The home of one of Australia's largest cultural events and curiosities, the Deni Ute Muster, Deniliquin's festival site witnessed a different kind of stampede this year at Play On The Plains 2024.
While the heat undoubtedly tested attendee's resilience (9 March), the diverse line-up and infectious energy of the crowd transformed the scorching temperatures into a backdrop of welcoming community spirit for a locally run party on the grass.Host and producer of triple j's 'The Hook Up', Pip Rasmussen held down the role of emcee for the day, taking the mantle with electrifying flair and personality from her introductory speech onstage that led into a blinding set of charming pub rock from The Carp Factory.
Pip Rasmussen - image © Mike Lockheart
Adorned in a riot of AFL guernseys, The Carp Factory (made up of Deni natives and Melburnians) defied expectations as opening act. Forget the mellow fishing trip soundtrack their name might imply, these guys injected a potent dose of high-octane rock into the midday heat, early on.
Their songwriting, brimming with quirky humour and an abundance of aquatic references, served as a compelling soundtrack to the baking sun. However, The Carp Factory wasn't just about lighthearted fun; powerful riffs, dynamic stage presence, and lead vocals seamlessly shared among the band members proved they were a force to be reckoned with.
With main stage intermissions underway, entertainment was packed full with continuous live music by way the Battle Of The Bands stage, which hosted up and coming acts for the consideration of the crowd and judged. With a seamless transition by way of emcee Pip, Kita Alexander then graced the main stage, offering a welcome respite.
Kita Alexander - image © Mike Lockheart
Her ethereal presence and dreamy vocals, perfectly suited for songs like 'Best You Ever Had' or 'Between You & I' transported the audience to a world of blissful tranquility. Imagine swaying in the gentle heat, momentarily forgetting the sun's glare as Alexander's voice washed over the crowd.
The energy shifted gears with the arrival of Alex Lahey. Her affable spirit was palpable as she launched into a set brimming with anthemic choruses and electrifying riffs. Tracks like 'You'll Never Get Your Money Back' and 'Every Day's The Weekend' had the crowd jumping, their worries melting away in the face of Lahey's rebellious energy.
She wasn't just performing a perfunctory festival set; Lahey was an instigator, urging the audience to let loose and celebrate the music, aided greatly by the ferocious passion of her band, especially guitarist Matt Jennings.
Following Lahey's rousing set, Northeast Party House went so far and then some to inject a jolt of pure party energy to the oval. From Melbourne, the six-piece veterans known for their infectious blend of dance-pop, indie rock, and catchy lyrics launched head first into a set of barnstorming electro-pop-rock anthems.
Northeast Party House didn't disappoint. Fuelled by driving beats, swirling guitars, and Zac Hamilton-Reeves' charismatic vocals, they delivered a set packed with anthems like 'Brain Freeze' and 'Magnify'.
Northeast Party House - image © Mike Lockheart
The band's playful stage presence was on full display, with each member contributing their own unique energy to the performance.
Whether it was Jack Shoe's searing guitar riffs, Malcolm Besley's thunderous drumming, or the dynamic interplay between Sean Kenihan's synths and Mitch Ansell's rhythm guitar, Northeast Party House created a sonic maelstrom that had the crowd dancing and singing along. Their performance served as a potent reminder that sometimes, the best way to combat the heat is to simply dance it off.
Wandering the festival grounds, it appeared this advice was constantly heeded, as Guru Dudu's Silent Disco made the rounds, appearing to pick up new participants with every lap.
Lead by the energetic joy of Mr Motion, dancers boogied to the sounds of Macklemore's 'Thrift Store' and Black Eyed Peas 'Pump It' amongst many, many other tunes, seemingly unbeknownst to onlookers, with only those in-tow privy to the lively music in which to boogie to.
Guru Dudu and the Silent Disco - image © Mike Lockheart
Once temperatures had eased and the sky turned a shade of purple, Baker Boy's arrival marked a pivotal moment, igniting the festival with a pulsating celebration of indigenous pride and identity. Songs like 'Meditjin' resonated deeply, a testament to the rich cultural tapestry of Australia, but it wasn't just the lyrics that captivated the audience.
Baker Boy's incorporation of the didgeridoo added depth and excitement to his performance. As the haunting tones of this ancient instrument reverberated across the plains, a profound connection seemed to form between the artist, his heritage, and the land itself.
In large part solely responsible for drawing visitors from far and wide to the quiet, 8,000 resident town of Deniliquin alone, the night belonged to King Gizzard and The Lizard Wizard.
Deniliquin native and King Gizzard drummer Michael Cavanagh added a special layer of connection to their performance with his family members watching from the stage, having taken the time through the day to pose for photos sign memorabilia for fans.
King Gizzard and The Lizard Wizard - image © Mike Lockheart
Their set was a psychedelic-rock-meets-heavy-metal odyssey, a sonic journey that took the audience through swirling guitars, hypnotic rhythms, and a kaleidoscope of musical influences with a mind-bending visual experiment taking place on the screen behind them.
Opening with the pulse-pounding 'Boogieman Sam', they set the tone for a truly rollicking experience, featuring a lengthy improvised jam, bringing the track to a climax ten minutes in. It came as a shock then that the band would follow this up with a near 20-minute performance of 'The Dripping Tap', with the mosh losing its mind.
Fan favourites like 'Mars For The Rich', 'Gaia' and 'Gila Monster' kept the energy high, as the Melbourne-based, every-genre band explored some of their heavier back catalogue entries, sending waves of excitement through the crowd, with the moshpit on multiple occasions turning into viking-esque longboat rowing simulations on the dusty ground.
The true climax arrived with 'Billabong Valley', a mesmerising blend of microtonal melodies, hypnotic rhythms and Ambrose Kenny-Smith's scorching vocal talent that transported listeners back in time on a quest through Kelly Gang-era Deniliquin and 'Mad Dog Morgan''s reign of terror.
This was King Gizzard and The Lizard Wizard at their finest, showcasing their signature experimentation and genre-bending tendencies, delivering a deep cut, rewarding all who'd braved the heat through the day.
King Gizzard and The Lizard Wizard - image © Mike Lockheart
This set marked King Gizzard and The Lizard Wizard's only Australian show for 2024. News of this exclusive performance evidently ignited a fire within the band's fervent fanbase, affectionately known as Gizzheads.
Dedicated followers from across the country, and even some from overseas, embarked on pilgrimages to Deniliquin, transforming the festival into a mecca for psychedelic rock enthusiasts for one (hot) day. This influx of passionate fans created a unique sense of camaraderie and shared passion.
Festival-goers, united by their love for King Gizzard's music, formed a temporary community amid the sprawling Deni plains as the arid terrain cooled off in the evening, in time for campers to get settled before, for some, a long drive home.
More photos from 2024 Play On The Plains.
