Music has a strange way of revealing the colour and shape of society.
This was not a rock show, hip hop, pop or metal show. This was country, alt country, bluegrass and soul. The attractive bill sees cowboy boots (brand, new white ones. . . in the mud), coastal bohemians, crusties, death metal t-shirts and blue collared suburbanites in a designer wardrobe. It's a beautiful thing to witness the flowing tide like this roll over the Mount Cotton hills.The afternoon kicks off with Naarm/ Melbourne sibling duo Charlie Needs Braces. It's an artful way to commence proceedings as the Woods sisters, Charlie and Miri, use bird calls as beats, live-recorded trumpet and trombone loops, harmony and joyous energy to tell story.
Their heritage brings a connection to land and animals, with songs like 'Wompoo' (a fruit dove from the North Coast) and 'Dyarrubin' (the traditional name for the Hawkesbury River). They carry the lean crowd through a sudden shower and smashing sun with grace, before making way for CMAT.
Charlie Needs Braces - image © Chris Searles
When you think of country music, Ireland doesn't immediately spring to mind. Dig further and it's easy to see the Irish influence on country music through folk-music loving immigrants settling throughout Virginia and the Carolinas in the late 1800s.
CMAT, the initials of singer-songwriter Ciara Mary-Alice Thompson, hails from Ireland and brings with her an exploding zest for entertainment and crowd participation. Kicking off with the brooding 'Aw, Shoot!', her band (dubbed "The Sexy CMAT Band") prove suitably capable of flowing with her energy.
She notices a super fan, Ruby, singing every word and engages gleefully with her. Ruby's dedication pays off as she receives a signed set list after the show. CMAT cavorts, jokes and leads fans through '2 Wrecked 2 Care', 'Whatever's Inconvenient' and the super catchy 'I Wanna Be a Cowboy, Baby!'.
She finishes the show, the last of her tour, with an Aussie shoey from her own white boot. CMAT is just what the world needs right now: colourful, self-deprecating and gloriously impromptu.
CMAT - image © Chris Searles
The sun shines bright as Sierra Ferrell's band take the stage. Dressed in matching vests, slacks and hats, they immediately set an air of an old-timey country hour show.
Known for her stage outfit styles, Ferrell enters to a huge applause, dressed in a vintage frock with layered petticoats and a cowboy hat decorated with sparkling silver stars. While it's easy to dismiss as a 'costume', it's quickly evident this is a tribute to those who came before.
From the first bar, Ferrell's voice conjures the spirit of Hank Williams and Patsy Cline. The absorbing set begins with the gypsy-flavoured tango of 'Why'd Ya Do It'. Her knack for flowing melody is excellent and is bolstered by story-filled lyrics.
Themes of unrequited love, life journeys and spiritualism connect each song. Unique instruments from a bygone era, such as a wooden train flute and a bird call whistle, are used as song intros.
'Money Train' (from recent album, 'Trail Of Flowers') is heart-achingly tender. Her Tennessean accent helps 'Dollar Bill Bar' to strike up a bluesy highway bar vibe. The loping 'Jeremiah' is a hoot and her cover of Kris Kristofferson's 'Me And Bobby McGee' has the crowd singing.
The uptempo 'Fox Hunt' rounds out the set with hoe-down violins and has a thousand feet tapping till the last string is struck. Sierra Ferrell is a lovely force of old new country that will hopefully grace our shores again soon.
Sierra Ferrell - image © Chris Searles
As the afternoon gives way to night, Band Of Horses quietly glide onto stage. It's been almost ten years since their last visit (a tour that prompted a five-year hiatus).
The Charleston-based band has created some of best end-to-end listenable albums in the late 2000s. Grammy nominated 'Infinite Arms' from 2010 stands as one of the best alt-country albums ever released.
It's evident that singer Ben Bridwell is supremely grateful to be here as he expressed "thanks to y'all involved" between each song. It's the chance to right the unfortunate occasion that marked their last tour.
Although minor tech issue causes a restart of opener, 'Is There A Ghost?', Bridwell's upper register voice quickly adapts. Favourites such as 'No One's Gonna Love You', 'Marry Song' and 'Laredo' help portions of the crowd realise they have heard these guys before.
'The Funeral' is delivered in blockbuster fashion as Bridwell's soft opener lulls the audience before the band launches into the meat of the song. They finish with a crowd zinger in INXS' 'Never Tear Us Apart'. Be careful, Band Of Horses, you may have just peaked the night.
Band Of Horses - image © Chris Searles
Everyone knows it, The Teskey Brothers are damned talented and the crowd is here for it. As the headliner, they get the entirety of that stage. They need it as the keys section is literally a rolling platform containing a vintage upright piano, an organ and other keyboards encased timber. There's also a horn section to support standard band components.
The Australian brothers, Josh and Sam, enter to a huge cheer. Josh Teskey sports a cheeky grin and they immediately flow three tracks together. It ranges from John Lee Hooker-esque blues jams to the tortured soul (literally) of 'Pain & Misery' and 'Man Of The Universe'. Sam Teskey taps the veins of great blues/ soul guitarists like Muddy Waters and owns it.
It's not new news that Josh's voice should have national protection allocated to it. It's rasp casts a spell over all who listen, which became evident as husbands and boyfriends noticed their partner enter a trance-like state. Notes of Al Green and Bobby 'Blue' Bland, and maybe a hint young Rod Stewart, can be tasted.
'So Caught Up' gently funks the audience up but is quickly dampened by 'Rain' (sorry, I couldn't resist). An encore of that includes 'Forever You And Me' and the staple, 'Hold Me', sees the night lights come up.
The Teskey Brothers - image © Chris Searles
While the talent onstage is abundant and adoring fans even more so, the drifting soul sounds begin to act like lullabies. After an energetic afternoon of bluegrass country and exciting alt. country (here's looking at you, Band Of Horses), a large portion of crowd loses pace.
The growing stream of ticket holders making their way out of the gates cannot be ignored. Was it the fact The Teskey Brothers might be better viewed in a more intimate setting, or was it the fear of being caught in the notorious exit debacle from the venue? We'll never know.
However, what is absolutely certain is country music is bigger and more adored than ever. All artists today deserve their own tour as they've just added a plethora of new fans, y'all.
More photos from the concert.
