Falls Festival - South Fremantle Oval, 5-6th January 2019
Words: Todd Lockley
With the sun shining, Fremantle Falls Festival was in full swing. Scantily clad girls, glitter covered boys, men in safari suits, ladies in ballerina outfits, and yes, even a bunch of bananas wandering around together on Day One. The only real surprise was the production change from last year, where punters had to roam over the hill and into the carpark to find stage three. With the inclusion of a fourth stage this year, everyone was squished in nice and tight onto the main oval of the mighty, mighty South Fremantle Bulldogs! Woof woof!
Live, Hockey Dad were way better than they sound every couple of hours on JJJ, bringing a spring in the step to the early risers of the day. Their songs are all similar and their lead singer's voice is slightly annoying but they put on a good show. In a similar vein was Ocean Alley, who deserved the appreciative punters who withstood the sweltering mid-day heat for a set that was tight and a fun start to Day Two.
Now Falls always throws out some surprise packets, be it on the line up or onstage. Dean Lewis was not on this reviewers "to see" list but the 31 year old Sydneysider smashed it, belting out all those terrible songs that find their way from Triple J to easy listening stations. Seven Minutes was a sweet new track, recently written in a hotel room, about a friend who had passed. It showed the skill a lot of other performers on the day could only wish for. But we'll get to them soon enough! A cover dedicated to the band that "got me into music in the first place" echoed the sentiments of last year's Liam Gallagher performance, with Don't Look Back In Anger having the entire population of Falls singing their hearts out. Previous cover of Bruce Springsteen's Dancing In The Dark was also well received but it was big hit Waves that saw arms flailing and half cut Millennial's belting out that big chorus to their friends poorly.
Now let's just skip over 88 Rising, because they do not warrant existence, at all! According to their website, they're a seven-piece so called rap group, but they had only one member show up, half an hour late! Until he did, the crowd had to endure his hype-man Don Krez blubbering absolute bullshit over a mix ratio of every couple of second slow jams. Sometimes organizers get it wrong and this was one of those times. If you're gonna have hip hop on the main stage at such a pivotal time slot, then why the fuck is Briggs on the back stage???
"Briggs for PM" signs smashed your eye balls as the big man of OZ hip hop's back drop boomed almost as heavy as the bass that had him bouncing around the stage. After one song he thanked the crowd for coming out and announced that it would be his last song. Ever the lovable funny man, he proceeded to pose for photos at each portion of the stage for the fans before continuing a shit hot set. A set that deserved to be on main stage.
The DMA's never really lifted past first gear, sounding like a sad poor man's Oasis. Australia's new first lady of song Amy Shark was adorable, switching between acoustic and electric throughout. She mentioned Fremantle Falls was definitely her favourite and the crowd almost believed her. Her cover of the awful Weatus song Teenage Dirtbag was semi bearable but it was the effervescent Adore that kicked all the goals.
Live, Hockey Dad were way better than they sound every couple of hours on JJJ, bringing a spring in the step to the early risers of the day. Their songs are all similar and their lead singer's voice is slightly annoying but they put on a good show. In a similar vein was Ocean Alley, who deserved the appreciative punters who withstood the sweltering mid-day heat for a set that was tight and a fun start to Day Two.
Now Falls always throws out some surprise packets, be it on the line up or onstage. Dean Lewis was not on this reviewers "to see" list but the 31 year old Sydneysider smashed it, belting out all those terrible songs that find their way from Triple J to easy listening stations. Seven Minutes was a sweet new track, recently written in a hotel room, about a friend who had passed. It showed the skill a lot of other performers on the day could only wish for. But we'll get to them soon enough! A cover dedicated to the band that "got me into music in the first place" echoed the sentiments of last year's Liam Gallagher performance, with Don't Look Back In Anger having the entire population of Falls singing their hearts out. Previous cover of Bruce Springsteen's Dancing In The Dark was also well received but it was big hit Waves that saw arms flailing and half cut Millennial's belting out that big chorus to their friends poorly.
Now let's just skip over 88 Rising, because they do not warrant existence, at all! According to their website, they're a seven-piece so called rap group, but they had only one member show up, half an hour late! Until he did, the crowd had to endure his hype-man Don Krez blubbering absolute bullshit over a mix ratio of every couple of second slow jams. Sometimes organizers get it wrong and this was one of those times. If you're gonna have hip hop on the main stage at such a pivotal time slot, then why the fuck is Briggs on the back stage???
"Briggs for PM" signs smashed your eye balls as the big man of OZ hip hop's back drop boomed almost as heavy as the bass that had him bouncing around the stage. After one song he thanked the crowd for coming out and announced that it would be his last song. Ever the lovable funny man, he proceeded to pose for photos at each portion of the stage for the fans before continuing a shit hot set. A set that deserved to be on main stage.
The DMA's never really lifted past first gear, sounding like a sad poor man's Oasis. Australia's new first lady of song Amy Shark was adorable, switching between acoustic and electric throughout. She mentioned Fremantle Falls was definitely her favourite and the crowd almost believed her. Her cover of the awful Weatus song Teenage Dirtbag was semi bearable but it was the effervescent Adore that kicked all the goals.
Flight Facilities did their thing and they do it well, but it was Toto who won the weekend! Most people were there to hear "that song" about wild dogs crying above the Serengeti, but these guys pack an arsenal and they were on fucking fire! It didn't take long for people to realize they knew a little more than "that song", as Hold The Line had the kids cuing for Hilltop Hoods showing a little more interest to the goings on the other main stage. Their set was hit filled, and not entirely of their own. The Beatles' While My Guitar Gently Weeps was one of the moments of Falls, Michael Jackson's Human Nature was great and a rocking rendition of Weezer's Hashpipe was the perfect entree before Rosanna and the moment that everyone was waiting for, Africa. It was fucking magical! The synths floated through the air like canons of nostalgia and everyone copped it right in their ear holes. Simply bliss.
