Going to an All Tomorrow’s Parties [ATP] festival is like being in on a fantastic secret, a secret which has been kept from Australia’s shores for way too long. But this past weekend, Sydney finally got to see what the rest of the world doesn’t know about: the festival alternative to festivals, headlined and curated by our very own Nick Cave and the Bad Seeds. And thanks in part to Sydney Festival, we got the same festival two days in a row, held on the iconic Cockatoo Island in Sydney Harbour.
In doing so, everyone who wanted a ticket to the event got a ticket; and with neither day selling-out, it was clear the day would have a relaxed vibe before one even made it to the island. Indeed, it was so, and the atmosphere was something unique as a result. One rarely had to worry about queues or being squashed in the crowds- one could do what they wanted and see who they desired at any time. And thanks to some clever timetabling, there was rarely a clash that couldn’t be amended by just missing 15 minutes of a band here and there. This enabled the discovery of some very special performances by individuals with whom had remained foreign until that moment. Certainly no where else but this event would you be able to experience such acts. And as for Nick Cave, no one else performed on the island while he and the Bad Seeds took to the main stage, leading all attendants, an amalgamation of young and old, together as one, gazing in wonder at the headline event, whilst enjoying your space and your surroundings.
This was special. This was unique. This was All Tomorrow’s Parties.
Arriving to the island shortly after midday on the complimentary (but time specific) ferry service, I was pleased to see I hadn’t missed Sydney’s Bridezilla, thrilling the festival’s initial audience on the main stage. With much of the recorded material I’ve heard of theirs being nothing to write home about, it was here I discovered why this young group have gained so much support, generating so much hype: their live shows are absolutely outstanding. One might even say spellbinding. Fusing modern indie rock with classical and jazz (and everything in between), the energy of their music was found in the sax and the violin – the holders of which put everything they had, body, mind and soul, into every note they played. These kids know how to make music, and my sincere apologies to the band for ever doubting them.
Next up were Beaches, a similarly hyped band, with one less boy (i.e. none), visiting our shores from Melbourne. This time, however, I wasn’t able to see through the hype as to what made them so special. Sure they’re all girls, they know how to play their instruments well, and create a PJ Harvey meets The Breeders sort of vibe, yet nothing really jumped out at me. I would even go so far as to say I was bored. But perhaps they are more built for a smaller setting, and perhaps the few songs I caught aren’t their best. They have, after all, built quite a following in their hometown, which is only just starting to expand to Sydney, so I’ll definitely give them another chance to impress in the future.
Hoss, a heavy rock band also from Melbourne, also failed to impress. But that’s probably just because they were DEFINITELY not playing in the right setting. When I started listening to them as I walked from the Shipbuilders stage, they didn’t sound too bad, like an exceptional version of your local pub’s hard rock cover band. But I think that’s where they need to be heard, because once I got up close, they really came off as, for lack of a better word, pretty shit. And the lead singer probably should have talked less. Having formed in the 80s, perhaps they’re just getting a bit over it? Who knows, but all I know is that I’m not a fan.
Afrirampo, the first international act of the day, hit the Shipbuilders stage while those in the Turbine room played music trivia (seriously!), and couldn’t have been a more entertaining 2-piece. Singing songs about being happy, and us being happy, while yelling lyrics in Japanese, I can definitely see why they were chosen for the festival: they are ridiculously out there, over-the-top, and know how to put on an absolutely fantastic live show. Meanwhile, California’s Dead Meadow were lighting up the main stage, playing tracks off their latest album “Old Growth”. Arriving to the stage unfamiliar with their music, the three-piece instantly grabbed me with their borderline psychedelic rock. And also the drummer had a moustache that all would come to envy. While a couple of the songs did come across as a bit “samey” at times, I was definitely impressed by their lyrics and stage presence.
And the moustache.
The next few acts required a slight bit of running around, but this definitely paid off. Pioneers of Krautrock, Harmonia, brought some interesting music to the Shipbuilders stage, performing with guitars and keyboards plugged into computers, creating a unique ambience. Member Han-Joachim Roedelius refers to this process as “artistic science”. And with computers being a modern addition to the group’s performance since they were originally together from 1973 to 1976, it’s no surprise they still consider themselves experimental as well. Being a fan of the bands from which the members were spawned- Kraftwerk, Neu! and Cluster, I very much enjoyed their set, although I can understand that it wouldn’t have been for everyone. Especially in the middle of the day.
