#shoutout to saxophonists
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funky kids from jazz band
#ocs#scrimblos#portfolio stuff#there is magic involved#shoutout to saxophonists#character design#character lineup#digital illustration
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Meet Nonifine, the Nigerian singer who believes he has the best wedding song for the season
Nigerian singer Alamezie Declan Chinonyerem popularly known as Nonifine has taken to social media to say that his new song 'Take You Home' is the best so far and will top global charts.
Nonifine said that he is aware everyone will say that's what artists say, adding that beyond his great talent, he has delivered a wonderful song and no one can dispute that.
He said that the love song is suitable for weddings and will become the best wedding song ever within a short time.
Having won the Imo Got Talent Show about a decade ago, the singer said that a number of things have held him back, but he is free from those shackles.
"I've been held back by a number of things. I have been preparing myself for a moment like this because a lot of persons believe I am not good at this"
"I'm stepping out with the best song and there's no dispute on that. It is also the best wedding song out there and will give me my first step on global charts", he said.
'Take you home' is Nonifine's debut single and he told OtownGist that he has been waiting for the moment his song will be out there for over a decade.
He said that in this part of the world, only songs can make one a singer and he has been battling with choosing the right content and timing, saying it is now or never.
"There's no better time than now and a big shoutout to everyone who did not give up on me in this journey."
"It's been a ride, but we're here at this terminal and it is takeoff time for great things and time to keep blessing the world with great songs"
'Take you home' features saxophonist KingSax and produced by legendary Wisdonbeat.
Stream Here
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JUST ADDED. Shoutout to singer/songwriter and saxophonist, VINCE BROOMFIELD. Get the ELEVATIONS EP on streaming platforms everywhere. *music permission by Vince Broomfield (no copyright infringement intended) #vincebroomfield #bushrodmusic #webradio
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Thank you to @voyagelamag for the #ShoutOut! 🙏🏼🎷🙌🏼 We talked about what inspires me, my work, favorite places to go see shows, hang out, and eat, who I'm grateful to, etc...check it out! [Link in Bio] —- — - #interview #voyage #voyagela #narducci #producer #composer #saxophonist #filmcomposer #producerlife #inspiration #work #losangeles #DeSotoSoundFactory (at Los Angeles, California) https://www.instagram.com/p/CPHP9X9glUz/?utm_medium=tumblr
#shoutout#interview#voyage#voyagela#narducci#producer#composer#saxophonist#filmcomposer#producerlife#inspiration#work#losangeles#desotosoundfactory
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David Boykin's "What the Afrofuture Say" premieres at Black Harvest Film Fest tonight.
An outstanding and necessary achievement for a musician of David's talent as well as his commitment to Chicago. If you're headed to #BlackHarvest Shorts starting at 5:30, please sit in this screening! #WhatTheAfrofutureSay #Jazz #DavidBoykin #Afrofuturism
Unfairly quick shoutout to Chicago saxophonist David Boykin (and now actor) for the premiere of his jazz-infused short film “What the Afrofuture Say” at Chicago’s famed Black Harvest Film Festival! This is an outstanding and necessary achievement for a musician of David’s talent as well as his commitment to Chicago, culminating now in his film’s inclusion in the Made in Chicago Shorts Program of…
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David Tranchina Large-ish Ensemble - The Ogre / Alex Sadnik - Self Portrait Delay
A double shot of Bandcamp Monday action to get the week started. Both of these excellent releases emerged in recent months out of the ever-fertile BIG EGO studio in Long Beach, CA, both produced/mixed by Psychic Temple’s Chris Schlarb. There definitely seems to be a good scene going there, eclectic, adventurous, fun, a lot of interesting cross-pollination.
David Tranchina’s Large-Ish Ensemble is an exciting almost-big-band situation that recalls things like Mingus’ Black Saint and the Sinner Lady, Gil Evans’ electric 1970s work, and maybe even some of Zappa’s jazzier side-trips. Lots of nice interplay and arrangements that keep you on your toes — special shoutouts to the sterling playing of pianist Cathlene Pineda and guitarist Alex Noice.
