Apparently they are a big deal in Melbourne. I honestly didn’t know anything about the group when I decided to go see them, but I’ll do some more research. In the meantime, read this interview with their frontwoman.

RVG Wednesday afternoon at BIGSOUND 2017

 
 
 

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There Goes The Fear is where we tell you about the latest music, gigs, and tours we love and think you should too.

We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like no-one's watching.

TGTF was edited by Mary Chang, based in Washington, DC.

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