But that was the lovely thing about this festival, because if you didn’t like them, you could go over to the main stage and watch the Laughing Clowns perform one of their first performances since 1984. Formed by in the late 70s by Ed Kuepper and Jeffery Wegener in response to the break-up of The Saints, it came as no surprise that they sounded like what would have been, at the time, an experimental version of The Saints. While the sound is probably far less “experimental” or diverse when placed in a modern context, the music of Aussie 70s rock with aesthetics of jazz and blues, and even a bit of Krautrock thrown in for good measure, they would certainly have been impressive in their time, and were arguably no less impressive now. But if one wanted some real interesting music, they would have had to have walked up the hill to the Barracks stage around the same time. There, even Nick Cave and Warren Ellis stood with the crowd and watched Psarandois, the “master of the lyra,” a traditional Cretan folk instrument. I have to say that as far as I’m aware, this is an instrument I’ve never seen live, and it was definitely a mesmerising experience. The guy had a pretty hypnotic voice as well. Where else but ATP could you experience something like that?
Meanwhile, former Go-Between’s member Robert Forster brought quite a following to the Shipbuilders stage, playing material off of his latest solo album, The Evangelist, while Jason Spaceman’s Spiritualized were setting up on the main stage. The latter was definitely one of the main drawcards for me, and didn’t disappoint. Jason and his backup band put on the most polished set of the festival so far. But despite a lack of banter (with Jason not even facing the crowd), they got through quite a limited amount of material, with songs being drawn out into quite long, epic numbers. Now this wasn’t a bad thing, I just would have loved to have heard more. But as the set closed, surprisingly, with Spaceman 3’s “Take Me to the Other Side,” I couldn’t help but feel satisfied. Here, Jason launched into an epic tirade of noise, as he bashed up his amps with his guitar, ultimately knocking them over and bringing his set to an end. Definitely a great way to do so, and was fantastic to hear a Spaceman 3 track in the process.
Meanwhile, the terrifically unprofessional Passenger of Shit brought some humour to the Turbine room with his indescribable take on heavy metal … you can dance to (?), which even brought Nick Cave out to enjoy. Much like you experience at a festival such as Byron’s Bluesfest, when you’ve got the bands themselves walking around and enjoying the music with you, it’s then that you really know you’re at something special. And having the classic sound of The Saints up next, in a very rare appearance I might add, helped cement the festival’s status as such.
Having not grown up on The Saints, I have to admit I didn’t know too much of their music, beyond the standards like “(I’m) Stranded,” which brought everyone to their feet. But I nonetheless got the feeling that this was definitely The Saints V2.0. Much like the Laughing Clowns, they brought to the stage a brass section, which while tremendously, definitely felt a bit out of place. I thought these guys were pioneers of local punk music? I guess they have just changed along with the taste of their fans, because they certainly seemed happy enough! Those that weren’t happy enough, however, were able to enjoy the hypnotic blues of James “Blood” Ulmer as the sun was setting. With a crowd that overflowed the Barracks stage on the hill, sitting in pure silence, the sun began to set, Ulmer’s beautiful guitar echoed off the building around you. You couldn’t help but succumb to the tingling sensation of goose bumps. Needless to say, it was yet another very special moment that the festival and beautiful setting of Cockatoo Island was able to provide its guests.
But with no clashes, and an army of fanatics to support them, it was Nick Cave and the Bad Seeds in their 90 minute headline spot that would keep everyone talking. “Dig! Lazarus! Dig!” and “Red Right Hand” were stuck early in the set as darkness crept over the island. The immediate effect of this left an audience who were spell-binded, silent, listening to and embracing every word, every note, of their glorious music. This was the Bad Seeds at their best, and I can’t think of enough adjectives to properly sum up the true splendid nature of this performance. Not only the highlight of the day, not only the best band of the day in every respect, but one of the best live performances I’ve ever seen. Nick Cave was an absolutely incredible showman, and it was an experience one didn’t want to end. But with “Papa Won’t Leave You, Henry” finishing off the main set, it shortly did. But it wasn’t long before the encore took our breath away once more, with “Jesus of the Moon,” “Hard On For Love,” and personal favourite “Stagalee” (with special guest Jason Spaceman) finishing their set, leaving many to wipe away their tears of joy.
And it was on that note that I had to head home, regretfully missing The Reels, Fuck Buttons and Silver Apples. But it wasn’t because I didn’t want to see any of them – it was just that Nick Cave had provided me with such an amazing, euphoric performance, that nothing could come even remotely close. Thus, it was time to jump on the ferry back to the mainland and rest my sore legs.
And if all that music wasn’t enough (I don’t think I’ve ever been able to catch more acts at a single day festival before!), there was a cinema playing a selection of films chosen by Nick Cave. An art exhibit brought along a small selection of Louis Wain art for the first time to Australia, each piece chosen by Nick Cave. And let’s not forget the trivia in the Turbine room, and the lovely BBQ octopus that they were selling in the Tapas courtyard. There was a little bit of everything for everyone, a surprising amount of time to relax in the unavoidable sun, and I think the result was the best festival Sydney has seen in recent memory… possibly ever.
But shhhh. It’s a secret.
