The immense crowd weighing down upon the RNA Showgrounds in Brisbane for the kick-off of the 2013 Soundwave Festival is as diverse as unsuspecting metal and punk music fans can get.
Watching a very drunk underage punter (who looks 16 at the oldest) be politely refused entry and overhearing a group of “Soundwave purists”, (one wearing a shirt emblazoned in angry type that decreed, “Lady Gaga Must Be Destroyed”), grumble and groan about the girl wearing the cartoon unicorn t-shirt or the guy with the enormous Native American headdress is about as aggressive as the day gets.
Unless, of course, you’re in the middle of one of many, many circles of death conducted throughout the day’s sets.
Bullet For My Valentine are doing a good job warming up one half of the main stage early in the afternoon, and it’s set to be a scorcher. Thankfully the one day of sunshine granted to Brisbane all week is Soundwave Saturday and the crowds are not shy in being grateful.
Shirts are off, heavily tattooed skin is burning in mere minutes and Bullet are walloping the crowd with hits, “Pleasure And Pain”, “Your Betrayal”, the titular track from their new album, “Temper Temper” and the long-winding closer, “Scream Aim Fire”.
Shortly after, Kyuss Lives! trolls onto the stage next door. It’s a precursor to the rest of the day; how snappy and smoothly everything runs. The stoner rockers from Palm Desert, California have the sun blaring in their eyes as they perform in front of their own back drop of a setting sun. Drawling, midnight-in-the-desert guitar riffs and sprawling, fuzzy jams ensure fans, there to see as close to the original Kyuss as possible, are kept happy.
But where is the passion from the band? They receive such rapturous response – one fan crying out during “Conan Troutman”, “I never thought I’d hear this song live!” – and yet frontman John Garcia just doesn’t seem too fussed to be there.
With such a convoluted past of legal affairs with original member Josh Homme, it begs the question: why bother when it doesn’t look like you’re enjoying what you’re doing?
Meanwhile next door, Stone Sour walk straight on stage and pull together more energy within the first few seconds of opener, “Gone Sovereign”, than their neighbours had their entire set.
With a charming and genial, “Well, well, well, well…”, it’s a pleasing set right off the bat from Canadian punk rock stars Sum 41.
Led by the charismatic and rather theatrical vocalist and guitarist Deryck Whibley, they charge through smash hits like “In Too Deep” and “Walking Disaster” (of course accompanied by backing vocals from the audience), a couple of meticulously chosen fans from Whibley are even pulled up on stage.
A chorus of “We Will Rock You” later, and the red from Whibley’s flaming hair is dripping down his face under the relentless sun as they wave goodbye.
The joints are rolled and ready for the B stage performers, the legendary Cypress Hill are the token “take a break from metal” band this year, and they still pull the big numbers in.
In fact, the traffic from people wanting to leave and others arriving is unbearably balanced and for three quarters of the LA hip hop group’s set, it’s a constant tug of war between the two groups of punters.
Finally, some reprieve as the numbers thin just in time to enjoy all the favourites, “How I Could Just Kill A Man”, “Insane In The Membrane”, “Rock Super Star” and, of course, “Hits From The Bong” – complete with packing and lighting choreography from B-Real. With marijuana being the underlying theme to most of Cypress Hill’s catalogue, the air is quickly thick with the potent smoke.
The bass brought on by Julio G throughout their set is long and lazy and shuddering and it is a brilliant companion throughout, while drummer Eric Bobo is a pace-keeping blur. They even play from the new collaborative EP with Rusko and the live result is a strange but likeable mash of well-written hip hop and blindingly catchy dance tracks.
Paramore kick things off with the tiny, red-topped blur that is Hayley Williams and her signature coloured locks. Although she gallivants to and fro the stage as they open with “Now”, unnecessarily pre-recorded vocals in the first song comes off as a bit slack.
Over at Stage 5, Duff McKagan (of Duff McKagan’s Loaded and, oh yeah, Guns ‘N Roses), is a little bit in love with Brisbane.
