Strolling into The Park in Flemington on a hot summer's day, a diverse crowd with eclectic tastes loosened up for what was likely the biggest party since New Year's week.
There'd be something for all palates on offer at St Jerome's Laneway Festival Melbourne (10 February), across 5 stages with well over 30 local and international acts.An electrically eclectic performance by DOMi and JD Beck on the Everything Ecstatic stage started the afternoon right, throwing down a virtuosic blend of jazz, funk, hip hop, and electronica. What better way to kick off than with their exceptional tribute to MF DOOM and Madlib's 'Madvillainy' record, launching in with a medley featuring the likes of 'Figaro', 'Meat Grinder' and 'Accordion'.
DOMi and JD Beck's debut album, 2022's 'Not Tight' (released on Anderson .Paak's label), has more features than many rap records do. Across its 15 tracks, names like Herbie Hancock, Mac Demarco, and even Snoop Dogg make appearances.
Two of these features come courtesy of bass wizard Thundercat. Though the legend himself couldn't attend, the keyboard and drum duo did an amazing job with these tunes. Sharing vocal duties of Thundercat's part, the two proved to be incredible singers, with JD Beck's voice evoking comparison to a young Stevie Wonder.
Their tribute to Jaco Pastorius and Weather Report's 'Havona' was exceptional, featuring Domi's adept synth bass that quite convincingly mirrored the legendary bassist's sound. The duo's commentary on the somewhat stuffy acoustics of their performance under a blue plastic tent – likening it to playing "in a pool" – added a casual, humanising element to their set.
"Thank you for coming and listening to us play on three hours of sleep!" Despite the lack of rest, theirs would easily be the most instrumentally impressive of the day. This culminated in the final track 'SNiFF', a track characterised by its intense drum & bass elements, concluding on a high note.
Paris Texas - image © Ethan Sculley
Next up on the bill were Paris Texas. The hip hop duo slammed the foot down and kept it on the gas, serving up a wild blend of punk rap, alt hip hop and rap rock. Comprised of rappers Louie Pastel and Felix, they evoke such influences as NERD, Death Grips, and even LCD Soundsystem.
Onstage, Paris Texas were joined by a DJ who provided incredible energy, throwing in ad-libs and even full verses. On the back of two EPs, a mixtape, and their debut album 'Mid Air', they threw down track after track of dirty bass and rock-infused beats.
Even at their heaviest, Paris Texas carry an element of comedy in their music, oscillating between raw sincerity and campy, meme-like jabs. The set's video game monster truck background was perfectly complemented by an eager concertgoer, dressed as Where's Wally while relentlessly crowd-surfing to their hit 'NüWhip'.
As a newcomer to Paris Texas, it was easy to see why their audience was so passionate, with the group bringing one of the most head-banging sets I'd seen in a long time. Toward the end of the set, they took a moment to thank the crowd for coming. "This is the future here!" By the sounds of it, they're probably right.
Over on the Jameson Stage at St. Jerome's Bar, punk honeys These New South Whales smashed through a smattering of crowd favourites, including tracks from 'You Work For Us' and 'I Just Do What God Tells Me To Do'.
The group's latest record, 'TNSW', got plenty of stage time, earning an enthusiastic reception from many devotees in the crowd. Easily the hardest rocking band of the day, it was refreshing to hear some heavy guitar music on a bill dominated by indie and pop.
Always hard at work between podcasting, making TV and playing shows, These New South Whales bid farewell, only to jet to Brisbane for another festival gig later that same night.
Just after 5pm with the sun beating down, Confidence Man turned the Good Better Best stage into a high-octane spectacle of Eurotrash glamour. With an audacity that could put Madonna's boldest eras to bed (cone bras and all), the group slapped up a set with tunes ranging from 2000s Nokia ringtone-core to 'Trainspotting' soundtrack vibes, complemented by synchronised dance moves and more glitter than a nightclub on Kylie night.
Eurovision extravaganza meets underground rave, they commanded the audience with a pulsating mix of dance beats and cheeky lyrics, getting the crowd jumping in an unbridled celebration of tacky pop excess.
The group's power to blend satire with infectious tunes creates a good-humoured atmosphere. Blurring the lines between music, fashion, and performance art, Confidence Man don't just play shows, they throw 40-minute parties.
The heat was well and truly on by the time RAYE took the Never Let It Rest stage, flanked by her immaculately well-dressed ensemble of bass, keyboards, trumpet, guitar, and drums.
RAYE has already made an indelible mark on the music world, having written for the likes of Beyoncé and Ellie Goulding at only 26 years old. Throughout the show, she seamlessly transitioned between energetic dance tracks, emotive ballads, and soulful, Amy Winehouse-tinged grooves.
With a sincere and vulnerable charisma, she sang with a raw authenticity that clearly resonated with an adoring (and perspiring) crowd. Her performance of the synth-heavy 'Black Mascara', characterised by its blend of pulsating beats and RAYE's dynamic vocal range, was striking.
