Big Day Out
Sydney Showground, Homebush Bay
January 26, 2012
Much has changed about the Big Day Out over the years, but there’s something about the Sydney event that feels constant. Perhaps it’s the Australia Day factor, or the fairly reliable humid weather, but it has an identity that’s stayed true regardless of the bands -- or, as this year proved, controversy.
And so by midday there was already a huge crowd of Australian flag-wearing, minimally dressed and amped-up punters in the Showground – with more than half a dozen already in the first-aid tent by the entry -- running, hugging, shouting, drinking and occasionally watching some bands. First up for that was
Best Coast, who come off sounding a bit flat and samey, but play noticeably more together and tight than the last time they played in town. It’s a tough set at the “Converse” Green Stage, which has now been moved from adjacent to the Essential Stage (a good move, too, because it made foot traffic between the satellite stages and main area much more bearable).
Cage the Elephant had a small but excited crowd on the Essential Stage for their early-afternoon set. 'Shake Me Down' gets a good response but they struggle to hold attention – and there’s something bland and tired about their slightly quirky alt-rock that doesn’t help. Nor does frontman Matthew Shultz’s obliviousness to microphone technique and levels.
In the main arena, the two stages were a tag team of Australian success stories for most of the day.
Parkway Drive stirred up a massive circle pit rarely seen since the ’90s; then
Boy & Bear felt a little flat but engaged enough, garnering singalongs for 'Rabbit Song' and their take on 'Fall At Your Feet'. “For a band that’s seen a bit this year, we’ve never seen this many fucking people,” gushed frontman Dave Hosking.
The Jezabels
A smaller, but passionate, crowd swapped to the other side of the arena for
the Jezebels and their weighty pop tunes; stellar frontwoman Hayley Mary always manages to deliver with drama and conviction, carried by excellent drummer Nik Kaloper, but it’s hard to conjure atmosphere at 3pm on a hot day when most Big Day Out punters look more interested in wrestling on the grass at the back than focus on the stages.
That all changed for
Hilltop Hoods, who had a rush of people jumping the fence of the stands to get into the arena for them; the D section at the front was full 10 minutes before they started. It made some of the other stages feel sparse;
Battles played to a decent but roomy crowd on the Green Stage, following a sprawling 'Atlas' with a few songs showing how they cope without a singer – projecting the likes of Gary Numan from monitors behind them on stage and playing to a vocal track (in this case, of 'My Machines'). Novel, but a little weird. Elsewhere, Brit rockers
the Vaccines amped up the energy levels at the Essential Stage; live, they sound less Arctic Monkeys and more Green Day, but that’s not necessarily a bad thing for this crowd.
The small, sunken arena that once housed the oddball Lilypad stage has become Hot Produce, showcasing some of the smaller local and internationals on the bill. Triple J Big Day Out competition winners
Underlights were as tight as they’ve been, delivering their weighted, shoegazy indie-rock with commanding menace. This was even more impressive considering they were playing to about a dozen punters on the dance floor and maybe twice as many sitting around the amphitheatre.
The Big Day Out has never been a culinary wonderland – the Sydney one has long smelt like dagwood dogs and beer – but has adapted to punters demanding a little more. Salt and pepper squid was one trailer’s specialty; meanwhile elsewhere in the “food court” area there was yum cha. (Well, the option to pick a plate of dumplings and barbecue buns from a small range.) The food had to be the highlight, because the drinks certainly weren’t. Mid-strength beers, cider and pre-mixed spirits are something a festival-goer has come to terms with over the last few years, but far less palatable is the price. A can of 3.5 per cent Strongbow was $8, the pre-mixed lolly water Vodka Cruiser $10 and a modestly poured vodka and V a big $13. No wonder the lines for the two ATMs were consistently longer than the lines for any of the bars.
With energy levels flagging and thirst most definitely not quenched, it was back to the main arena for
the Living End, who whipped out one of their reliable festival hits set, from 'Prisoner of Society' to 'Roll On', Chris Cheney scaling the double bass for the grand finale. It was the end of the Australian contingent on the main stage, with New Jersey’s
My Chemical Romance putting in an energised set. Frontman (and thematic mastermind) Gerard Way’s ability to hook a crowd is always impressive, and in their first Sydney show in close to five years they delivered with 'Helena', 'I’m Not Okay (I Promise)', 'Give ’Em Hell, Kid', 'Mama' and predictable finale of 'Welcome to the Black Parade'.
My Chemical Romance
Kasabian hit the opposite side seconds later, and the usually solid entertainers felt flat; frontman Tom Meighan wasn’t his pacing-tiger self, walking around the stage a little aimlessly. Still, they have tunes: 'Empire', 'Fire', 'Where Did All the Love Go?' and 'Shoot the Runner' kept everyone happy. Some brave Brits even hoisted their own flag close to the front. At the band’s club show, Meighan makes the crowd sit down during an extended 'Fire', which he tries again here with a surprising amount of success -- considering there’s barely room to stand.
Soundgarden
Nostalgists got a kick out of
Soundgarden, who have never been the most animated performers but Chris Cornell’s mighty set of lungs makes up for it. 'Searching With My Good Eye Closed' and 'Black Hole Sun' were highlights. As were the amount of lighters waving during the latter, something that felt far more 1996 than 2012.
Of course, the biggest crowd in the main area would be for the last act, the super show of
Kanye West. Splendour in the Grass attendees knew what to expect, though; this spectacle is a well-oiled machine now. West emerges from his in-crowd podium for a song, then runs through the gauntlet walkway in the middle of the D section, shaking hands and looking fiercely like Rocky.
The 90-minute extravaganza was at times dazzling – and, at others, something resembling a rock eisteddfod – but a risky bet for Big Day Out that paid off. Many punters, sunburnt and shirtless, filed out for trains afterwards. For as much as the Big Day Out changes, a hell of a lot in Sydney stays the same.
Bronwyn Thompson
(Pics: Will Reichelt)