Meadow 2021 was never going to be exactly the same as the festivals from a pre-coronavirus era.
As one of the first major music events to have been able to go ahead at all, it’s understandable that there were some changes to the way it operates.
For starters, although always a more intimate experience than many of its counterparts, this year’s Meadow, held in Bambra, Victoria, was capped at just 1,000 attendees.
Originally intended to include zones that would have restricted punters to particular areas, Meadow’s organisers instead opted to keep attendance smaller in order to avoid compromising the event experience.
Although festival-goers were encouraged to move around the event freely, there were also several signs reminding them to be mindful of social distancing and to carry masks at all times for when distancing wasn’t possible.
As excited as attendees were to be attending a festival, in many cases for the first time since the pandemic, there was still scepticism as to how our new way of living would impact the experience.
However, as the weekend unfolded, it became clear that what may have initially been seen as a hindrance was actually a blessing.
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Yep, having a reduced crowd made for one of the most enjoyable festival experiences I’ve ever had.
Signs at Meadow instructed: “No moshing. No crowd surfing. No stage diving. Yes dancing,” and punters willfully agreed.
The relaxed crowd meant that rather than having to contend with pushiness or aggression, audiences were able to entirely focus on the artists on stage. And boy, were they worth paying attention to.
We were treated to up close and personal sets from the likes of Surprise Chef, Close Counters, Bones and Jones, King Stingway and Prequel.
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One of the particular highlights was the characteristically rousing set from Melbourne music mainstays King Gizzard and the Lizard Wizard, who ordinarily play to much bigger audiences.
It’s a rarity these days to catch such a popular act in a smaller setting, a notion that wasn’t lost on the enthusiastic yet respectful crowd.
Yes, there was room for dancing, but the reduced capacity allowed for so much more.
Punk outfit Private Function delivered a delightfully chaotic set that involved potentially the world’s most unique cover of a Coldplay song, as well as the rules around crowd surfing being cheekily broken by frontman Chris Penney.
Meanwhile, when Angie McMahon lost her voice and was struggling to continue during her take on ABBA’s ‘Knowing Me Knowing You’, the crowd were able to help her by joining in for what made for a surprisingly tender rendition.
Meadow 2021 also saw performances from emerging acts like new-wave rock group Romero, who played their 13th gig, and Ctrl & Me, whose first-ever live performance was at the festival. How many of us can saw we witnessed a band’s live debut at a festival of all places?
To the delight of many, the surprises didn’t end when night one officially did. Instead, punters were instructed to head to the spot where the sun sets, where they found Alexander Biggs performing a peaceful set right from his campsite.
As hundreds of us sat silently listening to Biggs perform acoustically at 2:am, it dawned on me that such an experience would not have been possible had more people been in attendance.
Yes, there’s no denying we have lost some aspects from live music events as a result of COVID-19, but we’ve also gained a hell of a lot.
From stirring surprise performances in the middle of the night to intimate gigs from old favourites and newcomers alike, this year’s Meadow was a reflection of and credit to the best things about running a festival at a smaller capacity.
No, Meadow 2021 wasn’t as good as the festivals of yesteryear. It was better.
For more on this topic, check out the Live Music Observer.