Alto saxophonist Alex Sadnik’s Self Portrait Delay, meanwhile, occasionally feels like a breezy west coast/cool jazz throwback. But there’s much more to it than retro moves. For one thing, the repertoire is extremely varied, ranging from Bill Evans to Henry Purcell to ... the Feelies? Yes, Sadnik takes on “Tomorrow Today” from The Good Earth — and it works! The session sees Sadnik’s playful sax complemented by a killer band, including Tortoise guitarist Jeff Parker, organist Carey Frank and drummer Stephen Hodges. Recommended!
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I know we keep joking about the resemblance between John, Joe, and Wembley from "Fraggle Rock" and Beeker from "The Muppets" (and still find it funny I noticed the Wembley resemblance to John as a little girl) but I can't help but wonder if Jim Henson did model Wembley after John. He was known for doing this especially with the Muppet band Dr. Teeth and the Electric Mayhem as Dr. Teeth is based off of Dr. John. Animal is a variety of 70s rock band drummers. Sgt. Floyd Pepper is a shoutout to both the Beatles and Pink Floyd as he's pink. Janice is both named after Janice Joplin and is modeled after Carly Simon. Then Zoot is based off of jazz saxophonist Gato Barbieri.
So back to Wembley he was created in 1983 for "Fraggle Rock" and named after Wembley Stadium. The show also said Wembley was a Fraggle word meaning he's indecisive and doesn't like choosing sides when his friends fight or make anyone mad or sad. He's the youngest of the Fraggles and the kindest. Lives with his best friend Gobo, always wears his banana tree shirts, and loves to sing and play the drums even though he's very nervous most of the time. He's the only Muppet too on "Fraggle Rock" that can move his eyes so he can roll his eyes or make faces quite similar to John and Joe. LOL :) No wonder he was my favorite on "Fraggle Rock".
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some things from off-west end heathers (26/07/18)
- jd is SO good, oh man. i feel like in the original cast, jd’s character can be taken less seriously because he goes more for the manic grinning psycho character, whereas jamie muscato’s interpretation was scary. when he snaps towards the end of the show his voice changes into this raw, rough scream-like thing so he’s almost yelling some of his bigger notes. it feels so much more threatening, especially in the moments where he’s holding and fighting veronica, and much less like the UWU MY ANGSTY BEAN character that i ocassionally see in fandom shit, which i thought was great
- carrie hope frickin fletcher. oh man. she was so awesome. i LOVED her veronica, loved loved loved! there were so many little quirks in her performance that were so theatrical and nuanced, little stops and razor-sharp raising of eyebrows; she felt like a really strong, sparky character, even through the heathers slowly turning her into a bitch, her sass and original character quirks still stayed throughout. this is explained terribly, but essentially i loved it
- the heathers were grEAT. just GREAT. oh man, they were so good
- the ensemble were aboslutely tight as BALLS, man! they were incredible and i dont think we realise on cast recordings how much of the songs they sing through to make everything sound tight and punchy. ‘new wave girl’ and ‘stoner chick’ were my favourite
- fight for me had been modulated down a tone or so
- the second verse in big fun was changed, all centred around ‘veronica looks hot tonight!’ it worked really well and i loved it
- instead of the “so it’s salt, then lime, then shot, YOU’RE DONIG IT WRONG” moment, heather mac told her the order, veronica aced it, mac said “you’re a natural! just like my mom!”
