31 degrees in Melbourne so first things first and it’s over to the merch booth to satisfy tradition by picking up a Laneway stubby holder before grabbing a beer to accompany my first act of the day. After disappointingly missing Geoff O’Connor due to a self-inflicted public transport blunder it’s over to EMA to kick things off. Playing an early timeslot which has allowed for a gig later that night at the Tote, the crowd builds with a genuine sense of curiousity in a woman who clearly wears her emotions on her sleeves (even when she’s not wearing sleeves, which she isn’t today). Erika M. Anderson exudes the sort of confidence that rather than seeming cocky or brash comes across as unapologetic honesty for who she is and what she has to say. Armed with a band containing an electric violin that looked as if it was carved out of piece of debris found on the way to the show it brings a chilling atmosphere that serves to heighten the tension delivered in lyrics such as “I wish that every time he touched me left a mark”. Drawing on material from her critically praised debut Past Life Martyred Saints my personal highlight was “The Grey Ship” in all it’s 3 phases of drama. Closer “California” showcased a full serving of EMA attitude complete with gun-cocked hand gestures made famous in the video. A stirring start to proceedings.
Austra followed EMA on the Young Turks Stage and set about putting on a visual feast as well as a sonic one. Commander of the crew, Katie Stelmanis formed the spearhead of a 3-pronged attack being flanked by 2 back-up vocalists of the interpretive dance persuasion with enough bling to cause a neck injury. Cranking out bass heavy beats that immediately got the substantial crowd moving (no mean feat mid afternoon in Melbourne) my attention was well and truly won. “Lose It” was the clear crowd favourite with it’s high pitched chorus that some dared to try and emulate as they bounced on the shoe-melting asphalt. The imposing in an ‘I’m buff enough to go on stage without a shirt’ keyboard player and imposing by name bassist Dorian Wolf, provided a henchman-like prescence at the stage rear as the female contingent of the band provided the showmanship. By the time they’d pumped out “Beat and the Pulse” there was no doubting Austra were a lock for my pleasant surprise of the day.
Having produced one of my favourite LP’s of 2011 Yuck were high on my iphone notes list of unmissable acts for the day. And it was with great joy that I did in fact not miss them. Picking out a perfect spot on the grassy knoll overlooking the Windish Agency Stage I was transported back to a time when the slacker guitar band reigned supreme. And reign they did, in a splattering of faded denim, big hair and rakish limbs they churned out an impressively filler-free set for a band with little to draw upon in terms of back-catalogue. Favourites “Get Away”, “Milkshake” and “The Wall” all received approving audience reaction but it was the non-singles that really caught my attention and began to push my appreciation of these guys to another level. “Suicide Policeman” was an album cut that I’d previously given relatively little time to but shone as a live track. Each of the 4 band members seemed to be operating from their own personal worlds, eyes down, faces fixed in concentration upon nonchalantly posed bodies with only the sounds from their instruments uniting them. This lack of fuss obviously fits the lazily understated 90’s vibe they exude but does so with a skill and sincerity that prevents it coming across as a cheap knock-off. The set closer came in the form of epic groaner “Rubber” in all it’s 8 plus minutes of fuzzy layered glory. My favourite set of the festival…so far.
The act I was most excited about seeing on this day was always M83 and whilst my expectations were high, I was also wary that my adoration of Hurry Up We’re Dreaming and general love of their electro-gaze sound could never allow these expecations to be met in a live show. With the sun having set and the moon now high above the Dean Turner Stage the scene was set for Anthony Gonzalez and co. to provide a memorable finale to the festival. Bounding out of the darkness and onto the stage they leapt straight into “Intro”, the perfect buzz-builder of an opener, my fears of being let down immediately evaporating. “Reunion” soon followed with it’s irresistable “oh oh oh” chorus which got the crowd into full voice and “Kim & Jessie” wound back the intensity a tad before “Sitting” was unleashed in a flurry of cowbell fury by band member Jordan Lawlor who’s simultaneous shuffling was a highlight in itself. For an act that on record seemingly rely heavily on electronic sounds I was blown away by how well the translation was made to the live setting. The soaring vocals of Morgan Kibby more than made up for the absence of Zola Jesus on “Intro” and the crashing drums gave the sound a scale worthy of a stadium-size audience. “Midnight City” arrived 3-quarter set and just when we thought we’d have to cope without a sax finale, out it came to fulfil one of the most anticipated moments of the day. The set concluded with “Couleurs”, a tease of a curtain call for the manner in which it energised everyone to the point it felt like the night was only just getting started. As we reluctantly accepted there would be no encore M83 sent me home on the highest note possible. It was a fitting end to another spectacularly curated Laneway from a band who miraculously managed to enhance my already lofty opinion of them.
jimmyfandangle 