Reflections on a festival, from a rapidly diminishing tent city: Woodford Folk Festival is an experience like no other — it is the largest gathering of artists and musicians in Australia, and as such, is a fusion point for ideas, innovation and occasionally, sheer genius — it’s also opportunity for further creative inspiration and cross-pollination for Australian artists.
Firstly, the boring (but important) stuff — if you are in any doubt as to when to arrive for season camping, take our advice: arrive a day (or even two!) early! Sites fill up fast, and arrival on the day of the festival will almost guarantee you a spot on a slope, over a gully, or squeezed between SUVs.
Secondly, always prepare for rain! Heat, humidity and torrential rain are trademarks of south-east Queensland at this time of year, and Woodfordia in particular! Next, footwear for mud—gumboots, fancy boots, or open sandals, the choice is yours, but make sure they’re comfy—you will be dancing! Tent City is divided by whimsically named ‘streets’ (Puppiestogivea Way, Phewthatwas Close, Walkthis Way, Copperhead Road, Lois Lane, Mohammed Alley, Aslongasyoudontget Court, Short Circuit), which is fun and helpful. Our showers (cold!) were just off the appropriately named ‘Takemybreatha Way’.With over 500 acts across 28 venues in 6 days, you simply cannot see everything. There is a huge variety of musical styles and genres, along with many other artistic and environmental themes. Here’s some of what we liked (and maybe a little of what we didn’t!).
The welcome ceremony was a spectacle of fire, fairies and flags, music, masks and magic; Tilda, the giant puppet girl, begins her quest for freedom and unmasking here. Then the crowd erupted to the sensational music of Bertie Blackman — with echoes of Tears For Fears, Adam and The Ants, Gary Numan, Kim Wilde, Boom Crash Opera and any of a dozen electropop synth intros, all with an iconic 80s bass beat.The backdrop was spot-on too, with ‘lasers’ and cheesy sunsets; for a short while, we went back to the future and she really did rule the world. Oh, and she makes records! How cool is that? We didn’t really get headline act Violent Femmes the first time around, and nothing has changed—they’re still discordant, clashing and out of tune, but that’s the way it’s supposed to be, and the late night crowd at the opening ceremony loved it.
Darren Middleton (ex-Powderfinger) showcased his solo album Translations, accompanied by vocals and haunting violin from Kelly Lane (Skipping Girl Vinegar) – Darren has a good voice, and is a talented songwriter, but the material cries out for more than two musicians alone can provide. We can’t help feeling he needs a bigger band behind him, but perhaps he feels he’s moved on.
For some newer artists, part of the learning curve is understanding how to produce or manage your own sound on stage — for example, the lead singer of The Cairos has a great voice, but all too often, he was drowned out by the sound of his own music. In contrast, Starboard Cannons got it just right; their alternative folk brand of music is peppered with Australian cultural references, and refreshingly, Ash Bell does not Americanise his voice when he sings.Hailey Calvert’s soaring voice with haunting original lyrics entertained on many occasions — she does a good cover of Miley Cyrus’s ‘Wrecking Ball’, a brave and interesting solo blues choice. The Mae Trio provided exquisite 3-part harmonies, and heart-felt lyrics, but don’t cross them or you may end up in a song! Australia has a rich history of rock’n’roll bagpipes, and The Emmanuel College University of Queensland Pipe Band showed us why, when they were joined by the trio Celtic Fyre — Wow!
For sheer good vibes and thumping good music, you cannot go past Brisbane group the Empresarios — their brand of blues is heavy, deep-down and raw (and all the better for it!) — everyone was up and dancing. Talking of dancing, we were delighted when lead singer Simon Leamon, of foot-stomping entertainers Big Erle, came off-stage to join the energetic crowd on the dance floor.
The Grande hosted some big names, and big performances from artists including Christine Anu, Kate Miller-Heidke, Lior, and We Two Thieves. Jeff Lang, consummate entertainer and virtuoso musician, found the large venue no barrier to reaching the crowd, and had people dancing to his folk/ rock/ blues at 10am! Olivia Chaney, recently signed by Nonesuch, was a revelation, and thrilled audiences with her beautiful voice — we hope to hear more.Small Hall is a lovely, intimate venue, and as such is ideal for showcasing new talent, and for allowing established artists to connect with their audience — we particularly appreciated Louie and Patrick (likeable blond beach boys from Byron Bay), and established musician Rob Longstaff’s brilliantly entertaining set. Betty and Oswald’s well-thought out and original pieces provided the ultimate in cool on a hot day, evoking black and white films, jazz in basement bars, and rain-washed cobbled streets.
We thoroughly enjoyed a quintessentially English performance by the Viola Cloning Project — sadly, his brand of understated humour was slightly lost in translation, but his musicality and original concept were never in doubt, and much appreciated by the audience. And finally, you simply have to see Mario Queen of the Circus! Hilarious! And no, we’re not telling you why!By the way, what is it with the shuttle bus? It’s hot, crowded, bumpy, and you have to wait around in the sun or rain — it’s really not that far to walk! Walking is quicker, cooler and environmentally friendly. We must be missing something. And has anyone noticed? It seems every artist has a song about rain! If it’s a call to the rain gods, it works!!!
This is a fantastic festival supported by an army of willing volunteers, truly great talent, and devoted fans. We understand why Woodford showcases international artists, but in fact, the stellar, stand-out performances this year were Australian, and that’s a wonderful thing.
Now, home and a hot shower… until next time, Woodfordians! Happy New Year!
