Harvest Festival - Melbourne, 11th November 2012
Words: Todd Lockley
The trek out to Werribee Park was a long and testing one as all train services to the venue were conveniently shut down for track work on both days of the festival. Add to that a massive traffic jam on the sold out Sunday on the main highway and the extra heat from out of the ordinary beautiful Melbourne weather, comfort seemed to be on the back burner for the organizers at Harvest Presents. However it more so an unfortunate chain of events and, finally arriving at the Harvest site it was evident that there wasn't a stone unturned to make this a truly magical experience.
The shade from the vast amount of willow trees made for perfect coverage from the heat, there were plentiful places to get a beer and the smorgasbord of food meant something for everyone at reasonable prices. But lets talk about the music. The folk juggernaut that is Dark, Dark, Dark kicked off the day with an explosion of sound on the Red Tractor Stage, fusing breezy sounds with the wistful vocals of Nona Marie Invie, they drifted through Daydreamer and latest offering Tell Me.
Keeping it shady, The Dark Horses galloped out to a modest reception. Sexy and some what psychedelic in their delivery, the art rockers captivate the audience with buzz deliveries of Radio and Harry. Everybody's favorite one hit wonder from the 80's, Dexy's Midnight Runners had the "too ry loo ry ayes" ringing out for the celebration of stone wash denim that is Come On Eileen. However, it seems the band has dwindle in number since their golden year.
Harvest didn't hold back when it came to packing in the big bands, Los Campesinos! had a lot of members onstage, but with so much energy it was hard to take a head count, the same can be said for the almighty Mike Patton and his latest incarnation Mondo Cane.
The shade from the vast amount of willow trees made for perfect coverage from the heat, there were plentiful places to get a beer and the smorgasbord of food meant something for everyone at reasonable prices. But lets talk about the music. The folk juggernaut that is Dark, Dark, Dark kicked off the day with an explosion of sound on the Red Tractor Stage, fusing breezy sounds with the wistful vocals of Nona Marie Invie, they drifted through Daydreamer and latest offering Tell Me.
Keeping it shady, The Dark Horses galloped out to a modest reception. Sexy and some what psychedelic in their delivery, the art rockers captivate the audience with buzz deliveries of Radio and Harry. Everybody's favorite one hit wonder from the 80's, Dexy's Midnight Runners had the "too ry loo ry ayes" ringing out for the celebration of stone wash denim that is Come On Eileen. However, it seems the band has dwindle in number since their golden year.
Harvest didn't hold back when it came to packing in the big bands, Los Campesinos! had a lot of members onstage, but with so much energy it was hard to take a head count, the same can be said for the almighty Mike Patton and his latest incarnation Mondo Cane.
Boldly bringing an orchestra of 16 violinists, two percussionists, a six piece rhythmic section and three of the most beautiful backing singers you will ever see, plus the manic and magnificent Mr Mike Patton ranting classic Italian pop songs up front, Mondo Cane were the days highlight. It was impossible to take your eyes away from Patton, through the rough, blood pumping rant of
Urlo Negro, the soft and subtle delivery of Deep, Deep Down or the crowd pleasing treat of Yeeeeah (The Young Rascals/The Divinyls -Ain't Gonna Eat Out My Heart Anymore). So intriguing and entertaining that even major draw card Beck Hansen could be spotted side of stage distracted from his crossword puzzle book as Patton had everyone in attendance singing humming and ranting along to his wizardry, he even hissed at the requests of audience members begging to bare his children.
A little less hectic and more straight up were American college rock legends Cake, who brought great sadness to fans announcing "this will be our final tour of Australia, we wont be back again unfortunately". Despite this, they backed it up with enough hits to bring the smiles with You're Never There, The Distance and an absolutely terrible rendition of Black Sabbaths War Pigs, with singer John McCrea apologizing for his over indulgence of "beer and the sun".
Urlo Negro, the soft and subtle delivery of Deep, Deep Down or the crowd pleasing treat of Yeeeeah (The Young Rascals/The Divinyls -Ain't Gonna Eat Out My Heart Anymore). So intriguing and entertaining that even major draw card Beck Hansen could be spotted side of stage distracted from his crossword puzzle book as Patton had everyone in attendance singing humming and ranting along to his wizardry, he even hissed at the requests of audience members begging to bare his children.
A little less hectic and more straight up were American college rock legends Cake, who brought great sadness to fans announcing "this will be our final tour of Australia, we wont be back again unfortunately". Despite this, they backed it up with enough hits to bring the smiles with You're Never There, The Distance and an absolutely terrible rendition of Black Sabbaths War Pigs, with singer John McCrea apologizing for his over indulgence of "beer and the sun".
