SCENE & HEARD FESTIVAL (NEWCASTLE) - 10TH NOVEMBER 2019
PHOTOS BY: MONIKA SMITH / WORDS BY: LEWIS MORLEY
FULL PHOTO GALLERY: RAWING IN THE PIT MEDIA FACEBOOK
Nestled amongst towering fig-trees which ring Wickham Park is one of Australia's premier nostalgia festivals. Focused on the biggest music from the 90s and early 2000s, Scene & Heard Newcastle is the relatively pint-sized sister festival to This-That.
One of the strongest points for Scene & Heard is this partnership: both festivals share significant organisation and infrastructure, being held one day after the other. Where This-That is at the bleeding-edge of music, hosting the newest, most popular current artists, Scene & Heard goes the opposite way, playing almost as a slower after party, showcasing classic hits.
This partnership is much to Scene & Heard’s advantage, as it gives the smaller festival access to a much larger venue with significantly more infrastructure and amenities than it could justify alone. So, while the festival area is trimmed down slightly from that of its larger sister (one stage and a small DJ tent), it still uses almost all of the massive park, which gives Scene & Heard room to breathe, even during the headline act. This also means more than enough food and drink options, short lines, plenty of grassed space for chilling out, and even a surplus of toilets (which is very welcome). Altogether this makes for a more laid back, easy atmosphere than the packed crowds of many larger festivals, and one main stage with manageable band-breaks (just enough time to grab some food) means there’s a whole lot less stress and absolutely no FOMO.
Some of the best acts of the 90s and early 2000s made the cut for Scene & Heard Newcastle on Sunday the 10th of November. Many of the artists who turned up absolutely could have headlined almost any festival at their peak popularity, and I was genuinely impressed by how little the years have changed their sound.
First up was Even, and I may be showing my youth by saying that I’d never heard of them before Sunday, but my scepticism was immediately shut down by their opening song “Stop and Go Man”. Its distinctively 90s indie sound, to me reminiscent of You Am I (one of my favourite bands), immediately had me feeling the era, and completely suited the dusty festival-at-midday vibes. Punters, many with folding chairs and picnic blankets in tow, trickled in at a steady pace, and by the end of their set the mosh was filling out nicely, with a solid ring of chairs and blankets behind.
Following Even, and a 20 minute break during which Gyroscope’s “Doctor Doctor” helped fill the void (definitely more than once), Magic Dirt crashed onto the stage looking as 90s rock cool as ever. They got off, in my opinion, to a rocky start, toying around experimentally for an over-long instrumental, but then settled into their stride. Their huge, epic sound filled the half-amphitheater as Adalita heralded the intro for “Plastic Loveless Letter”, at which point most of the lawn chairs spilled their (now frantically dancing) owners into the pit. The song ended with a tribute to late bassist Dean Turner, as Adalita plucked those punters drinking Jack Daniels (Turner's favourite) from the crowd, bringing them onstage for a pretty hectic rendition of “Dirty Jeans”, complete with tambourine borrowed from The Dandy Warhols. Altogether, and as was a trend throughout the day, a throwback to some amazing hits from the last few decades, their set ending with a classic, terrifying, and fittingly theatrical almost-smashing of their instruments.
Another run of “Doctor Doctor” for good measure and it was time for one of my most anticipated acts, Sneaky Sound System. Angus sauntered onstage first, teasing the now screaming crowd from behind his desk with warbling synths and hard beats, before a peaked roar from the pit announced Connie’s entrance to the stage. The clarity and soulful power of her vocal performance was nothing short of mind-blowing. The billowing clouds of smoke and dust picked up by the breeze mirrored the rippling, flowing majesty of her outfit (which I choose to believe was tailored specifically for this performance), and the smooth ebb and flow of her voice. This was an absolutely packed set, with the duo spinning back-to-back bangers for a solid 40 minutes. “Kansas City” had the crowd on their feet again, chests pounding with the beat, before Connie whipped them into a manic screaming mass for “UFO”, the perfect electropop singalong.
