The Mona Sessions were held on the Friday, Saturday and Sunday evenings on the lawns of the Mona Museum. Each night showcased a diverse range of artists, both local and international.
The highlight of the Friday night was Scottish post-rock kings, Mogwai. Their set is larger than life with a sound that envelops everything, and a dazzling light display that almost overwhelms the senses. Songs were played from several albums from over 20 years of releases, including tracks from their 2021 album As the Love Continues. Their performance is a true testament to the idea that some bands need to be seen live to truly appreciate the grandeur of their music.
Similarly, the Shruti Sessions are an act that work best in the live setting. The ten musicians from both India and Australia combine the two cultures in a musical treat that is fun and exciting to watch. The banter back and forth between the drummers, which culminates in a free-flowing euphony. The Shruti Sessions also played eving and morning meditations at the Moonah Art Gallery.
Kutcha Edwards and the Australian Art Orchestra combined Kutcha’s beautifully melodic voice with the talented orchestra. Sitting on the lawns, with the beautiful Derwent River as a backdrop, the sun shining down, what more could one want. Opening the festival was Melbourne’s instrumental trio Koi Kingdom. Their free flowing individuality gave us a perfect introduction to what was in store for the rest of the day. For those thirsty for more, the Granada Tavern opening until the wee hours with Faux Mo. Otherwise an extended ferry schedule meant that one could catch the ferry back to Elizabeth Wharf.
The Saturday session opened on a more subdued but no less powerful note as Eleanor Jawurlngali Trio took to the stage. A Mudburra and Garrawa woman from a small outback community in the NT, Eleanor melds the contemporary and traditional, singing in traditional languages and English. Her beautiful, ethereal voice is complemented by the guitar of Mick Turner (Dirty Three) and elite cellist Stephanie Arnold.
French-Korean kids, Isaac et Nora are a young family based project that has taken the world by storm. Despite being in their very young teens, that have a maturity and talent that earns them respect. Their on-stage banter is sweet and innocent. They learned Portugese to be able play traditional Latin-American songs. As a nod perhaps to Mona Musical Director Brian Ritchie (former bassist of The Violent Femmes) a cover of “Blister in the Sun” was an interesting choice.
Next up were the hotly anticipated Canadian band Holy Fuck. Make no mistake, everything about the stage set up is top notch. The sound, the lighting, the room to move, the ease in which you can enjoy the performance means that all that the performers need to do is perform. Which of course Holy Fuck do. Singer Brian Borcherdt has a range of instruments that he uses to create sound. A slide guitar played with a knife. A machine that converts a reel of optical tape into music. A keyboard and guitar are fed through distortion pedals. All at the same time that Graham Walsh on a second set of keys, Matt McQuaid on bass and Matt Schultz on drums are creating a wonderfully discordant wall of sound.
The frenetic energy that Holy Fuck produced meant that the freewheeling sounds of the collaborative group of Lonnie Holley, Moor Mother and the jazz quintet Irreversible Entanglements took a while to find their groove with the audience. However, their powerful message of peace and love, gradually stirred the consciousness of the spectators. Like every good free form groove, once the groove is found, the music becomes magical.
On Sunday, the Faux Mo session at Granada Tavern took place in the afternoon. Holy Fuck did an encore session, which was even hotter and sweatier in the band room. This was a chance to see the magic again up close with the same intensity and power of the night before.
Heading back up to the Mona Lawns through David Walsh’s prized pinot grape vines ripe for harvest, the sun shone down brightly once again. However this was no casual start to the day as Australian punk band Little Ugly Girls fired up the crowd from the get go. The band was formed in Hobart in the 90s but never released an album until 2018. Fiery vocalist Linda Johnston is the epitome of punk rock energy and takes no prisoners. The front of stage filled quickly.
The rock theme continued as American band Wednesday played their first ever gig in Australia. Vocalist Karly Hartzman has a voice that blends country and indie rock seamlessly. Guitarist MJ Lenderman’s skills are second to none. It was an uplifting set that added to an already quality day.
Japanese pop-punk queens, Shonen Knife bounced onto stage in their primary coloured outfits and drew the remaining few audience members into the mosh pit. Their energy and enthusiasm on stage is infectious. Influenced by bands as diverse as the Ramones and The Beach Boys, their songs are simple yet effective. A cover of The Carpenter’s “Top of the World” sung in a pop punk style has to be seen to be believed. This session was Auslan interpreted and the interpreter had as much fun as the girls on stage. Songs such as “Sweet Candy Power”, “Bad Luck Song” and “Twist Barbie” are just plain fun.
The final act of the evening is Krautrock pioneer Michael Rother. The former Kraftwerk member has assembled musicians; a drummer, guitarist and a singer to recreate the prog-rock sounds of Neu! On a stage setup as already described, the sound was superb. He was clearly enjoying the experience as much as the audience were. There was minimal dialogue, but the occasional good natured banter helped solidify the connection between audience and artist. The sonic landscape expanding upon the physical landscape was sublime. A perfect finale to a fantastic three days of world class music.
FIVE STARS (OUT OF FIVE)
Mona Foma is Mona’s summer festival of art and music. It has no physical home, but this year was held in nipaluna (Hobart) and Launceston.
More information can be found on the website.
The reviewer attended the festival as a guest of Mona.
