Taking over the Footscray Community Arts Centre on Saturday, Laneway 2016 was a rush of incredible performances, long walks and searing heat.
There were so many highlights that deserve to be rewarded, so here, without further adieu and in no particular order, are Tone Deaf’s inaugural Laneway Festival awards:
(Bass) Guitar Hero: Thundercat
Six-string bass in hand, Thundercat and band took the Red Bull Music Academy stage on a journey of progressive modern jazz. Thundercat ran through tracks from his entire catalogue, however the highlight was his 3-song ending medley containing Kendrick Lamar’s ‘Complexion (A Zulu Love)’, ‘Daylight’ and ‘Them Changes’. The sheer complexity and virtuosity of he and his band were a little too much for some punters, but those who stayed would probably tell you that this was ‘top 3’ material.
Best Version of Bjork’s ‘Hyperballad’: Japanese Wallpaper
Sure, there’s was the only version on the day, but Melbourne’s Japanese Wallpaper belted it out like it was theirs to an adoring audience at the Red Bull Music Academy Stage.
Best Queue: The single on-site ATM.
C.R.E.A.M.
Most Sunburnt: METZ
Standing directly in the sun on a 34 degree Melbourne day surely cannot be the easiest thing to do for a group of Canadians, but METZ thrashed through it with gusto and played one of the most frenzied and entertaining sets of the day.
Windiest Set/Dapper-est on ground: East India Youth
Alone on stage surrounded by synths, drum-pads, lap-tops and a bass guitar, it was a surprise that the waif-like William Doyle could stay upright as heavy winds nearly ripped the rear-curtain (and big-screen) off it’s rigging. Doyle gave people one of the day’s earliest chances to party with his one-man, bass heavy electronica.
Most Radical Shredding of the Gnar: FIDLAR
Appearing in front of a bespoke graffiti backdrop, FIDLAR (F*&k It Dude, Life’s A Risk) tore their way through a set of emotionally charged skate-rock to an impressively large crowd at The Very West Stage. In a word: Tubular.
Enthusiasm Award: DIIV
Playing through material from 2011’s Oshin and new album Is The Is Are, DIIV displayed so much youthful and infectious energy that it was hard not to sway along with the rest of the crowd while Zachary Cole Smith and band grooved through their indie dream-pop in the sun at the Mistletone stage.
The Hearo’s Hearing Protectiontm Occupational Health and Safety Award: QT
Turn it down mate; “The amount of a banger’s bangy-ness is not directly proportionate to the amount of volume applied” – Albert Einstein
Best Oasis Tribute: DMA’s
Appearing early in the day, Sydney chav-pop darlings DMA’s drew one of the largest crowds seen at the Dean Turner Stage. There was no questioning their influences as their soaring melodies and anthemic guitars rang out in the sun as if in attempt to summon the Gallaghers themselves.
These guys have been a band to watch for some time now, and with their new material sounding as solid as it does, excitement surrounding DMA’s shows no sign of slowing down.
Logistical Nightmare of the Day
A two way tie between anything happening at the very (very, very, very) far west stage and trying to get through the throng of sweaty bodies to see acts on the Dean Turner stage.
Best Use of Cowbells: Shamir
If there’s one thing that we knew in 2015, it was that Shamir’s ‘On The Regular’ was a guaranteed kitchen-dancefloor filler. It seems that rule also applies to thousand-strong festival crowds in 2016. The flamboyant, gender-fluid disco-house golden child had every punter shimmying in no time at all.
The C. Montgomery Burns Award for Outstanding Achievement in the Field of Excellence:
The Internet
One of the most exciting new bands to come out of the US of A in recent times, The Internet exploded onto the Dean Turner stage with the kind of energy and confidence usually seen in world-conquering superstars.
Comprising of two members of Odd Future and an insanely talented band, their flavor of soul, coupled with their razor-sharp hip hop sensibilities, gave the crowd a truly awe-inspiring show while Thundercat watched over his little brother (and rhodes player) Jameel from sidestage. ‘Girl’ saw the day’s largest and most passionate audience sing-a-long.
Most likely to tell you they’re from North Long Beach, California: Vince Staples
Staples has been on the hip-hop A-list since the release of Summertime ’06, a sublime and personal record that is at times intensely furious and others delicate and well spoken. Appearing live, staples is much the same, declaring early on that ‘if you’re not going crazy at the Vince Staples show, then you should leave right now’. Most, if not all, chose the former.
Greatest Reach: John Stanier – Battles
Every few years they come to Australia, and every few years Stanier’s cymbal stand rises half a foot in height. On paper, Battles’ blend of jarring progressive rock and loopy electronic experimentalism would put many off. However, in practice, this resulted in a raw and ethereal experience that saw their crowd go from hundreds to thousands in a matter of minutes.
Best Accidental Use of Silence in a set: Beach House
While a six second complete cut of power to the PA shocked the audience early on, a completely unfazed Beach House swayed and soared through their set of chilled indie hits. Victoria Legrand’s vocals delicately commanded attention while the rest of the band provided a bed of solid, reverb-soaked dream-pop ecstasy.
The Malcolm Turnbull #InnovationBoom Award: Purity Ring
It seems that Corin Roddick has invented a new instrument. Appearing amidst a dangling sea of LED lights, Purity Ring’s beat-man began to strike a row of 8 almost paper lantern looking midi triggers that were standing in front of his setup.
When the crowd realized these weren’t just props, a collective ‘WTF?!’ was heard throughout. Performing a broad range of tracks from Shrines and Another Eternity, Purity Ring gave the most emotive and impactful set of the day thanks to Roddick’s expert production and the transcendent vocals of Megan.