Then came alt-rockers Jebediah, with Vanessa sporting a fantastic mohawk/mullet combination (dare I call it a mollet?) and Kevin Mitchell (Aka Bob Evans) sporting his distinctively Aussie, nasal punk voice. Emancipation anthem “Leaving Home” had punters literally tearing off their clothes in excitement. Crowd choruses of ‘I hope you come around’ abound for “She’s Like a Comet”. Overall the Perth crew haven’t lost an ounce of energy, delivering hits like “Harpoon” and “Fall Down” with an obvious excitement, and an unmistakable joy to be onstage.
Alex Lloyd may be best known for his memorable vocal performance on Hottest-100 (2001) winner “Amazing”, definitely one of the biggest earworms of the decade, but his strong, confident vocals cut well into a much deeper repertoire than I’d given him credit for. While I was almost entirely unfamiliar with his catalogue, the few I knew (“Beautiful”, “Green”) were surprisingly magical (Alex’s fantastic vocal control has, if anything, improved with age), and the majority of his set passed as a welcome mid-afternoon breather between some pretty intense and energetic acts.
Eskimo Joe (who were absolutely ROBBED of a 2006 Hottest-100 win), and they’re still rolling strong! There’s hardly a better song to open a set than “Sarah”. With its rhythmic tics, spine tingling pick grind, Kavyen’s hushing, distinctively rounded vocals and building crescendo into ‘EMERGENCYYY’. It filled me with warmth to see the pure joy the three clearly derived just from performing, backed up by the energy and skill which got them the fame they so rightly earned (much better than Augie March... Australia, the way you vote is truly confounding sometimes). The trio made the most of plentiful stage space, and wasted not at inch of it - playing to the adoring crowd, whirling and running to punctuate the ethereality of “New York”. Ending the set, hearts ticked along to the majesty of “From the Sea” (at least that song came third to actual competition in 2004), and I was genuinely disappointed to see these absolute masters leave the stage. If you’re craving some Joe as much as I am writing this, they’ve just released a ton of classics backed by Perth Symphony Orchestra - go check it out.
The only imported act on the bill, The Dandy Warhols, came out to a hypnotic buzz, quickly followed by a deathly silence. Technical difficulties, apparently, but understandable - as Courtney Taylor-Taylor so perfectly put it: ‘We require huge amounts of energy to rock so massively’. It’s a testament to the professionalism and skill of the Scene & Heard team that everything was back up in only a couple of minutes. The speakers resonated to the rumbling growls and hypnotic warbles of Zia’s impressive synth setup as the Dandies’ signature blend of psychedelic/shoegaze rock took hold of the audience. The entrancing atmosphere was only enhanced by the almost permanent, familiarly sweet plumes of stage smoke (I pity you, Monika, lost in the primordial fog of the photo pit).
Sun set to the soundtrack of Veronica Mars, as “We Used to be Friends” brought our nostalgia across into other media (and reminded me how ridiculously little Kristen Bell has aged in the last 15 years). This, of course, elicited a massive audience reaction, with people sprinting past me from all over the site, vying for a prime dancing position. With the going down of the sun came the light show; suitably hypnotic as the set hit a true psychedelic stride - the return of the tambourine, the rhythmic wash of the bass and soothing rolls of Courtney’s voice. Almost to punctuate the psychedelia, barefoot dance circles started to spring up on the outskirts of the pit, kicking up small puffs of dust to glow in the evening light and throwing back to the primal heart of festival culture.
The dark of night had truly set in, blinding spotlights roamed the crowd like an alien invasion. The official headline, Wolfmother, arrived behind a full wall of smoke to howling guitars and the screams of the masses. The smoke cleared to “Victorious”, a more recent hit and powerful starter to the main event for the night. It’s been a day for distinctive voices, but arguably no voice in Australian music is as recognisable as that of Andrew Stockdale. Probably no hair is quite as recognisable either; Andrew’s glorious mane took pride of place onstage - perfectly preened, healthy and shining as ever.
Deftly sliding into “New Moon Rising”, Andrew expertly worked the audience into a hive-mind of claps - the song just makes so much sense live with its building power, tension and plenty of space for interaction, not to mention that fantastic wail!
