Live Reviews : Soundwave Festival Day Two @ Showgrounds, Melbourne 22/02/2015

Images: Cameron Stewart
Words: Thoams Szulik

Click here to view full gallery.

For the first time in the history of the annual Soundwave festival, having already faced extreme weather, transportation blunders, and enough music to warrant a festival on its own, Melbourne was treated to a logistically improved and equally impressive second day. With many having partied a little too hard the night before, fatigue was not an option.

With the usual Soundwave formula thrown into experimentation this year, gaining access into the Melbourne Showgrounds proved much easier through an increased number of buses and wristbands allowing for quick re-entry. Although we were in for another hot day, a generous covering of cloud provided much relief after the sweltering sun beamed down for most of the previous day. It was time to face the music.

Opening up proceedings were Melbourne heroes King Parrot, playing a vicious set of grinding thrash that whipped up the weary crowd. Throughout the day, many bands asked whether we caught glimpse of King Parrot, a respectful testament to the excitement this band conjures. Brining their revered energy, vocalist, Matthew Young, shrieked at the crowd, bringing life back into the crowd as they pitted around in the frenzy that many international bands could only hope to beckon. Filled with humour and ferocity, King Parrot was definitely a standout for the day.

Today was bringing much more attention to Australian bands with long-running ska punk group Area-7 kicking off with a fun-filled set on the main stage to an appreciative crowd, the band equally appreciative for people showing up so early to support local music. Similarly, although running frustratingly late, the smell of marijuana sifted through the air as jazz cigarettes were raised high when The Bennies brought their own take on ska punk to the crowd. Filled with laid back and fun, danceable tunes, they were a treat to the early afternoon revellers.

Also running late were the goth-tinged Swedish metal group Deathstars, playing to a rather small but adoring fan base who hung off of the every lick, every beat, and every word from the bellowing voice of frontman, Whiplasher Bernadotte. Throughout their set though, it feels as though many are simply there to be in a spot under cover.

Meanwhile on the metal stage, progressive experimentalists Ne Obliviscaris performed their unique combination of black, death, and progressive metal crossed with flamenco guitar breaks, dreamy and atmospheric interludes, and unrivalled technicality. A growing crowd saw the Melbourne outfit only give a taste of what their live sets offer, with their 40- minute set only being enough time for a couple of their lengthy songs. This teaser however was flawlessly executed with the news that they’ll be returning to stages a little this year beckoning rapturous applause from the awestruck crowd.

Le Butcherettes provided one of the more interesting, albeit different performances of the weekend with the Mexican garage-punk trio playing a blistering and sweaty set of raw energy and passion. Screaming into the microphone and screaming sans-microphone, vocalist, keyboardist, and guitarist, Teri Gender Bender danced around the stage as Le Butcherettes put on an intensely intriguing performance, displaying the wonderful diversity that could be found on the lineup.

With today’s lineup featuring another supergroup in the form of Terror Universal, the costumed collective of Machine Head, Soulfly, and Ill Nino members all have extensive experience in performing heavy music. Today though felt different, their costumes felt gimmicky and offered no overall value to their set, and unfortunately their sound felt often generic with each song blending into the next in a flurry of similarity. For the fans though this was no issue, with a responsive crowd singing along, jumping vigorously and enjoying the presence of their heroes in this current formation.

Taking a bit of a breather for food and to check out the extensive market stalls, wondering to stage 5 to see Crown the Empire performing a pitch-perfect set of their modern take on post-hardcore. Dual vocalists, Andy Leo and David Escamillla, bounced clean and unclean vocals off of each other, getting the energetic crowd off their feet through electronic styled breakdowns. Meanwhile, stage 2 saw the return of Gerard Way, former vocalist of the now defunct My Chemical Romance. Bringing together an interesting ensemble to perform songs from last year’s Hesitant Alien, Gerard Way brought chraming energy into an interesting mix of post-punk and Britpop influenced glam rock. In a set that made many swoon and made naysayers think about how diverse a performer Way could become, the catchiness of songs like “No Shows” couldn’t help but be hummed along to.

Performing directly adjacent after Gerard Way, the mighty Steel Panther take to the stage to perform their crass and overtly sexual satire of 80’s glam and hair metal. Filled with interesting riffs in songs such as “Pussywhipped”, “Gloryhole”, Panther are able to lead one of the largest crowds of the afternoon into their world of lewd stage banter, garnering many cheers for their actions and their depiction of 80’s glam metal and the ridiculousness nature of its fashion through spandex pants, extreme hair blowing around thanks to leaf blowers, and through the application of makeup on stage.

