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(above: Femi Kuti and the Positive Force - a stunning show
on the Mojo stage)
After being absent from the festival for the last couple of years
I was enticed by the 15th anniversary programming, promising “the
best yet” in a largely impressive line up - a thoughtful
mix of international stars and local heroes. Major league artists
like James Brown alongside legendary icons such as Solomon Burke
and Taj Mahal, and there was no denying the gravitational pull
John Butler, Cat Empire, Michael Franti and Fun Lovin’ Criminals
had for a greener crowd, despite their loose connections to blues
or roots music – but we don’t care really.
I got a sense that the festival in general is bursting at the
seams. We were generally blessed with good weather (after a rainy
and impossibly long queue up for our tickets on opening night),
a situation that could’ve proved extremely uncomfortable
and messy for many reasons apart from the obvious. Once inside
I felt like cattle shepherded from one stage tent to another via
beer sheds and food stalls, looking for the next trough, in an
event designed for consumption as much as for the spread of music
and the good vibe, with as many punters packed in as could afford
the hefty entry fees.
For me, the site lacked the charm and consciousness of Byron itself
or other international festivals also coming into their own (eg:
WOMADelaide) by its sheer cattle mentality. Old timers and festival
faithfuls noted the change in the demographic of the crowd during
the years of the festivals life…but the purists were fully
catered to by solid favourites like the Robben Ford Band, and
the Mississippi Allstars.
Things cranked up a notch with the regal presence of Solomon Burke
in a gospel infused and passionate set. The stage was decked out
for royalty with a large throne for Bourke who delivered all his
numbers from his seat, tossing red roses to the ladies in the
front row. Mr Bourke cast a formidable presence, demanding respect
alongside a class act of able vocalists and musicians including
a Hammond Organ player straight out of Sunday service.
Shemekiah Copeland proved a diva to be reckoned with in a powerful
set of true grit down home blues. Still young to the scene she
has been hailed as the future Tina Turner… watch out.
From the roots camp Burning Spear delivered a solid, reliable
roots-rock-reggae groove. He took a little while to warm up but
eventually kicked into gear in a set that was hard to focus on
yet difficult to stray from. Toots and the Maytals burned through
their hits in a sometimes cheesy but fun afternoon session.
On the Afrobeat/jazz front, Femi Kuti and the Positive Force,
well, positively blew away the crowd. Kuti’s frenetic stage
contortions and powerful vocals boomed over the audience and out
into the open spaces into the night. He preached a message of
hope for Africa, echoing his late father’s sentiments, albeit
in a more conservative manner. The Positive Force were tight and
didn’t stray from a heavy 6/8 afrobeat rhythm that lost
some of the traditional 12 bar blues loyalists. The dancing backing
vocalists were something surreal and out of this world…
superfit, all-Nigerian ubergoddesses with the bodies of athletes
and voices of angels.
On the Mojo stage, Cody Chestnutt presented an interesting light-on
dub-fuzak of American R n’B and soul with a rock solid backline.
The drummer, who looked like Animal from the Muppets, played like
a mo’fo’ accompanied by the very capable bassist.
Together they kept us captivated with spontaneous and funky interplay
for what seemed like ages while Cody’s guitar problems were
being sorted out.
The Fun Lovin’ Criminals took the prize for being most loaded
with 100% Colombian attitude. A big “fuck you” to
the organisers of Big Day Out for “keeping us from you for
5 years!” They revelled in their new freedom and promised
to return.
No doubt the local heroes this year were Xavier Rudd and John
Butler. Rudd delivered a pleasant set of songs delving into his
Australiana roots, but the required concentration failed me and
I was perplexed by his onstage set up. He seemed caged in behind
several didgeridoos, guitars and percussion instruments.
There is no denying the mass appeal of John Butler, as a man of
the people made good with new album “Sunrise over Sea”
sitting at the top spot for weeks running up to the festival,
supported by huge airplay schedules and a massive tour. This completely
independent artist has a stage persona and solid songs that ensured
a memorable gig. He worked through the hits and the new material
with a certainty and conviction that was compelling, made all
the more interesting by special guests contributing on percussion.
Butler is a huge star with longevity assured.
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But
it was Michael Franti’s uplifting feel-good show that
ensured his position as festival favourite. Franti was ubiquitous,
heading up two packed shows that went proverbially “off”,
signing autographs at the CD sales tent, guesting with Xavier
Rudd and others and making himself available to his fans out
on the floor. Spearhead’s conscious, lyrics based roots
music, happy hip hop, dub-reggae in songs of universal appeal
coupled with Franti’s heartfelt and genuine delivery
endeared him to Byron forever. “We have the time of
our lives here!” he shouted out to the gushing crowd.
Peace and love were the prevailing messages from artists at
the festival – using the stage to platform anti-war,
pro-peace messages that incited the crowd into unity and solidarity
and Franti led the charge. |
| (above:
Michael Franti) |
James Brown
I have to say though, that the man of the moment was Mr James
Brown.
There had been a sense of anticipation, a palpable buzz that
rippled throughout the site on the Saturday night, and the
only prevailing topic of conversation for days afterward.
The Godfather of Funk, the Funky President…there was
one incentive for negotiating the muddy crowd and enduring
Max Merritt and the Meteors (hands up in the air for “Baby
I’ve been watching you” ?? You’ve gotta
be kidding). It was to see the living legend, the world’s
2nd highest selling recording artist (only after Elvis Presley),
the man who needed no introduction, although in this case
the subject of a 15-minute one.
Brown swept into the arena – literally arriving seconds
before his show, walked on stage in that infamous black silk
suit, tassled sleeves and sparkles across the chest that set
off the massive mirror balls presiding over the Mojo stage.
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He
walked on with his coiffure immaculate - the man who “took
the wet outta sweat” and he didn’t let up. The show
had the polish that separates the wannabes from the pros, steamrolling
through a set of classic funk music that still stands up, especially
against the self-conscious ponderings of many of the other festival
contenders.
JB Enterprises had you eating out of their hands – and the
crowd were fully engaged from beginning to end. The only disappointed
comment I heard was that he didn’t do the splits. Not bad
for a man who at some obscure old age can still rock it and “keep
it funky” with the rest of them – or even better than
the rest of them.
It was a tight ship, even to what seemed the point of intimidation
on the part of some of his younger charges, all stellar musicians
in their own right, accompanied by the sassy Bittersweets, the
backing singers’ backing singers, a couple of dangerous
all-American dancing girls and the “star hour” was
on its way. A chugging horn section and a driving steam train
backline of solid funk – attended to by two drumkits, two
bass players and a karate kicking lead guitarist.
The show tore through all the hits…Living In America, I
Feel Good, Sex Machine…you know them, in a live show that
never missed a beat and where JB not once failed to call in a
break – when the funk line dropped in you knew about it.
While the crowd screamed for another number JB had grabbed the
dancing girls and was whisked away in the limo. That’s rock
n’roll baby. Cristina Dio
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