As the set progressed to “Woman” I came to realise just how many hits the trio actually had; three songs deep and we’re still rolling in some of the biggest Aussie songs of the century, all of which have been masterfully built specifically for an intense live performance. My first thought was “How can they possibly build from here?”, but of course they did, pulling out their newest release “Chase the Feeling” with its crunchy rock’n roll guitar riffs, which drop off briefly, building the quiet tension into a perfectly retro sounding solo, executed with that mix of passion and technicality which brings shivers down your spine. My personal favourite - “Apple Tree”- was just as frantic and insane as I’d dared hope; the tight, claustrophobic chorus deftly conflicting with the broad sprawl of the verses. This speed then gave way to the epic, soul-filling breadth of “Colossal” with its Iron-Maiden-esque riffs and forceful vocals, the howls reaching levels of a shouted brutal intensity I haven’t heard since Ground Components’ barely controlled screams. At this point, the whole band is teasing the audience, ending every song with a dramatic flourish as if it were the last, each time inciting a massive roar from the crowd.
From the bluesy jangle of “Vagabond” to the screaming guitars of “Pyramid” it’s increasingly evident how varied are the influences and tastes of this insanely live-music-focused band. A bass heavy interlude pumped the blood back into everyone’s tired legs as the Wolfmother logo started to glow and grow and Andrew invited the crowd to another dimension. The lighting went insane, fitfully flitting from sky to pit and whipping beams of light chaotically across the field before slamming home as the grand finale pierced the crowd’s screams - that most iconic intro - “Joker and the Thief”. It’s a song which just ripples through your soul live, and hammers in the fact that you truly are in the presence of Aus music royalty, and unquestionable masters of live performance.
Regurgitator, Shonen Knife, The Fauves & Nervous Wrex
Words & Photos by: Monika Smith
Kicking off the night were Sydney youngsters Nervous Wrex; (just making the assumption that they were probably not born by the start of the Gurg’s surge into our musical ear holes) they still manage to capture everything that you have been through whilst growing up; the insights to it all, falling in love and just your general overall life's hurdles which is relevant to just about everyone. Despite playing to a rather empty room, they managed to fill the empty spaces with their collective almighty sound, enthusiasm and ability to juggle different instruments. For the punters that turned up early their response to the delightful treat that they had experienced filled the room with cheers, applauds and they reciprocated Nervous Wrex’s infectious energy on stage which made it feel like the room was packed to the brim.
The room had significantly filled out by the time The Fauves were about to come on (a conversation with a couple of photographers made me realise that there may have been a bit of confusion with the timings of the show).
When it comes to The Fauves all I can say is “Coca Cola Sampler CD Easter Show” and a lot of people (my age and older) get what I am saying (I STILL have this CD). It came with the freshest of hits including The Favues “Dogs Are The Best People”. The voices of the crowd and the interaction from The Favues could be felt in every corner of the room. With the backdrop to their album “Driveway Heart Attack” added an artistic glow to the stage, the band has not faltered even after all these years to deliver a spectacular and heartfelt performance.
HOW IS THIS THE FIRST TIME I HAVE EVER HEARD OF SHONEN KNIFE??? So many lost years of being able to enjoy this magical and absolutely wonderful band. Formed in 1981 and even Kurt Cobain himself has sung their praises; for good reason too. You can tell they love what they do, because you can feel it in your soul. It bursts harder and louder than a glitter filled balloon. As we know glitter is a bugger to be removed but is a sparkly reminder of some good times that were had. Just thinking back to their performance makes me beam with a big old stupid grin. Fitted out with similar patterned tops, but different colours; they dominated the evening and the crowd were absolutely mesmerised by every single second of their set. I want to see them play 100 more times.
14 years old, singing, dancing and bassing to “I Will Lick Your Asshole.” Unit; ahhhhh the album that joined many others being played on repeat. Coming with me in my backpack; being spun in my walkman. Having a major crush on Quan for the rest of my teenage years. The silver album cover with a big yellow round circle in the middle, with the words “Warning 18+, This albums contains explicit language and is not recommended for persons under the age of eighteen” in a black outlined rectangle under the word Unit. Buying it from HMV where they didn’t care and I was happy about that.
I turned out just fine though! (I think...)
These guys have not aged in 25 years; they look like the youthful lads who started to dominate the Australian 90’s music scene with the Molly Meldrum stamp of approval.
Stepping out on stage looking like they had all gotten into a Pom Pom and glue stick battle in your relatives crafts room before the show started. Looking rather beautiful as the crowd held their breath as The Gurg began the night at at gentle simmer with Like It Like That and by the end of the evening everyone in the room would be boiling hot and served up a moorish feast.