- the “quit it jackass get off of me” and the freshman sneaking over the pool fence section was cut
- “sorry but i really had to wake you” was changed to “had to see you, hope i didn’t wake you”
- some of the biggest notes in veronica’s part the show were cut, which of course is a tad disappointing to not hear live, but you’d have to be superhuman to sing those insane parts without vocal damage anyway, so i totally understood, the songs still went HARD
- after dead girl walking when veronica dreams of heather coming back and thrashing her for the whole martha-pig-vomit scenario, she’s wearing this massive ass red scrunchie that went round her entire head it was hilarious
- whenever the ensemble come into somebody’s imagined scenario (we the students of westerberg high will die), dream (aforementioned giant scrunchie dream) or general creepy bit (shine a light reprise), they all wore those white frame red-and-blue 3d glasses
- they changed ‘heather touching me’ in me inside of me to kurt and ram instead of a girl :/
- heather chandler running round the stage when she’s going ‘I’M BIGGER THAN JOHN LENNON’ was the funniest thing, she like ran around the characters singing about her and did shitty leaps around the stage it was the BEST
- the new song ‘you’re welcome’ was really great and veronica was a badass. i kinda wanted to see blue live because it’s my #problematic fave, i know it makes light of issues around assault but also the song is so ridiculous and i love it, it was the first song i ever heard from heathers that @pjfangirllvnda shoved into my ear one day with absolutely zero context and i was like what the actual fuck. however, in terms of the show, you’re welcome worked really really well and i think it’s a better song for the show
- because of the aforementioned jd performance, our love is god was incredibly powerful, especially at the end when veronica was like wtf you killed them, you could tell she wanted out but jd was holding her and it seemed like he had her trapped and she looked terrified, his stage presence was so menacing it worked great, you could see him co-ering her into joining in with the final ‘our love is god’s. ALSO ram had a shitty tie and veronica was like “oh i like your tie ram’ (she did the best ever act of OMG YOU’RE SO HOT STRIPPING FOR ME it was brilliant) and he was like ‘thanks, my mom got it for me.’ he’d just taken it off, so he went in the pile of clothes and put it back on. ‘thanks, mom!’
- heather duke’s song was BOSS and included the ‘big swordfight in her mouth’ part, but as a reprise of ‘big fun’ than blue which worked really well. there’s a little reveal in the song, which i won’t spoil (i didn’t have it spoiled for me and i squealed) but it was so GOOD, shoutout to t'shan williams for being so damn great
- dead gay son was so great and the whole audience went MAD when kurt and rams dads started making out
- shine a light had been modulated down a semitone i think. the ‘steve, i’m ending our affair’ was hilarious, she was like “oh god is that your wife,,, and your children?? you bought your entire family to our school assembly?? wellllll this is awkward,, hi i’m pauline,,, hope you’re enjoying the show,,,” miss fleming’s voice was amazing AND they had those light-up books to dance with in the ensemble which was cool
- lifeboat had been modulated somewhere, i could have sworn it went up, i LOVED heather mac’s voice, particularly her vibrato was so well controlled and not just super-fast manic it fitted the mood of the song so well, shoutout to sophie isaacs you’re awesome
- in shine a light reprise, “you don’t deserve to live, go on and bitch and moan, you don’t deserve the dream, you’re gonna die alone” or whatever, instead of repeating the same melody twice, she just kept going up on every line DAMN did i mention she was awesome
- kindergarten boyfriend was never a favourite song of mine but DAMN did jenny o’leary do it justice. there was this big pause when she sang ‘certain girls are meant to be alone’ - she was sat at the top of the upper level of the stage stage with her legs danging over the edge, at that line she stood up and went to stand in the centre of that platform in this big silence it was like the whole theatre held its breath
- meant to be yours was terrifying due to aforementioned jd awesomeness, oh MAN
- my favourite line ‘cheek to cheek in hell with a dead girl walking’ YAS
- i am damaged i think had a lyric or two changed and it seemed like jd was less regretful, more like ‘you beat me there’s nothing i can do’ rather then the kind of ‘i’m playing fair so i’ll stand down because i have some human-like regrets’ that i got from the original cast recording, which again i liked because it feels truer to the movie and the fact that jd is always a seriously messed up guy, not just a #edgy teen
- standing ovation and seventeen reprise as we all cheered off the curtain call was awesome
- THE BAND WERE ABSOLUTELY AWESOME AS A SAXOPHONIST I WAS WEEEEEPPIIIIINNNGGGG I WANNA PLAY IN THE BAND FOR HEATHERS
- everything was g r e a t and as my first ever live musical i am STOKED it was so awesome
- (bonus: we saw a matinee so there wasn’t anyone doing signings because of the second show later on, but my friend was the only person i’ve ever seen to cosplay martha and she got a photo with jenny just as she was leaving!! how cool is that!!)
