An event as ingrained to the town as its historic harbour and lighthouse, Queenscliff Music Festival promises more than just great music.
Situated on the foreshore, the sea breeze blew across the site as eager fans of all ages set up camp chairs and got ready to savour it all across three days (28-30 November).
The acts were spread across three main stages: lighthouse, hippo and the pavilion, as well as DJ pop-up booths on either side of the grounds. Food stalls, activities and an exit leading straight out to the pier were all familiar sights for people who have called this festival home for many years.
The first act at the lighthouse stage was Fenn Wilson and the Weather. Wilson's brooding voice bellowed out across the grounds as the most eager of festival goers arrived.
The band was joined by an interpreter for the hearing impaired, who stood left of the stage and provided vibrant demonstrations of the sounds being created. The set slowly built in energy, almost in unison with the growing crowd, before reaching its climax in a cacophony of sounds from saxophone, guitar and vocals.
Fenn Wilson - image © Lucinda Goodwin
The festival had well and truly started, fans had arrived and a sense of anticipation grew. Tex Perkins and Matt Walker were next to grace the lighthouse. Playing originals written together, as well as samples of Perkins' early projects, the duo lit up the stage with passion. Perkins, well versed in the art of storytelling, was guided by incredible guitar work from Walker.
With the unfortunate withdrawal of Little Birdy due to an injured Katy Steele, Killing Heidi's Ella Hooper and her ensemble stepped in on late notice to perform a tribute to the great Linda Ronstadt.
Bright and bubbly as ever, Hooper pranced across the stage as she belted out classics. Any doubts surrounding the performance due to lack of rehearsal time were quickly diminished, Hooper showing the class and professionalism that has solidified her as an Australian music great.
Ella Hooper - image © Lucinda Goodwin
King Stingray rounded out the first night's acts at the lighthouse stage. The boys from Northeast Arnhem Land brought their distinctive combination of infectious hooks and hard hitting riffs to the masses.
In a special treat for fans, the boys introduced Australian rapper Baker Boy to the stage, playing the didgeridoo in tandem with singers Dimathaya Burarrwanga and Ngalakan 'Billy' Wanambi.
In a powerful moment, the crowd were asked to show their hands, a symbol for the diversity in this country. The crowd left their hands up and began swaying as the rockers closed out the night. King Stingray earned some new fans after that set.
King Stingray & Baker Boy - image © Lucinda Goodwin
After a successful first night, campers made the early walk back to the festival in time to see Sweethearts kick off proceedings on the second day. Formed in 1989, the band consists of students from years 10-12 who perform Motown classics as well as original music. A staple of the festival, the students proved once again that age is merely a number as they rocked the stage like seasoned veterans.
The family-friendly mantra of the festival was showcased through a variety of activities for young and old. Couta Quarter, a section of the festival devoted to the younger patrons, held plenty of options to keep children engrossed and entertained. This included a stage for puppet shows, as well as interactive games and activities.
Interactive plants that played music as they were touched provided plenty of fun for people moving from one stage to the next. Some talented festival-goers were able to manipulate the plants to create their own music.
The unexpected sunshine gave patrons a chance to visit food stalls and lay on the grass as they basked in the warmth, waiting for the afternoon's acts. Fresh off her ARIA win for Best Pop pelease, Thelma Plum arrived onstage to a chorus of cheering fans.
Plum performed some newer tracks off 2024's 'I'm Sorry, Now Say It Back', as well as the records that first pushed her into the forefront of the Australian indie scene. A loyal crew of supporters had made their way to the front barricade, screaming with excitement and hanging on every word Plum uttered. With clear emotion on her face, Thelma's soulful performance showed all the elements of an artist at the top of her game.
The Waifs - image © Lucinda Goodwin
Clearly a favourite act for many, the crowd swelled as folk legends The Waifs began their set. Sisters Donna Simpson and Vikki Thorn took turns performing silky renditions of their classics, while Josh Cunningham had some virtuoso performances on acoustic guitar.
Thorn made the harmonica sing while Simpson took the time to invite the Auslan interpreter on stage for a combined performance. While performing their classic song 'London Still', Simpson told a humorous story of a young neighbour not knowing her music. Laughing with fans along the way, The Waifs put together a performance that lived up to their reputation as a live band.
The Cat Empire held a captive audience in the palm of their hands as they entered the main stage. The eclectic ensemble were at their brilliant best, engaging with the crowd through sing-alongs and some theatrical moments from lead singer Felix Riebl.
Each member had their own moment to shine, with a brilliant trumpet solo from Roscoe Irwin rounding out a masterclass in jazz and funk. Riebl took a moment to address the crowd, mentioning how excited he was to see new generations in the crowd. The last song was dedicated to young people, and people who stay young until the end.
The Cat Empire - image © Lucinda Goodwin
If there were people still left wanting by the end of the second day, Cosmic Psychos gave them a set to remember. The no-nonsense punk rockers have had a long and storied career, playing at festivals with famed Seattle grunge bands such as Nirvana and Mudhoney.
Playing on the Hippo stage, fans from The Cat Empire set made their way over to an already full crowd. If fans did not already feel as if they were watching a '90s band, the surprise addition of Mudhoney drummer Dan Peters for the first leg of Cosmic Psychos' Australian tour settled it.
The song aptly named 'I Like Beer', off their similarly named new album 'I Really Like Beer', was a hit with fans. Anyone who had felt deprived of a good head rock were satiated by the end of the night.
In maintaining the connection between the festival and the town itself, pop-up gigs were set up at popular and historical sites around Queenscliff. Hotels and bars welcomed acts that had already played to the masses in the site.
The most unique of these pop-ups was the Peninsula Princess, a floating stage in which some lucky patrons were able to sample some of the acts while out on the water.
The ominous clouds that had lingered over the first two days of the festival finally released a downpour on Sunday. The rush to seek shelter resulted in a mass of punters cramming into the cosy pavilion.
Soaked to the bone and coffees in hand, early risers were treated to a beautiful folk performance by the duo Norwood. The rain finally relented, and rain jackets were swapped for wool knits as people made their way back outside.
Many artists took the time on the third day to congratulate the sound engineers, organisers and everyone else who made the festival a possibility. As the final headline act of the festival, The Preatures were an act worth waiting for.
The Preatures - image © Lucinda Goodwin
The famed indie rockers brought their jubilant sound to keen ears, playing folky records that moved into fast, upbeat rock. Lead singer Isabella Manfredi was her usual comical self, with a fake telephone call skit even added during the start of the set.
Manfredi spoke about celebrating the ten-year anniversary of Blue Planet Eyes, and announced news of upcoming new music, much to the approval of passionate fans. The crowd roared as The Preatures played 'Is This How You Feel?', finishing off with the big hit off an album that has touched the hearts of Australian fans for a decade.
After three days of fun, folk and the occasional downpour, Queenscliff Music Festival came to a close. Echoing the sentiments of the artists who took the stage, the community of Queenscliff and the people in it is what brings fans back to the festival year after year.
