Hypothesis: partying with Beck, Justice and The Libertines is the most ideal way to kick a new festival off the ground. By all calculations, it turns out that reality lives up to the theory.
Sydney City Limits is Australia’s answer to the renowned Texas event that has become a cornerstone of America’s festival circuit. Like Austin City Limits, SCL is set to make its mark on the industry here at home. The event came out swinging in its inaugural year with a glittering lineup that echoed festivals past (Big Day Out, Soundwave), beckoning some big acts who haven’t been this side of the shoreline in a while (what we like to see).
Brit punk icons The Libertines, the infinitely talented Grace Jones, mastermind Beck, and French electro/indie powerhouses Justice and Phoenix all joined a rich and diverse bill of local and internationals acts. Aussie wares like Gang of Youths, Stella Donnelly, Winston Surfshirt, Alex Lahey and The Avalanches sat alongside comfortably showcasing staggering talent.
The kick-off was a one-day affair set to four stages and was peppered with boutique food, beverage and retail stalls, including The Grove VIP section, for anyone malcontent with the sweaty mosh life. While around 14,000 turned up to muzz, the Centennial Park space was easy to navigate between stages and the lines for food and drinks were spread out and moved quickly, thanks to the abundance of vendors. It was a jam-packed schedule which meant that we weren’t bored for a second. We’ll definitely be back next year.
Photos by Dani Hansen.
Thundercat
Gang of Youths
Oh Wonder
The Avalanches
Future
Ocean Alley
Grace Jones
Justice
Phoenix
Photos: Dani Hansen/Howl & Echoes
Hypothesis: partying with Beck, Justice and The Libertines is the most ideal way to kick a new festival off the ground. By all calculations, it turns out that reality lives up to the theory.
Sydney City Limits is Australia’s answer to the renowned Texas event that has become a cornerstone of America’s festival circuit. Like Austin City Limits, SCL is set to make its mark on the industry here at home. The event came out swinging in its inaugural year with a glittering lineup that echoed festivals past (Big Day Out, Soundwave), beckoning some big acts who haven’t been this side of the shoreline in a while (what we like to see).
Brit punk icons The Libertines, the infinitely talented Grace Jones, mastermind Beck, and French electro/indie powerhouses Justice and Phoenix all joined a rich and diverse bill of local and internationals acts. Aussie wares like Gang of Youths, Stella Donnelly, Winston Surfshirt, Alex Lahey and The Avalanches sat alongside comfortably showcasing staggering talent.
The kick-off was a one-day affair set to four stages and was peppered with boutique food, beverage and retail stalls, including The Grove VIP section, for anyone malcontent with the sweaty mosh life. While around 14,000 turned up to muzz, the Centennial Park space was easy to navigate between stages and the lines for food and drinks were spread out and moved quickly, thanks to the abundance of vendors. It was a jam-packed schedule which meant that we weren’t bored for a second. We’ll definitely be back next year.
Photos by Dani Hansen.
LDRU
Stella Donnelly
Tkay Maidza
Sigrid
The Head And The Heart
Allday
The Libertines
Car Seat Headrest
Photos: Dani Hansen/Howl & Echoes
With much glee, Beck’s first trip to Australia in five years was adorned by the news that he would be appearing at an intimate gig in Sydney – his only other headline show in the city ahead of his spot at the inaugural Sydney City Limits festival.
The Factory Theatre in Marrickville played host to the special affair; a one and a half hour set that touched on all eras of his vast catalogue, and then some. That whimsical spontaneity that Beck honed in his formative days is something he clearly still carries with him. The entire show was built on an air of offhandedness, and with about only 500 people in attendance, it truly was a glittering night.
He broke in the evening with a solo quip of Everybody’s Got to Learn Sometime before his seven-piece band joined him on stage for some more country-esque ditties, a little “Colonel Sanders” as he put it. Once we’d brined through a quarter of his slower paced Morning Phase LP, Devil’s Haircut and Black Tambourine had the crowd hankering for the fry up. Like his iconic genre bending, the setlist jumped back and forth between originals, covers and albums. Think I’m In Love melted into a brief rendition of Donna Summer’s I Feel Love before some more fleeting moments from Odelay and Guero. He also took what moments he could in between tunes to showcase his light humour and considerable wit.