“We’ve got 40 minutes, you guys. I’d tell you some jokes or recount you some bullshit stories, but… you know. You guys are seriously amazing,” he exclaims breathlessly after a passionately performed “Lords Of Abbadon”, “I’m not just saying that. So we’re going to play something we never play live.”
With that they proceed to play Guns ‘N Roses – “You’re Crazy” and it is, simply put, awesome.
As the sun slowly but surely begins to set, Cancer Bats take advantage of the slight dimming of the natural light with the use of their own flashing ones. With siren-like guitar and a death circle created by the third song, this four-piece from Toronto puts on a set that is a highlight of the day; they are ultimate performers from start to finish.
Vocalist Liam Cormier is in the crowd’s arms or else thrashing about on stage and is clearly capable of handling his singing duties – and then a couple of harmonies are thrown in by guitarist Scott Middleton (who often plays one-handed) and it is a ferocious blend.
The pace of their set is impeccable as they balance punchy, off the wall numbers to long and gloriously driven stretches of metalcore.
They’re humbly surprised with their turnout and, considering they clash with big names like A Perfect Circle, Cormier sincerely thanks those present for “turning up to this party.”
Award for best dressed band of the day easily goes to Garbage. The American rockers, who released a new album in 2012, are chic and professional, yet unafraid on stage.
Frontwoman and many a young girl’s idol growing up, Shirley Manson kicks off her heels and zips up more performer-friendly combat boots and whose strength could be seen for miles.
“Stupid Girl” and “Why Do You Love Me” are played early on while “Only Happy When It Rains” and crowd favourite, “When I Grow Up” are both teamed toward the end of the set. “Cherry Lips” has some punters sitting down for the next band unable to resist a dance, as Manson squeals and waves at a passing freight train cheekily blasting its horn.
Before wrapping their incredible set up with “Vow”, Manson makes a point of discussing the lack of women musicians at the festival this year – aside from Hayley Williams, who Manson acknowledges respectfully – and so encourages all girls who are even just thinking about starting or joining a band to do so now because, “it’s cool as fuck. You get free clothes, you get free make up, you get to travel the world. So many girls want to be pop stars, but not enough girls want to be rock stars,” Manson laments with her sincere Scottish lilt.
The wind picks up, cooling many sunburnt necks, and the sun has well and truly set for arguably the most highly anticipated sets of the festival: the return of Blink-182, and it’s a corker.
While not technically on par with some other bands on the bill, the Californian punk stars make up for it in every other way. The banter is hilarious and near perfect (to the point where you wish Mark Hoppus wouldn’t cut Tom DeLonge off with “hey Tom. Wanna play the song now?”) and the repetitive slaps of song after much-loved song, inducing severe cases of nostalgia for all, is heart-aching.
The fact that closing with the awesomely offensive “Family Reunion”, complete with confetti explosions, actually comes off as a touching and rather poignant finish proves the power Blink remains to hold over their fans.
Joining the cattle line to exit this area of the festival is painful but mercifully short. The shuffle to get to the main arena feels long and tight but before you know it, “One” can be heard and Metallica are in sight on stage underneath sky-licking flames.
The response is monstrous and along with the pyrotechnics, pink fireworks adorn the sky above the RNA Showgrounds. It’s regal and it’s tenacious and it’s nothing less than expected from Metallica.
Even without the flamethrowers, fireworks, and advanced video screens, Metallica put on a truly inspiring performance. Everything is so clear, you can pick each individual instrument and listen to it trundle along on its journey in song. There’s no fuzziness, there’s nothing lax about any member’s demeanour and there’s a sense of clarity. They are on stage with purpose and reason and they blow minds.
Closing with bellowing sing-alongs, “Enter Sandman” and “Seek and Destroy”, the metal titans play a show where it’s no wonder so many bands throughout the day gushed over the honour of playing before them.
Despite the terribly ugly skyline of constant construction in Brisbane, the brightest day of the week was filled to bursting with a festival that met and exceeded the expectations of the sold out crowd.
Maybe tell that 16 year old he didn’t miss much, though.