#heathers the musical#veronica sawyer#jd#carrie hope fletcher#the other palace#off west end#hannah what the hell#heathers spoilers#idk what else to tag it
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David Boykin's "What the Afrofuture Say" premieres at Black Harvest Film Fest tonight.
An outstanding and necessary achievement for a musician of David's talent as well as his commitment to Chicago. If you're headed to #BlackHarvest Shorts starting at 5:30, please sit in this screening! #WhatTheAfrofutureSay #Jazz #DavidBoykin #Afrofuturism
Unfairly quick shoutout to Chicago saxophonist David Boykin (and now actor) for the premiere of his jazz-infused short film “What the Afrofuture Say” at Chicago’s famed Black Harvest Film Festival! This is an outstanding and necessary achievement for a musician of David’s talent as well as his commitment to Chicago, culminating now in his film’s inclusion in the Made in Chicago Shorts Program of…
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HUGE SHOUTOUT TO THE SAXOPHONIST PLAYING “CARELESS WHISPER” IN PORT AUTHORITY RIGHT NOW
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shoutout to the saxophonist in my building who is jst constantly vibing
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Ghost Cult caught up with the great artist Laurent David of the band Kilter! Their new album is out now via his indie album Alter-Nativ and expands on the bands' creative vision. Kilter includes Laurent Laurent (Electric Epic, M&T@L), drummer Kenny Grohowski (Imperial Triumphant, Hipster Assassins), and saxophonist Edward Rosenberg III (Jerseyband, Heart of Barf), who have made 100s of albums and cut across many genres. We chatted about Laurent's backstory, the goals of Kilter, his label, guests such as Andromeda Anarchia (Darkmatters) and Per Nilsson (Meshuggah), working with Grammy-Award-winning producer Marc Urselli, other projects in the works, including another Kilter album in the future! Interview by Keefy and Videography by Omar Cordy of OJC Photography. Watch the album teaser featuring members of Meshuggag and Darkmatters https://ift.tt/3bPgDrF Order the album and Follow Kilter and Alter-Nativ: https://ift.tt/2WZVXJj https://ift.tt/2X4ZPbO https://ift.tt/343y7xA If you have read this far, please like and subscribe to our channel and hit that notification bell to support us! This video also includes a shoutout to an awesome venue and promoter, 20 Watt Tombstone! To get your band a shoutout in one of our future videos, subscribe to Ghost Cult on YT, IG, and Twitter and then check out pinned Tweet for the details! by Ghost Cult Magazine
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Meet Nonifine, the Nigerian singer who believes he has the best wedding song for the season
Nigerian singer Alamezie Declan Chinonyerem popularly known as Nonifine has taken to social media to say that his new song 'Take You Home' is the best so far and will top global charts.
Nonifine said that he is aware everyone will say that's what artists say, adding that beyond his great talent, he has delivered a wonderful song and no one can dispute that.
He said that the love song is suitable for weddings and will become the best wedding song ever within a short time.
Having won the Imo Got Talent Show about a decade ago, the singer said that a number of things have held him back, but he is free from those shackles.
"I've been held back by a number of things. I have been preparing myself for a moment like this because a lot of persons believe I am not good at this"
"I'm stepping out with the best song and there's no dispute on that. It is also the best wedding song out there and will give me my first step on global charts", he said.
'Take you home' is Nonifine's debut single and he told OtownGist that he has been waiting for the moment his song will be out there for over a decade.
He said that in this part of the world, only songs can make one a singer and he has been battling with choosing the right content and timing, saying it is now or never.
"There's no better time than now and a big shoutout to everyone who did not give up on me in this journey."
"It's been a ride, but we're here at this terminal and it is takeoff time for great things and time to keep blessing the world with great songs"
'Take you home' features saxophonist KingSax and produced by legendary Wisdonbeat.