Beck grooved and pop-locked his way through the dancier numbers with punters in tow, so by the time Loser breezed round to bring the event to a close, he barely had to utter the words for the crowd clamouring every lyric. The highlight of the encore was some Jagger moves during a Rolling Stones bit as he introduced each of his band (also, great Talking Heads, Gary Numan and AC/DC soundbites). “That’s the kind of friendship we have together.”
Privileged. Thank you, Beck. Please move to Sydney at your earliest convenience.
Beck is also playing the Royal Theatre in Canberra, February 26, and Margaret Court Arena in Melbourne, February 28.
Photos: Dani Hansen/Howl & Echoes
If you’re damn near wallowing in sorrow at missing out on tickets to Sydney City Limits this Saturday, here’s a slapdash ray of hope for you.
Multi Grammy Award-winning mastermind Beck has announced a surprise one-off headline show at the Factory Theatre in Marrickville this Friday February 23. If you’re in Sydney, this is your only chance to see him outside of SCL. The guy hasn’t been here for six years so for the love of Christ, listen up.
Entry is now open via ballot, which closes at 12pm Wednesday February 21 (that’s TODAY), and the lucky chosen ones will be notified by 5pm this afternoon. You need to be 18 to enter and there is a two ticket limit per person.
The capacity is at 500 people so this is set to be an amazing and intimate show. Here’s a little more info to curb your thirst.
Godspeed!
Top Image: Rolling Stone
Above image: Phil Smithies
The Internet made their Australian debut two years ago and our thirst for them has been insatiable ever since. The Californian hip-hop/soul collective and Odd Future off-shoot is a tremendous beacon of talent. Aside from their three studio albums, each building on lessons learned from the last, almost each member has released their own solo material since the band’s latest Ego Death in 2015, all to esteemed acclaim. All of them contribute songwriting and production to each other’s work and their next group project will be decidedly more democratic than their previous records, with space to improvise and vibe off the other’s ideas.
This innate curiosity and concern for one another is magnified on stage. After catching their all too short-and-sweet set at Laneway Festival, we had to get along to their sideshow at the Enmore Theatre because, thirst. The band accrued Melbourne soul-beauty Kaiit on opening duties who quickly had the crowd in the palm of her hand. Her honey, neo-soul vocals and buoyant presence glittered like we were witnessing something special unfold. In between crowd favourite tunes and obliging alley-oops (“Bounce with me now”), and cute anecdotal banter about high school and tinder, Kaiit managed to lose her breath and reached for her inhaler, which goaded further praise from punters. Such a delight.
Following this ray of sunshine, the main act sans singer took their positions and lapped up the warm reception. After some brief chanting, Syd tha Kyd made her way out and the love and adoration was clearly mutual. A few hits in and we were gifted with individual performances from each member, featuring their recent solo work, including a satisfying bit from drummer Chris Smith.
That’s how it is with The Internet. What’s good for its members is whats good for the band, and all the personal exploration has only served to make their already-good music markedly better. Not only because of their eclectic craftsmanship but because they’re genuinely loveable people. For that reason, they’ll always have a second home here.
Kaiit
The Internet
Photos: Dani Hansen/Howl & Echoes
Laneway aptly marked it’s humble beginnings in a Melbourne laneway in 2005. It has since built a reputation as a festival with it’s finger firmly on the pulse of the music industry, despite canning one of Australia’s foremost up-and-coming artists from the bill this year (cc: Kirin J Callinan).
Nevertheless, we savour the release of each lineup with intense anticipation because the event delivers a solid slew of talent from around the world every single year; from artists who we don’t usually see in this neck of the woods, to absolute crowd favourites we can’t get enough of.
Part II had us at Mac DeMarco, who is and always will be a festival favourite with his random tangents, on-stage quirks and warm adoration for his fans. We caught the enigmatic Moses Sumney next who walked out in a black cloak, surrounded in mystery. Anderson .Paak and his band The Free Nationals were arguably the most anticipated act of the day and they delivered in droves. BADBADNOTGOOD served up some sonic smoothness before we caught Father John Misty changing guitars several times due to technical difficulties. “I think ODESZA has, like 60 acoustic guitars. How can I compete?” And, on cue, the Seattle producers took the Garden Stage with their shiny new drumline (sans the guitars) and gave us a taste of their impeccable live show.
Then we headed over for POND who never fail to amaze, with manic frontman Nic Allbrook fawning over the stage and amongst the crowd all at once. Thirsty for some heavy electronica, TOKiMONSTA’s set was exactly what we ordered before we rounded out the night the only way one should, with a wall of hot shoegaze and Slowdive came correct. Another hectic time full of unforgettable moments.