Juice Wrld had some sweet sound pouring out of the backstages and at one point had more audience members up on stage with them than out front. Vance Joy was simply awful and quote of the day goes to the bearded man heard uttering "I'm taking a piss, getting a drink and getting the fuck away from Vance Joy" (nice one Mark - wise decision). He crucified Lionel Ritchie's All Night Long - which was flatter than a singer ruining a classic fucking song. Then he played Riptide. Who cares?
Catfish And The Bottlemen were amazing. They rock and they rock well. Song of Day One, Kathleen, was brilliant and the loving life levels lifted when the chorus of Cocoon drifted out over the setting sun of the beautiful city of Fremantle. Taking the cake for best Hip Hop act of the past two Falls in Freo were the almighty Hilltop Hoods, kicking off with the Chase That Feeling and smashing their way through every single that came after that release. I Love It, 1955, Won't Let You Down and the greatest OZ Hip Hop song ever, The Nosebleed Section, had the peeps and the freaks in the front row rocking it. Through The Dark brought the frenetic pace down for Pressure's heart felt recollection whilst Rattling The Keys to the Kingdom was an interesting choice, forgoing any other tracks that came before Nosebleed in their vast catalogue of gems. Finishing off with the raucous Cosby Sweater, where Briggs joined them to spit a verse and all in attendance swirled their jackets around their heads in a visual explosion. The Hoods proved once again why they're this country's best live act, time and time again.
From one of the best, to one of the worst. You'd have to be a hard earned fan of Chvrches to have enjoyed the absolute rubbish they served up! And personally, this reviewer is a fan! They simply don't back up their fiery Scottish attitude with their performances or stage presence. Lead lady Lauren Mayberry sported 99 Big Day Out era Marilyn Manson blue eye shadow and spun around in her tutu like a pixie and swayed her way through happy clapper opener Get Out with the gusto of a church mouse. When Martin Doherty made is his way to stage centre, cursing the roadies setting up on the neighbouring stage and belting out dance moves that resembled Peter Garrett having a seizure to Under The Tide, you could see that the crowds attention was shifting and a flood of people made their way for the exits or to the little known act, Dizzee Rascal, playing the grave yard shift on the baby stage out back. The song that made them famous Lies was missing from the set list, showing a slight arrogance to what seems to be an angry trio of over achievers.
Interpol's low fi fuzzy brand of rock was an enjoyable finale to two days of absolute hits and misses. But that's the beauty of Falls; you discover new tunes, you get reunited with the old ones and it gives you something to look forward to each and every instalment. Can't wait to see Journey belt out Don't Stop Believing next year. Til then, we'll always have Africa!
Juice Wrld had some sweet sound pouring out of the backstages and at one point had more audience members up on stage with them than out front. Vance Joy was simply awful and quote of the day goes to the bearded man heard uttering "I'm taking a piss, getting a drink and getting the fuck away from Vance Joy" (nice one Mark - wise decision). He crucified Lionel Ritchie's All Night Long - which was flatter than a singer ruining a classic fucking song. Then he played Riptide. Who cares?
Catfish And The Bottlemen were amazing. They rock and they rock well. Song of Day One, Kathleen, was brilliant and the loving life levels lifted when the chorus of Cocoon drifted out over the setting sun of the beautiful city of Fremantle. Taking the cake for best Hip Hop act of the past two Falls in Freo were the almighty Hilltop Hoods, kicking off with the Chase That Feeling and smashing their way through every single that came after that release. I Love It, 1955, Won't Let You Down and the greatest OZ Hip Hop song ever, The Nosebleed Section, had the peeps and the freaks in the front row rocking it. Through The Dark brought the frenetic pace down for Pressure's heart felt recollection whilst Rattling The Keys to the Kingdom was an interesting choice, forgoing any other tracks that came before Nosebleed in their vast catalogue of gems. Finishing off with the raucous Cosby Sweater, where Briggs joined them to spit a verse and all in attendance swirled their jackets around their heads in a visual explosion. The Hoods proved once again why they're this country's best live act, time and time again.
From one of the best, to one of the worst. You'd have to be a hard earned fan of Chvrches to have enjoyed the absolute rubbish they served up! And personally, this reviewer is a fan! They simply don't back up their fiery Scottish attitude with their performances or stage presence. Lead lady Lauren Mayberry sported 99 Big Day Out era Marilyn Manson blue eye shadow and spun around in her tutu like a pixie and swayed her way through happy clapper opener Get Out with the gusto of a church mouse. When Martin Doherty made is his way to stage centre, cursing the roadies setting up on the neighbouring stage and belting out dance moves that resembled Peter Garrett having a seizure to Under The Tide, you could see that the crowds attention was shifting and a flood of people made their way for the exits or to the little known act, Dizzee Rascal, playing the grave yard shift on the baby stage out back. The song that made them famous Lies was missing from the set list, showing a slight arrogance to what seems to be an angry trio of over achievers.
Interpol's low fi fuzzy brand of rock was an enjoyable finale to two days of absolute hits and misses. But that's the beauty of Falls; you discover new tunes, you get reunited with the old ones and it gives you something to look forward to each and every instalment. Can't wait to see Journey belt out Don't Stop Believing next year. Til then, we'll always have Africa!