To describe this show as THE BEST SHOW OF 2019 thus far, is the most understated thing I can go for right now; I feel disgusted to say it in such a fashion but how else to describe the sheer perfection and thoroughly enjoyable experience of Regurgitator would require a degree in Etymology, Linguistics and interpretive dance. None of which I have achieved in my life.
Between all the costume changes and shooting us into space with their honey dipped set; we were entertained with some videos (Shout out to Paul Curtis – or say so all the credits!) by a few blasts from the past such as Dylan Lewis to continue the momentum whilst Quan, Ben and Peter made for a quick change into neon tracksuits. The evening would see two more costume changes, the next to follow were 3 human sparkling disco balls. As the night progressed it is one of those nights you genuinely feel that it has gone by way too quickly and that is should never, ever end. Do over?
The Gurg continued to absolutely crush the crowd with their flawless stage presence, kicking in fond memories of our youth and also to be ever so grateful to be now living in this moment.
For the final costume change for the evening; springing out from the shadows in leaps, bounds and terrible executed Grand Jeté’s were the fully transformed Gurg-swans in their pink tutus with glowing fairy lights.
Oh what a sight to behold!
The band connect so well not just with each other, but they have this somewhat hypnotic trance like ability that just pulls you right in, so anything that you've been concerned about in life or any worries you have melt away. Just when you thought the evening could not get any better, Shonen Knife, and Nervous Wrex joined Regurgitator on stage for the final song Sedated by The Ramones.
500 Stars out of 5!
My only criticism of the night: It ended.
FLESHGOD APOCALYPSE - Crowbar Sydney 3rd November 2019
Photos and Words By: Monika Smith
We have spent 4 out of 7 days at the Crowbar this week and the venue never fails to deliver a spectacular show.
This show was headlined by the mighty Fleshgod Apocalypse who have been around for about 12 years now and their fans are just as enthusiastic even after all of this time.
To start the evening off Freedom Of Fear catapulted us into hyperdrive with their astonishing diversity forming this beautifully balanced sense of sheer chaos intertwined with the grand beauty of a painters masterpiece and then yanked you into somewhat of a submissive form when Jade (Vocals) would basically awaken you from your serenity to tear you back to reality with her commanding presence. People say that there’s not much to do in Adelaide where Freedom of Fear hail from, but that’s probably the best environment for the world to spit out the splendor of bands such as this.
Next up were Sydney’s Alchemy; this band has not been around for a while but what they have done since the time of their inception is nothing short of impressive. They have toured with the likes of Psycroptic, Obscura and Disentomb (Plus others). Continuing to throw the crowd into a seemingly endless tailspin the band with its intricate riffs and melodies; soaked with the feel of some heavily deep-rooted death/black metal whilst Nic nipple cripples you with his deep growls.
The crowd grew restless as the crew began to set up the stage behind a gigantic red curtain hidden from the eyes of the punters, they hurriedly got everything ready for Fleshgod Apocalypse to take command of the stage. Whilst the crowd buzzed from the high already set up by the supports. As the curtains pulled back, there in all her glory stood the Queen of Darkness, Veronica Bordacchini welcoming a roaring and overly enthusiastic crowd.
As the noise grew in the room all of the other members of Fleshgod Apocalypse took to the stage increasing the decibels of the crowd.
What came next could only be likened to one of the most perfect shows we have witnessed thus far. Not only was the sound on point, but the lighting was spectacularly done at all the right moments to future support the supernova of events that erupted before our eyes.
With their intricate orchestral moments, to its slam you to the ground sheer brutality from the gloriously dirt riffs, Paoli’s smack you around the head vocals and everything in between to create something so epically beautiful whilst maintaining its welcomed darkness.
We anticipate Fleshgod Apocalypse’s return, even though they have just only left.
FREEDOM OF FEAR
ALCHEMY
FLESHGOD APOCALYPSE
Grinspoon Chemical Hearts 2019 Tour Hordern Pavilion 2nd November
Words & Photos By: Monika Smith
In some countries people eat bugs as a part of their daily food intake and that’s just what happened in Sydney when Brisbane boys Bugs opened up for Grinspoon. The crowd ate them up like a delicious delicacy starter meal. The pop/punk trio fed the crowd just enough to get them salivating for more and to prepare them for the night ahead. With having scored the opening slot via Triple J Unearthed for Falls Festival I feel that it won’t be long before that these guys will be the main meal (or desert if you’re the kind of person that can make it that far meal wise) headlining at even bigger festivals and venues.