Until next year, Laneway.
Photos: Dani Hansen
Mac DeMarco
Moses Sumney
Anderson .Paak & The Free Nationals
BADBADNOTGOOD
Father John Misty
ODESZA
POND
TOKiMONSTA
Slowdive
Photos: Dani Hansen/Howl & Echoes
Laneway aptly marked it’s humble beginnings in a Melbourne laneway in 2005. It has since built a reputation as a festival with it’s finger firmly on the pulse of the music industry, despite canning one of Australia’s foremost up-and-coming artists from the bill this year (cc: Kirin J Callinan).
Nevertheless, we savour the release of each lineup with intense anticipation because the event delivers a solid slew of talent from around the world every single year; from artists who we don’t usually see in this neck of the woods, to absolute crowd favourites we can’t get enough of.For the Sydney leg of the tour, the weather was cool, clear and decidely perfect. We tipped in just in time for UK boys Shame who have received nods from the likes of Fat White Family, which might offer some indication of what we walked in on. Unwinding, The Babe Rainbow lulled us into a flowery frenzy right before we caught a highly anticipated set from Alex Cameron straight off the back of about two years of touring everywhere but Oz, including opening for The Killers (yes, they did Madison Square Garden). Roy Molloy’s stool review was an authentic delight.
Billie Eilish rolled out in a red tracksuit with a Louis Vuitton purse strapped to her back and she belted out her first song into a bung mic which somehow went completely unnoticed by the sound guy. We snuck in some quick muzzing courtesy of Kllo at the Red Bull stage before blissing out to (Sandy) Alex G over at Spinning Top. Sylvan Esso followed shortly after and systematically blew our minds with perhaps the most high-energy set of the day before we landed firmly back on the ground in time for Rolling Blackouts Coastal Fever. Then, back over to the Garden Stage for big favourites The Internet who always receive the warmest reception. Guitarist Steve Lacy also played a bit from his solo EP to the glee of literally everyone present.
Photos: Dani Hansen
Shame
The Babe Rainbow
Alex Cameron
Billie Eilish
Kllo
Sandy Alex G
Sylvan Esso
Rolling Blackouts CF
The Internet
Photos: Dani Hansen/Howl & Echoes
The fab people over at Crown Ruler have been bringing us the best underground soul we never knew we needed for about a minute now and in that spirit have wrangled this delightful lineup to play some intimate shows around Oz.
From Melbourne, Silentjay is a multi-instrumentalist you have probably seen or heard by now. He’s been winning over the underground dance scene down south with his soulful vocals and rich layered textures that border jazz, house and dub. He’s also fairly fresh from backup crooning with Haitus Kaiyote and opening for the likes of Thundercat and Flying Lotus. Jay, with longtime collaborator and talented lyricist Jace XL, took the stage first up to mellow out the vibe.
Following this with some more magic was L.A.-based singer/songwriter Joyce Wrice. After building a burgeoning following via her YouTube covers, she took up hook duties for a few L.A. artists and caught the attention of Stones Throw producer Mndsgn. She released her first EP Stay Around in 2016 and has been throwing a lush twist on classic R&B with each release since. This was her first time rolling through the country and my first time hearing her honey-coated harmonies and I was digging every second, and so was the crowd. Her finesse was undeniable and her glittering personality so infectious as she interacted with the audience one-on-one in between songs.
Feeling pretty toasty by this stage and enter Ivan Ave, a Norwegian MC who has been producing some of the smoothest, most acutely on-point hip-hop since ever. I discovered his first solo project Low Jams upon its release amongst a slew of Soundcloud artists, and it’s been on an infinite loop in my psyche ever since. That EP has been placed on the same true school tier as Nas‘ Illmatic and the last time you heard flow that fluent was on some Rakim record. But those comparisons are as close as you’ll come to describing what it is Ave does because his style is really his own.
Since that 2014 release he has produced a steady flow of projects with a staunch list of collaborators, including Fredfades, Kaytranada, and Mndsgn who also produced Low Jams and Ave’s debut LP Helping Hands. His second album Every Eye dropped at the end of last year to round out some climactic times with some of his most complex musings yet.