Complemented by her exceptional live band, the raw performance highlighted RAYE's ability to intertwine contemporary electronica with heartfelt lyricism and soul. Her set covered tracks across an impressive discography that spans six EPs, including her critically acclaimed 'Euphoric Sad Songs' and debut LP 'My 21st Century Blues'.
Throughout the performance, it was clear that RAYE was a main draw for many in attendance at Laneway Melbourne. Closing with smash hit 'Escapism', RAYE left a worshipful audience crying out for more.
Faye Webster - image © Ethan Sculley
Over at the Dean Turner stage, listeners were treated to such tracks as Mac Demarco's 'Another One' and other indie classics while awaiting the arrival of Atlanta's treasure Faye Webster.
Live, she was accompanied by bass, keyboards, drums, and lap steel. Alternating between two identical Harmony Stratotone Jupiter guitars (presumably in different tunings), Faye aloofly riffed through such popular human emotions as happy, sad, and occasionally love.
New tracks, such as the Auto-Tune-laden 'Feeling Good Today', went down a treat. Live, this was one of the most impressive performances – stripped down to a two-piece, the song showcased an innovatively soulful blend of natural and modulated vocals. This track was especially well-received, considering that it was released barely a day before.
Later in the set, Faye and co. closed with her sultry alt-R&B classic, 'Kingston'. "The day that I met you, I started dreaming. Now I write 'em down if I remember in the morning time."
Faye Webster is something of an anomaly in the pop world. Coming from a background of diverse influences including trap, soft-rock, country and R&B, her music converges in an eclectic yet aesthetically cohesive amalgam, tickling the brain like few others do.
Penultimate act on the Dean Turner stage, Dope Lemon were up next. Adorning an inventory of some of the finest felt hats known to Byron Bay, the band provided a laid-back set of tracks seemingly inspired by the likes of The Strokes, Interpol, and The Brian Jonestown Massacre. Tunes performed included several from their latest record 'Kimosabé', in addition to previous popular releases.
Led by Angus Stone (of Angus & Julia Stone fame), Dope Lemon provided a totally chilled-out, laid-back, and groovy set for fans befitting similar adjectives, complemented by the band's well-oiled beards and personalised, tailored suits – representing a symbol of their individuality, and their belief in personal freedom.
Despite their unfortunate overlap with the ever-trending Steve Lacy, Unknown Mortal Orchestra pulled an air-tight packed crowd of both old and new fans. It was a day of great walk-on tracks, with fans early to see UMO treated to the likes of Osees' 'I Was Denied', 'Ritual Union' by Little Dragon, and finally, Childish Gambino's 'Redbone'.
Bathed in darkness speckled with yellow and blue light, the band seized the stage with their Bachian 'From The Sun' pivoting through the tune's gloriously complex chord progression before deftly switching into 'Secret Xtians'. "I'm going to hide from the rain – I am tired of running 'round, while these nuns eat my grain. Ransacking, wolf-packing rats in a cult of fame – so lame!"
Bassist Jake Portrait went on to splatter fizzing fuzz bass over a brilliant patchwork of early tracks 'Thought Ballune' and 'Little Blue House'. Next up, fans were treated to the perfect fusion of their menacingly funky 'Necessary Evil', blended in expertly with one of the group's most underrated classics, 'Monki'. "He wants to give her everything she wants, all of the sins in her mind. All of her enemies fallen and cryin' – all of the tear drops on her tongue."
Though always helmed by multi-instrumentalist and songwriter Ruban, Unknown Mortal Orchestra has always been a family affair. This incredible medley was recently debuted in a stripped-back Tiny Desk Concert setting, accompanied by new keyboardist Christian Li, and singer Ruban Nielson's father, Chris Nielson, on saxophone. In 2022, Unknown Mortal Orchestra featured Ruban's mother, Deedee Aipolani Nielson, celebrating their Hawaiian heritage by performing a hula dance to 'I Killed Captain Cook'.
Alongside brother Kody on drums, the Nielson brothers made a name for themselves as The Mint Chicks in the 2000s, playing noise rock and 'troublegum' punk alongside such legendary aughts bands as The White Stripes and TV On The Radio.
Through several line-up changes, UMO's live outfit has previously featured the likes of drummer Gregory Rogove (Devendra Banhart, Megapuss) and keyboardist Quincy McCrary (Jack White). Having seen Unknown Mortal Orchestra four times over the past decade, it's evident that each iteration has held its own unique chemistry.
However, the band's current line-up is easily one of the most vital, sounding ferociously potent when steamrolling through tracks such as the shuffling 'Meshuggah' from their latest record 'V'. Toward the end of the set, the group tore through their timeless hit 'Hunnybee' with Ruban delivering a scorching octave fuzz solo, elevating the performance beyond the studio version.
Rounding out the night, the band busted out their disco banger 'Can't Keep Checking My Phone'. Though no announcement of a final song was made, the track's extended outro made it clear that this would be the last groove of the night – and nothing could have been more perfect.