Up next were The Gooch Palms. This is the first time that I had seen or even heard of this band. If I could compare them to anything; it would be likened to stumbling across and unexpected TV Series on Netflix that you just cannot stop from binge watching. When Netflix asks if you’re still watching; you feel offended and of course you select YES! I could watch and listen to this band forever, on repeat and after a while question how many days/hours in a row that I have been in the Gooch bubble but also not caring that I haven’t showered in what seems like a decade. Not only do their tunes suck you right in with their unique lyrics and make you shake your butt to their sound; Leroy and Kat manage to command a huge presence on stage that will forever keep you entertained. It will always be a YES from me; so please stop asking.
Starting to get a bit full with two more meals to go The Hard Aches were next up with their chilled but enticing tunes which a lot of the crowd vibed and sang along to. They feel like a mixing pot of a lot of different bands from years prior but in taking a piece from each of these have managed to turn their songs into something unexpectedly their own.
As a giant Grinspoon curtain covered the stage before one of Australia’s biggest rock bands came on stage the air felt almost electric and was filled with the murmured/excited conversations between the people in the crowd. Then as the banner dropped that energy was brought forth with an almost deafening roar from the crowd. Being one of my favourite bands, and the fact that they started the show with one of my top 5 favourite Grinners tunes DCX3 (which I loved to play on bass and yell the lyrics for my poor family and neighbours to be tortured to), I was attempting to shoot the show but then would also stop for a moment to enjoy having an unobstructed and close up view of these absolute legends. When you only have three songs to shoot; it seems like a lot, but it can be made worse when you are constantly being drawn in to live in the moment and forget that you are actually working.
From start to finish their performance in my mind was flawless, and to see them; even after all these years playing to a packed room goes to show that the love for the Grinners has not faded and will probably continue until we’re all using walkers and a new generation of rockers gets to be part of the mosh pit where we all once used to stand.
BUGS
THE GOOCH PALMS
THE HARD ACHES
KALMAH, VALHALORE & STONE SOVEREIGN - 2ND NOVEMBER CROWBAR SYDNEY
It all begins with an idea.
Gyroscope 4YRLV Tour 2019 - 31st October Crowbar Sydney
It all begins with an idea.
PHOTOS AND WORDS BY: MONIKA SMITH
One thing I like more than Sydney boys Fangz is the fact that Liam Cormier of the Cancer Bats (I have a CB tattoo; just to give you a little perspective) basically told them to form their band after a chance meeting after they were on tour in Europe and their (previous) band disintegrated.
Life can tend to royally crunch you up into a little paper ball, chew you up in a mouth hole, put you in a straw and spit you out into an entirely different pathway. Sometimes it’s a temporary shitstorm other times for these dudes, it was a blessing.
Let me ask you something dear reader.
1. Do you like freaking amazing punk rock?
2. Do you like to be entertained live by the above?
3. Do you like to breathe air to keep alive?
If you answered yes to at least one of these I highly recommend you get yourself to a Fangz show.
These fellas command the stage like they bought it without a mortgage; and their interaction with the crowd and infectious raunchiness can be felt all the way in the back of the venue.
Next up were also local lads Planet. I found myself a little mesmerized by these kids; at one point I got those kind of feels like I was a proud Mum but at the same time I was having a bit of a nostalgic familiarity wave wash over me from listening to similar bands in my youth that had a hint of Planet’s sound.
They have this connective vibe on stage with one another but this also seeps out into the audience and people who once were standing blank faced were smiling/swaying along to the band's sound.
Matty Took’s voice is the kind you want to listen to when you’re having a shitty day as it somehow just grounds you and makes you feel at ease.