Back in Sydney, his live set didn’t disappoint either. Ave’s attention and energy were unwavering from the first moment, and were only galvanised by the banter and humour that he peppered throughout. Honestly, I don’t think I’ve been so elated by a live performance before. I’m biased though. He eased out of his set by sliding into an hour-long funk fest courtesy of the man himself, Mndsgn.
Silentjay & Jace XL
Joyce Wrice & Benedek
Ivan Ave & MNDSGN
Photos: Dani Hansen/Howl & Echoes
On a gorgeous night at an amazing open-air venue under the stars, The xx took Sydney’s breath away. The indie London group returned to Australia this month on their headline tour for third album I See You, a mere six months after appearing at staple festival Splendour in the Grass. So spoiled are we that they also brought along special guests Kučka and Kelela to kick things off.
Filling in for rapper Earl Sweatshirt (who unfortunately cancelled due to personal matters) Kučka is certainly a name you should have heard of by now. The Perth singer has recently collaborated with Cosmo’s Midnight, Andrei Eremin and Flume, and has supported the latter and fellow protégé Vince Staples on their latest Oz tours. As the sun set over Hyde Park, her distinctively soft treble vocals floated over minimal, industrial electronica that squared perfectly to draw in the crowd.
Next, R&B queen Kelela sounded off with some velvety harmonies. The buzzed-about up-and-comer exuded a magnetism that was impossible to ignore as she belted out that dreamy post-millenial soul she has become known for. With her DJ and singers in tow, she hypnotised the crowd.
Finally, the stars were well and truly twinkling in time for the main event. The stage was illuminated and singer Romy Madley Croft’s barebones guitar set the tone on apt opener Intro. Bassist Oliver Sim then lunged into a matching choreography, dipping his bass, grinning mischievously and shuffling to the pulsating rhythm provided by producer Jamie xx, who was poised behind a transparent altar placed upstage centre. The set design was one of the most detailed and dramatic witnessed in recent memory; crystalline floor tiles lined with LEDs and pillars of mirrors that spun climactically.
It was an unexpectedly thrilling display – Sim’s flamboyant dancing and Madley Croft’s messy-haired thrashing played perfectly to what is otherwise some of the most optimistically soporific music to ever hit the mainstream. The xx produce a sound that is reputedly soaked in melancholy set to breathy, vaporous beats, but here, on this stage and in this light, it was exceptionally grand.
Kučka
Kelela
The xx
Photos: Dani Hansen/Howl & Echoes
FOMO came correct to Parramatta Park at the weekend and we’re still buzzing. Now in its third year running, the festival saw an incredible lineup hit Brisbane, Adelaide, Sydney and Melbourne this year to help punters get their freak on with one stage, zero clashes and zero worries.
We breezed in just in time for Tourist to take the stage. The UK producer has been a festival staple in Australia over the last couple of years, having completed a run with Laneway Festival last year and returning recently for a string of events across both sides of the country. His buoyant brand of electronica swept out across the valley and kicked things off in an awesome wave.
Next up, TDE It Girl SZA ignited the crowd with a brief but electric performance. Her 2017 debut Ctrl stole the hearts of damn near everyone who had one, and with her live band in tow, she belted out pure favourites including The Weekend, Supermodel and Kendrick collab Doves In The Wind.
The legendary Post Malone shortly followed to an absolutely ecstatic reception. Motioning toward the audience, someone threw him a rank, muddy sneaker and he proceeded with his signature shoey move that we clearly couldn’t start the show without. His loveable personality shined through in his on-stage banter between hits like Rockstar, White Iversion, Candy Paint and Congratulations.
A sweet sunset slot from Kaytranada took us smoothly into the night. His deck was hidden behind a wall of LED lights with a GoPro perched on top to capture all of his quirky jives. His rework of Flume track Sleepless had the crowd in a frenzy.
Onto a pounding set from ZHU, the California based producer let rip track after banging track, including a dope edit of Michael Jackson’s Thriller which spared no one’s butts from grooving.
Finally, a wicked closing set from RL Grime was looming, pyrotechnics and all. Opening with the utterly dystopian 2017 single Era, we lost a firm grip on our minds before the fire balls had even kicked in.
If you didn’t attend this bootylicious spectacle, check all of the action below, and make sure you head out next year. We’re already thirsty for what 2019 will bring.
Tourist
SZA
Post Malone
Kaytranada
ZHU
RL Grime
Photos: Dani Hansen/Howl & Echoes