A newfound approach at reviving Brisbane's live music scene was birthed in the form of On The Banks last night.
The Meanjin-based festival is a month-long outdoor concert series (concerts take place sporadically until 22 March) placed in none other than Brisbane's Southbank Parklands at the Cultural Forecourt with a huge stage erected against the city skyline.
Yes, the small stretch of land from the 7 News Wheel to the Cultural Centre has transformed itself into a makeshift haven for music lovers. Initially, I was concerned how the event would work logistically; how is it possible to fit a stage and standing area for a concert beside the Brisbane River?
However, it is masterfully done; a short 100 metre stretch homes food trucks, an assortment of seating opportunities, a bar and a large, festival-sized stage.
Shortly after the Welcome to Country, I found myself eagerly awaiting The Buoys' set (25 February). A mere 100 other people are loitering around me, most of them sitting down on the makeshift floor. As someone who saw The Buoys at their sold-out Crowbar gig just before Christmas, it's sad to see a small crowd show up this time (support opening bands!).
The set opens with 'I Want You', their single from 2023; it already feels special – at their Brisbane show in December, this single did not even make the set list.
The Buoys provide a more personal and sentimental show, all whilst acting like they're playing a sold-out stadium show. Zoe Catterall (vocals) whimsically chats with the crowd between songs, making a clear effort to call out fans in the crowd who are singing their lyrics back.
Under their killer graphics on the screen, the four girls absolutely send it for every song. Courtney Cunningham (bass) is jumping to the beat, Hilary Geddes (lead guitar) admirably rips into her solos as she raises her Stratocaster in the air as Catterall head-bangs to every beat.
The drummer? Tess Wilkins pelts every crotchet into the bass drum in complete darkness – a reoccurring theme for every set tonight. Hopefully the crew will sort out a spotlight above the kit for the remaining On The Banks concert.
Before finishing their set, The Buoys perform their latest single 'Bitch' (notably called 'Bish' for publicity purposes). Catterall adds: "I keep getting shadow banned on social media when I mention this song."
With a short intermission between sets, Jack River takes the stage against the deep blue Brisbane sky. The moon is in full bloom against the stars, perfectly illuminating the shimmering figure of the lead vocalist, Holly Rankin.
To perfectly complement Jack River's most recent album, 2023's 'Endless Summer', Rankin displays herself as a sparkling figure upon stage in her sequinned skirt and shimmering eyeshadow.
Jack River opens straight away with 'Dark Star', grooving along to their feel-good tunes. With the commencement of 'Palo Alto', Rankin acknowledges the country we stand on and acknowledges the opportunity to be able to perform on sacred land with such cool artists.
With each song, Rankin dances across stage, creating an enigmatic spotlight on herself from song to song. Further into the set, Rankin adds to a speech that Catterall did during The Buoys' set. "It's quite a cooked time out there for women, this one's for you, especially if you're a mother out there," she says.
The band lead into a cover of Tal Bachman's 'She's So High', creating a warmer pop feel to the song. The crowd is entranced by Rankin's stage presence, with the front of the barricade slowly being occupied by dancing bodies.
I'm not one to boast about Brisbane, but it truly was beautiful tonight in this scene – I have never been to a festival with such a gorgeous view, especially one of a cityscape. Jack River's set ended with the well-known single 'Fool's Gold'.
I was fortunate enough to stand next to Rankin's family and watch her daughter see her mother onstage; after her speech before 'She's So High', that moment became incredibly heartening.
With the excitement of King Stingray's set looming, the area started to fill up quicker. My once comfortable haven on the stage's right soon became occupied with other punters.
Yet right before our eyes, King Stingray opened with a subtle, yet killing, performance of 'Malk Mirri Wayin'. Roy Kellaway (guitarist), Campbell Messer (bassist) and Lewis Stiles (drums) sent themselves right into the song with a clean instrumental intro.
Ngalakan 'Billy' Wanambi (yadaki) and Dima Burarrwanga (vocals, guitar) take stage soon after, earning an uproar from the crowd. The band conjoins together in the first song forming an effortless display of cohesion and expertise.
The surf-rock genre mixed with Yolŋu inspiration creates an energetic yet intricate display of music – and you can see it in the performance. As 'Through The Trees' begins, Burarrwanga declares his love for his home country after a long period of touring internationally. Throughout the song, Billy uses his bilma to melt into the music.
Each song is as mesmerising as the next for both the audience and the band themselves. Not only are those inside the venue mesmerised, but individuals leaving an event at QPAC stop to watch King Stingray above the perimeter fencing, as mesmerised as ourselves.
King Stingray express their gratitude and respect for Meanjin multiple times across the night, and it's one of those displays of affection that does not seem forced or routine for the band.
Burarrwanga states how Brisbane is a second home for the band as two of its members are from Brisbane, as well as their debut album being recorded here. Stiles chucks a loose "anyone here from Logan? 4127 baby!" to the crowd. That one earns a few cheers.
With each song, the crowd melts further into the music. Not one person is left standing still as the atmosphere of the crowd causes a domino effect on fellow punters.
Despite the music, the best part of the set is Burarrwanga's monologues. It was sensitive, sacred and personal. It was a short message from Burarrwanga to each member of the crowd – not even a distant car horn could be heard during these moments.
Before 'Milkumana' is performed, Burarrwanga talks about the concept of strangers. "I have never heard the word stranger, to me it is just people," admits Burarrwanga. "You are not strangers to me, you are people in this crowd."
With this touching sentiment (which really left me standing mesmerised at the band's ability to control a crowd), 'Milkumana' begins. The surf-funk tune gets everyone into their dancing shoes, swaying to the beautiful cohesion of Kellaway's strumming and Billy's yadaki playing.
It is truly mesmerising to see an item of such cultural significance being played masterfully against the most funk sounding guitar section you could ever hear. Leave it to King Stingray to achieve that one.
The set concluded on 'Get Me Out' with a soulful performance displayed by the band, before an unknown song was played; maybe a new track, the band hinting earlier in the performance they have new music.
It is one of those sets that left you wanting more, whilst knowing you get to see everything you could imagine.
Personally, I believe On The Banks is the perfect venue for Australian bands. It's a quaint, personal venue under the navy skies of Meanjin, with a host of Brisbane's iconic structures overlooking the stage, it truly screams 'Brisbane'.