I remember dancing around my room, singing and playing my bass to Gyroscope as a little teen. I didn’t want to be famous; I didn’t want to be in a band, I wanted everyone else to do the hard work, and just play concerts in my bedroom for no one to ever see (except when my Mum would walk in unexpectedly to praise my “talent”.) I had seen Gyroscope a few times growing up (with other bands such as my brother's friends After The Fall etc.), going to this show I wondered as an ageing lady myself, how they would hold up on stage. Whilst I struggle to get off the couch sometimes, the Gyroscope lads KILLED IT. I tend to see a lot of energy when I am shooting but this was second to none. Sometimes when you have to review and shoot a band you like; you sometimes get distracted and I took a lot less photos than I usually do (and a few were pretty garbage as I was enjoying myself so much that I forgot to change some settings) but that in itself says a lot about their performance on the night.
True Believer - The Servant Tour - Crowbar Sydney 30th October
It all begins with an idea.
PHOTOS AND WORDS BY: MONIKA SMITH
Local lads Amammoth began the evening with what can only be best described as filthy and nasty stoner sludge. As the room began to warm up (or that could have been the lack of air-conditioning and a balmy Sydney eve) so did the crowd.
Continuing the night of sludginess were the Burial Pit lads also hailing from Sydney. With a tight set and intriguing tunes that draw you in; they are a band to keep an eye on.
Acrolysis flipped the switch of pace swinging in a different direction by slapping us in our side face holes with an 80’s thrash metal vibe with a sweet twist of fast paced explosion.
Finishing off the night were Melbournian lads True Believer on their The Servant Tour (They’re in Brisbane tonight 31st October at Crowbar and November 2nd at Last Chance in Melbourne).
Gabriel on lead vocals and guitar obliterates your eardrums with his powerful voice box whilst his brother Luke tears his guitar to shreds and pipes in with some occasional vocals. With the energetic Duane (or is it a bass playing Kirk Hammett? You will have to go to a show to find out!) smashing it out on bass and throwing all sorts of shapes. Finally with Lach’s perfect precision on the drums; rounds out True Believer into a tasty and saucy heavy metally/rocktastic eruption that your eyes, ears and mind will thank you for being part of.
TOTTY, Bakers Eddy, Teen Jesus, Blue Velvet + more! - Crowbar Sydney
It all begins with an idea.
WORDS AND PHOTOS BY: MONIKA SMITH
If you didn’t get to Crowbar Sydney to be part of the benefit show for The SISTER2sister Program, you can still make donations or contact them directly to see what you can do to help.
If you or someone you know is experiencing violence or abuse and need help or support, please contact one of the support hotline numbers below:
Police or Ambulance 000
1800 RESPECT (1800 737 732)
Lifeline 13 11 14
Kids Help Line 1800 551 800
Thanks to Candace at Crowbar for organising our pass to the show!
First up on the bill was Northern Beaches duo Bullshirt with their garage-punky Bikini Kill vibes with the speed of a vinyl record being played at 78 RPM instead of the recommended 33 1/3 RPM, which kind of feels like a punch to the gut which makes you take the focus of your bad back whilst your earholes suck in the goodness.
When I am making a roast, I make it to perfection, and then in my haste, I go and screw up the gravy; Blue Velvet did not take the same pathway. Nay; instead they managed to make a spectacularly delicious treat with their tune “It’s All Gravy”. The crowd were engaged (without a marriage proposal) and cutting shapes on the dancefloor.
Ahhh Teen Jesus and the Jean Teasers. They are in a league of their own, but also rapidly shot me back to my youth blaring the likes of Sleater-Kinney, Veruca Salt and The Raincoats etc. The girls provide a tight set and an incredible freshness on the stage and the punters faces were plastered with gigantic grins throughout the show.
Speedy, noisy and delightfully dirty Melbourne lads Bakers Eddy we up next. You can hear their influences in their music, but what they have done is twist it juuuuust enough to make it something they can call their own. Watching them makes you feel like before they got on stage, they decided to drink 1ltr of Red Bull each because that is just how much energy they seem to have whilst up there.
Totty Rulez.
The End. Thanks for reading our review...
Ok Ok ok. I probably should write a little more because that is what I do.
Kelly Jansch is one of my new favourite fronthumans. She gives off this vibe of not really caring what you think because she just seems like she is having the best freaking time of her life on stage but also at the same time; she hopes you are having as good of a time as she is. The entire band together create this positive energy boom that explodes on stage and showers the audience with its molten hot happiness coating them in the same level of joy.