Steel Panther are a parody on all levels, however perhaps a personal complaint, but when hearing the anachronistic egoists demanding requests such as “show us your tits you whore”, the objectification makes for some uncomfortable viewing. Although everybody, both men and women, seemed more than happy to play along, particularly since the sexual nature is almost expected from a Steel Panther show, constant calls for breasts to be shown between every song of their set felt less comedic and more over played as the hour carried on. When they were playing, Panther were on fire, their riffs alone warranting a serious party vibe, while their lyrics crudely allowed for laughs to echo across the showgrounds. It wouldn’t be a Steel Panther show without banter; however after an hour of profanity, it felt old, their showmanship rarely rose above a pushy gimmick and would’ve felt more valuable if they let their songs do more talking for them. However, many were left wanting more riffs, more humour, and more metal, with punters leaving their performance with massive smiles and a new favourite group.

Following Steel Panther was the new project from At The Drive In and The Mars Volta members, Omar Rodríguez-López and Cedric Bixler-Zavala, Antemasque. Playing a psychedelic mixture of progressive rock with a fast and angular nature, Cedrick danced his traditionally spastic moves across the stage, performing tracks off of their debut in a whirlwind of sound and movement. Meanwhile, Fear Factory drew a heavy crowd of fanatics who hung off of every riff the Californian metal group played. Through endless crowd surfing and countless fists in the air, Burton C. Bell looked enthralled to be playing to such an involved crowd.

Following from Fear Factory, the metal stage saw the triumphant return of industrial legends Ministry, with Al Jourgenson in particularly fine form this afternoon. Playing industrial metal staples such as “N.W.O”, “Thieves”, and “Just One Fix”, alongside tracks from latest From Beer to Eternity, their setlist documented their importance as being one of the most influential bands on alternative music in general throughout their existence.

Having been known for elaborate and intense stage shows, fans in Melbourne were treated to a psychedelic smorgasbord of a video projection of swirling inverted colours and negative film footage documenting many political figures and disturbing depictions of violence, maintaining the political anarchy side of Ministry. An absolute privilege to watch, fans lapped up every last moment with Ministry with full knowledge this could be their final opportunity to.

At the business end of the lineup, it was time for the first of two of the major headliners to make their debut Soundwave appearance. Grunge icons Soundgarden took to the stage below beautifully produced video-projection amongst an adoringly large crowd. Chris Cornell performed with admirable comfort on stage, exuding confidence with his much loved voice. Diversely singing grunge anthems such as “Rusty Cage”, the Seattle legends were able to maintain a consistent hold over the audience for a 90-minute nostalgic trip through songs that defined many younger lives in the audience, proving to be a viable force of musicianship that still feels necessary.

Superheroes by trade, musicians by hobby, those that walked past stage 3 were treated to an all inclusive set from costumed ska punks The Aquabats. Now starring in their very own children’s television show, their set brought energy, laughter, crocodile wresting, and a pool party to a crowd of smiles as a dozen beach balls bounced endlessly around the partying crowd. Their humour too powerful to ignore, everyone was left happy as The Aquabats made even the surliest of security guards hold hands with one another in a truly beautiful sight.

Whilst having to make a hard decision on which headliner to see, whilst most chose Mike Patton and his enigmatic voice fronting the legendary Faith No More, many opted to go out on a heavier note with Richmond, Virginia’s Lamb of God. In a particularly ferocious set, Randy Blythe let his emotions be known by charging through an almost 90-minute long set that explored their entire discography.

Chants for Lamb of God started early and did not die. Blythe commented on how loving Australia has always been towards their band, but with a group putting out as much passion as Lamb of God do, it is little wonder why fans choose to respond so excitedly. Armed with a blindingly bright light show, playing grooves such as “Set to Fail” or the crushingly heavy “Ruin”, to the crowd chanting favourite “Now You’ve Got Something to Die For, fans push their way around, creating the largest circle pits of the weekend to the track “Redneck”.

However, energy was saved for one of the defining moments not only of their set, but of the weekend, with the widely known wall of death that is always occurs during “Black Label”. Many people came purely to watch this unfold, for those involved it marked not only the end of the set, but the end of two days of loud and fast music that served an escape of sorts for the weekend. It was a weekend that saw many people seeing their favourite bands and discovering new favourites. Reliving old memories, and creating new ones.

Opportunities like Soundwave don’t come around that often and when they do, it is best to make the most of it. After two days in the heat, with many ears left ringing and legs left sore, the knowledge that it is all over for another year is saddening, making any initial problems feel redundant, leaving thoughts of an overall successful weekend.

Related Posts

• 

  El Colosso – Forgotten Ancestors
• 

  Markus Saastamoinen – Puzzle Pieces
• 

  HJELVIK – Welcome to Hel
• 

  AC/DC – Power Up