Much like Meredith, the 2008 Falls Festival was cold, windy, rainy and basically the opposite of a "summer festival". No matter...


DAY 1

While Fleet Foxes harmonised for the audience, I was still trying to set up a tent. Curses. It proved a lot more difficult than I had expected and if we’re telling the truth, I missed their set completely. Ok I am. Apologies to anyone who wanted to get an update on their facial hair. [Ed: They were amazing on Friday at their sideshow].

It was almost dusk when I finally made it into the arena in time to watch Augie March. For one crowded hour they had the stage (see what I did there?) to play their brand of what I someone close by described as "smart folk". With an accordion and harmonica in tow, they had the crowd in country-esque convulsions. 'Pennywhistle' was especially brilliant, the bands official tune from Watch Me Disappear. Having never seen them before I didn’t realise how much I would like them live, and it was a pleasant start to my first ever Falls.

British India were intensely indie. I don’t really know what else I can say about them, because really I’m just not that into them. They’re energetic to say the very least. And if, like me, you didn’t know who or what Labjacd are then I can now tell you that they’re a 9-piece Latin hip-hop outfit from Melbourne. Influenced by the three vocalists’ Chilean heritage and infused with old school hip-hop, jazz and Cuban salsa it makes for a combination that sits perfectly with the Falls surf-coast vibe. As well as sate those confused about Ozomatli/Michael Franti not playing again this year.By this time I was tuckered out and retreated to the warmth of my sleeping bag. Onwardzzz.

DAY 2

Acid rock was brought back via Tame Impala and it was amazing. Modular’s latest signing have an impressive live set; their psychedelic, melodic rock music is hypnotic. Each song had extravagant guitar and/or drum solos and it still didn’t get boring. (Which coming from me is saying a lot.) They each took to the stage shoeless, with long hair running down their faces, looking so young it hurt. 'Slide Through My Fingers' and their cover of 'Remember Me' were highlights.

Up next in the same tent that SoKo (who by all accounts was very "cute") had played in early that day, was Lykke Li and the crowd was more than excited. You might even say it was palpable. The schedule was running late, which meant the comedy acts in between artists had a much bigger audience than they could have ever anticipated. Unfortunately, they were hated on like I’ve never seen, Lehmo had so many bottles thrown at him it was embarrassing. If you’ve heard the joke about the difference between jam and marmalade then you might know just how bad it got.

Finally/thankfully, Lykke Li’s band came to the stage, all in black and begun to play the opening chords of 'Dance, Dance, Dance'. Lykke herself ran out, one drumstick in hand, looking cuter than ever and even a little bit Olsen-esque (in a good way). It was either actual emotion, or the fact that she was losing her voice but there were tears coming out of her little Swedish face during 'Little Bit'. Ironically, it was her cover of Vampire Weekend’s 'Cape Cod Kwassa Kwassa' that won the crowd. Perhaps her music doesn't translate completely in a live setting, but her performance on stage was compelling nontheless.

The matching heads of Tegan and Sara and Triple JJJ’s hottest 100 friend, Faker played the main stage before Sharon Jones and The Dap Kings stepped up to the plate. The one, the only, Sharon Jones was incredible. Her band were so tight, with so much soul, rhythm and blues they if you weren’t moving you were probably dead. Or lost in the bushes. As the sun was setting the The Kooks came onstage, with singer Luke sounding like he’d drunk their rider already. 'Naive' was one of the highlights of the entire festival for me, no lie. They played an extended version of  'Do You Wanna' and a very emotive 'One Last Time' both of which were great. In my mind, boys with English accents and cute clothes that prance around onstage can do no wrong.

On an entirely different note, were Gameboy/Gamegirl. I don’t really get why they are semi-popular. They just remind me of the electro scene in Perth 3 years ago when all my friends stood in front of a laptop and pretended to play instruments and sing about house party’s. They were actually singing the lyrics “Your house is a disco/Disco is your house” at one stage. Needless to say I didn’t feel "engaged".

Meanwhile, I don’t know anyone that saw The Hives and didn’t think it was one of the best things ever. Live, they are incredible. Plus, they know how to colour co-ordinate and rock the stage, which - let's be honest - from the back of a field of 15,000 people are the things that hold a festival together.

At this stage I headed back to the tent to once more freeze through the night. Seriously, how is it so cold in December? Two days down, one to go.

DAY 3

Someone from the Cut Off Your Hands entourage let me borrow his lanyard when the security lady was being mean so a little bit love them for that. In terms of their set, they were also a bit loveable, in a post-punk kind of way.

I don’t know what they deal is with CW Stoneking but he is certainly very fascinating. From New Orleans to Footscray (I know?) and apparently having survived a shipwreck off Africa's West Coast, his personal experiences produce an originality that’s extremely rare. Dressed all in white and wearing a bow-tie he sung songs, told stories, got the crowd to cheer “F U C K what does it spell? Fuck!” all while playing a banjo. Incredible. He also brought out his wife to do a duet with him, which was cute, but not entirely in a good way. Supported by his band, The Primitive Horn Orchestra, CW Stoneking’s Southern infused, pre-war blues/jazz/calypso/jungle hybrid was a festival surprise.

My future husbands, the Mystery Jets were the next to play on the main stage. They walked on (well, three of them walked, one required the help of crutches) wearing sequined jackets. Swoon. They were jaunty and eccentric and seemed to be thoroughly enjoying the fact that the crowd loved all the tracks they played from their latest album Twenty One. In spite of the arctic weather, Architecture in Helsinki sounded like summer. Their tracks 'Do The Whirlwind', 'Heart It Races' and newie 'That Beep' were dancey, fun and entertaining to watch. I secretly have crushes on them. Don’t tell the Mystery Jets.

I listened to Blue King Brown from the bar. Between songs they had their political on, speaking to the crowd about the environment, a need for decreased emissions and the global crisis that is our earth. These are important things, I get that, but it was a little too preachy. Mother nature was obviously impressed though because the sun was shining for the first time in days.

After that, everyone begun creeping forward to get a good spot for Brooklyn’s finest, Santogold. Her DJ hit the stage first, playing everything from Dizzee Rascal, The Smiths, The Police and Wu-Tang Clan. Seems Santi White knows how to build the suspense and when she finally burst on stage she didn’t disappoint. And yes, though she was amazing, I couldn't take my eyes off her two dancers. More hot robot dancers on stage please.

By now it was getting dark, with only a few hours left until the New Year. There is not enough Ritalin in the room for The Grates lead singer, Patience. She jumps, claps and kicks around onstage looking deliriously happy, and you try and fight it but damn it’s endearing. Not to mention a primer for festival organiser Simon Daly, taking to the stage and counting down the clock at midnight. It was 10, 9, 8, 7, 6, 5, 4, 3, 2, 1! and then a sea of people playing kissy face. Happy New Year! Like a good omen for 2009 Franz Ferdinand appeared in a storm of smoke machine, played 'Do You Want To' and I drifted off into the night.