BIGSOUND madness is finally here.
Brisbane's Fortitude Valley was packed out under the sweltering afternoon sun as crowds flocked down to get an early start, a good indicator of the infectious enthusiasm that audiences would display later on.Queensland sisters Vixens Of Fall opened The Zoo with a smooth fusion of entertaining country-rock led by heavy basslines, intricate guitar riffs, and powerful vocals. The sisters fronted with immense energy, really engaging with the crowd and encouraging active participation – they had people performing their choreographed dance moves while still on their first drink.
Their dancing added a visual punch to the music and was a refreshing break from the thrash of most modern rock bands – on the contrary, the sisters vibed like a dark ABBA. The Vixens' set was undeniably positive as they praised self-love and good times: "We are the party!"
Vixens Of Fall - image © KealiJoan Studios
Over at The Outpost, Kavi had the crowd captivated with his signature glittery, futuristic pop and equally glittery charisma, his larger-than-life personality filling the room.
The crowd ate up the unreleased tracks Kavi was performing, with everyone moving to pulsating bass and AutoTuned vocals. Near the end of the show he handed out business cards to clamouring fans, a humorous and personal touch which highlighted the uniqueness of his set.
The Outpost temporarily renamed itself the Young Care Stage and was proud to be a thoroughly accessible venue with easy wheelchair access, onstage sign language interpreters, and numerous other accommodations; a huge effort which showcases BIGSOUND's endeavours to push for inclusivity in music.
Joan & The Giants took to the stage with energetic indie pop that elicited bobbing heads all around. Frontwoman Grace-Newton Wordsworth stunned with powerful vocals and impressive high notes, portraying the band's moving and emotional lyricism through songs of personal tragedy and love.
Joan & The Giants - image © Sarah Caust
By contrast, Battlesnake was exploding heads over at The Prince Consort with true '80s style powerhouse metal. Costumed in a bizarre but successful mix of Devil meets Pope, playful lyrics of epic stories led the intensely high-energy metal breakdowns backed by impressive pyros.
Battlesnake brought to the stage all the visuality and entertainment factor of metal, moving beyond just heavy riffing into the realm of performance.
At the Black Bear Lodge, Brisbane heroes The Dandys put on an effortlessly cool show with punky guitars and thrashing choruses resembling heavy surf rock.
Light solos danced over heavy basslines and strong rhythm guitar, and the vocals added a distinct aesthetic bordering on grunge. They won over the crowd early with their clear style, authenticity, and enthusiastic welcome to country, with audience members yelling their thanks in response.
The Dandys - image © KealiJoan Studios
Next was Chitra, who filled the large open space of Soapbox Beer with an intimate and personal show. She brought all the introspection and honesty of bedroom pop onto a heavier sonic background, with noisy yet soft rhythmic guitar lines.
The set featured lots of newer tracks which had an uplifting energy and showcased Chitra's genuine personality well.
At Blute's Bar, Melbourne five piece The Slingers displayed their undeniable uniqueness and eccentric but down-to-earth country infused alt-pop style. With their recent transition into 'motel pop', their lyrics were defined by a sense of peaceful isolation in tragedy meets comedy style, conveyed further by ultra-raw vocals.
RAAVE TAPES changed things up at The Warehouse with their poppy dance-rock. Refreshingly quirky, the duo played well off each other, with thumping bass and vocal harmonies dominating the set.
With all the attitude of dirty 2010s pop, RAAVE TAPES brought more than enough energy to fill the big space and stood out among the other rock acts with their refreshing individuality.
Next door at Superfly Studios, The Omnific weaved genres together to create a huge wall of sound reminiscent of djent metal infused with elements of electronica.
As an entirely instrumental trio, their immensely skilled playing was at the forefront of their act, and the twin bassists proved their technical ability with hugely intricate finger-picked basslines, dancing between impressively playing in sync and dividing into lead and rhythm sections to display their individual prowess.
Drummer Jerome Lematua held his own against the chugging bass with fast-paced and exuberant playing, and when intense metal sections gave way to synthy breakdowns he was up behind the kit grooving and leading the audience's movements.
Logan - image © Sarah Caust
Back in the heart of the Valley in the packed Prince Consort, Logan's personality and natural charm dominated the stage.
His boppy high-energy alt-pop style brought a playful attitude to the venue, and his performance was overwhelmingly physical as he twisted and shook to the music – his cover of 'That's Alright Mama' was fun, fast, and authentic as he committed to the most elaborate of Elvis' moves.
Meanwhile, things couldn't be more different upstairs at La La Land as solo performer Rebel Yell stunned the crowd with her ominously dark industrial techno. The pulsating bass of her set resonated physically through the body, a vibe suitable for packed warehouse clubs with sticky floors, questionable doormen, and unbelievably good times.
Regardless of what you listen to, Rebel Yell's music will get you dancing, and she served as a perfect transition into the late sets with her party vibe.
Fittingly with Rebel Yell's aesthetic, there was a sudden strike of darkness outside – the comfortably warm night gave way to thunderstorms with shocks of lightning illuminating the Valley. This did nothing to dampen the party attitude, and herds of people ran from cover to cover along the Brunswick Street Mall, carving out dry routes to Full Flower Moon Band's show at The Warehouse.
Their set was immense – heavy, sinister, punchy and bold. For me, they were the best discovery of the day, and frontwoman Babyshakes Dillon commanded the audience with her dramatic alter-ego, bringing all the skilled riffing and volume of PJ Harvey.
Their sound was varied and full, interestingly diverse and haunting while remaining gritty rock & roll to the core.
The Grogans - image © Sarah Caust
Hype for The Grogans was buzzing across the festival, and this enthusiasm was evident in the fact they played outdoors during a downpour of rain and still drew a packed crowd. Their dynamic surf-rock sound had the audience dancing joyously, with couples and friends alike twirling together in the rain.
New songs from upcoming album 'Find Me A Cloud' debuted with great success, and the close friendship of the members was clear as they played together with effortless groove. The set had defined highs and lows covering everything from anthemic old songs, rip-roaring garage band riffs, and softer tracks with gentle sway.
The changeability of the weather rivalled the variety of music on BIGSOUND's first day, with all performances bringing something different to the table and excitement for the next two days palpable as the party continued through the night with DJ sets.