Portland's finest The Dandy Warhols were a lucky addition to the day after front man Courtney Taylor Taylor had spent most of the night in a "dodgy little crime scene looking Melbourne Hospital" with a bout of tummy bug. However it didn't hold the band back from bringing an amazing Dandy's performance, kicking off with a rendition of Godless which featured the original album trumpeter Vince DiFiore from Cake adding that little bit extra to such an amazing song. Latest single The Autumn Carnival was a show stopper of coolness, with drummer Fathead yelping in with the haunting backing vocals. The definition of beautiful that is Zia McCabe was also on song, with a full fledged rant through Horse Sized Pills before they closed with a rare rendition of You Were The Last High, Sad Vacation and the rollicking Boys Better.
The afternoon took a step in the lighter side of musicianship with newly reformed Ben Folds Five rocking out indie classic Underground, before Ben Folds admitted to drawing his first penis "on the wall of the Prince Of Wales toilet wall" (take a guess which state) before launching into Draw A Crowd, which also had the first and only sighting of spirit fingers float over the crowd.
On the smaller stages, The Black Angels smashed out a solid set to an interested crowd. Stephanie Bailey on the skins was hard to not stare at in awe, quite the beauty and one helluva heavy hitter. Many of their songs were recognizable from the sizable list of TV shows they have appeared on, though Better Off Alone as the major highlight of a solid set. Beirut were the biggest surprise packet (for this festival goer anyway). Having not been familiar with their work before, they were captivating with their instrumental delivery sparking memories of old spaghetti western gun showdown scenes with more beauty, and the melting vocal of Zach Condon had the sincerity and desperation of the late great Jeff Buckley.
Over on the Big Red Tractor Stage, Chromatics launched into Kill For Love and with subtle hints of Blondie, cannoned an epic set lasting through til Into The Black. Vocalist Ruth Radelet was amazing. It would have been nice to see these guys on a bigger stage, with a bigger sound system.
The afternoon took a step in the lighter side of musicianship with newly reformed Ben Folds Five rocking out indie classic Underground, before Ben Folds admitted to drawing his first penis "on the wall of the Prince Of Wales toilet wall" (take a guess which state) before launching into Draw A Crowd, which also had the first and only sighting of spirit fingers float over the crowd.
On the smaller stages, The Black Angels smashed out a solid set to an interested crowd. Stephanie Bailey on the skins was hard to not stare at in awe, quite the beauty and one helluva heavy hitter. Many of their songs were recognizable from the sizable list of TV shows they have appeared on, though Better Off Alone as the major highlight of a solid set. Beirut were the biggest surprise packet (for this festival goer anyway). Having not been familiar with their work before, they were captivating with their instrumental delivery sparking memories of old spaghetti western gun showdown scenes with more beauty, and the melting vocal of Zach Condon had the sincerity and desperation of the late great Jeff Buckley.
Over on the Big Red Tractor Stage, Chromatics launched into Kill For Love and with subtle hints of Blondie, cannoned an epic set lasting through til Into The Black. Vocalist Ruth Radelet was amazing. It would have been nice to see these guys on a bigger stage, with a bigger sound system.
Beck reappeared on the main stage once again, this time as the main course, kicking things off with Devils Haircut. He worked his way through a crowd pleasing set which even took in a rare rendition of indie alternative anthem Loser. Looking more like a member of the brethren in the head wear he sported, yet ever the rock star, he control the tempo armed with a guitar, a harmonica and that distinct whiny vocal. Great!
Rounding out the evening on the Great Lawn were the ever ambient, soothing sounds of the Icelandic aesthetic that is Sigur Ros. They entranced their fans and even those new to their sound in an epic crescendo to the main stage, with a strobing yet peaceful light show to draw the curious in.
Closing the the Windmill Stage on the other side of the park was American singer of soul and funk Santigold, working her way through feel good hits Say Aha, Lights Out and the epic "Brooklyn, We go hard!" anthem that is Shove It. Signalling the very end was L.E.S Artistes as a happy and satisfied crowd flooded out of Werribee Park and onto Flinders Station, excited already of whar next year's Harvest made bring.
Rounding out the evening on the Great Lawn were the ever ambient, soothing sounds of the Icelandic aesthetic that is Sigur Ros. They entranced their fans and even those new to their sound in an epic crescendo to the main stage, with a strobing yet peaceful light show to draw the curious in.
Closing the the Windmill Stage on the other side of the park was American singer of soul and funk Santigold, working her way through feel good hits Say Aha, Lights Out and the epic "Brooklyn, We go hard!" anthem that is Shove It. Signalling the very end was L.E.S Artistes as a happy and satisfied crowd flooded out of Werribee Park and onto Flinders Station, excited already of whar next year's Harvest made bring.