Stream Here
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Been working on becoming a certified Tattoo Artist/Model with this ink i just FIO that 💩😁👈🏽 BTW shoutout to the owner of the music group i'm apart of for spreading knowledge to me @br3music & my dope tattoo artist @bosinktattoos74 also for the tattoo knowledge 2019 that year!!!#artist #bookme #canvas #drip #everlasting #favor4flavor #fioinfinity #graffiti #music #only1fio #recordingartist #saxophonist #tcmg #tinycastlemusicgroup #visualartist #writer https://www.instagram.com/p/BtV4HRvH13S/?utm_source=ig_tumblr_share&igshid=xuj22kr407hc
#artist#bookme#canvas#drip#everlasting#favor4flavor#fioinfinity#graffiti#music#only1fio#recordingartist#saxophonist#tcmg#tinycastlemusicgroup#visualartist#writer
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MEREDITH MUSIC FESTIVAL 2019
Don’t Ever Doubt Aunty, She Knows How To Throw A Party
Words: Bec Grech and Sally Lewis
Photos: Chelsea King
This is Bec’s fourth and Sal’s first Meredith Music Festival. Here is who and what they saw during a wonderfully wacky weekend at the coveted Supernatural Amphitheatre.
FRIDAY
Cleansing smoke from the smoking ceremony filled the Supernatural Amphitheatre, signalling the start of Meredith Music Festival in its 29th edition, held on the land of the Wadawurrung. In a MMF first, Uncle Barry Gilson along with other traditional custodians of the land performed a beautiful Welcome To Country. Stories, singing and dancing. In a minutes silence, the Sup’ stood in solidarity to pay respect to their recently lost Elder, Aunty Mary. Thank you Uncle Barry and the Wadawurrung people for sharing your stunning land with us for the weekend and welcoming us all with open hearts.
Photo: Meredith punters walking through the Smoking Ceremony held by Wadawurrung people, the traditional custodians of the land on which Meredith takes place.
Jesswar opened the festival with an explosive, tough as nails performance. Her hard-going hip hop had all the bad bitches move to the front. And move to the front, we did.
Karate Boogaloo, the funky and oh-so funny four-piece served up a set of their finest and fruitiest jams. Sweet, sticky, ooey-gooey goodness. Kay-Bee’s unconventional funk and fusions of psych and RnB, had the Sup’ swaying and smiling ear-to-ear. Carn the Boogers!
With housekeeping out of the way (courtesy of FEE B2 and Shania Twain), Julia Jacklin instantly warmed and wowed the crowd. Equally composed and expressive, Jacklin’s voice has the power to deliver a performance that can be simply summarised as, stunning. Singalongs to ‘Pressure To Party’, ‘Don’t Know How To Keep Loving You’ and ‘Pool Party’ had our hands to our hearts.
Aunty Meredith, thank you for putting together a lineup with set times that allow us to jump from the dreamy, indie pop of Julia Jacklin to the electric rockabilly of Tokyo’s Stompin’ Riffraffs. Seriously, the screams, the masks, the blazing theremin solos. Unreal. Check them out.
I was quite perplexed by the disregard of Meredith’s ‘No Dickhead Policy’ when Liam Gallagher was announced as a headliner… After a couple of tracks I swapped out his set for some downtime at the Ecoplex Cinema and was witness to an odd Christmas movie where Santa hosted an international kindergarten rock eisteddfod inside a grand organ, then proceeded to invade an innocent child’s dreams that were influenced by Satan. I was happy with my decision, but hey, I’m sure most people in the Sup’ were having the time of their lives, and that’s great too.
I stayed for the Friday night headliner and the set was, strange? With two decent enough albums behind him, Liam Gallagher surprisingly leaned heavy on the Oasis classics but not the ones I was expecting. ‘Wonderwall’ of course came out, as did ‘Cigarettes And Alcohol’, ‘Rock N Roll Star’ and ‘Stand By Me’, but Gallagher chose to skip over a huge mix of mega hits. Admittedly I may have fallen asleep in the deep comforts of a cosy couch as Gallagher played, but I suppose there’s something cool about being woken up to a crowd of festival goers singing along to some iconic 90s Brit-pop. Special mention to the unaware punter yelling “play Wonderwall!” as Gallagher and his band were belting out that man’s very request right in front of him.
“Who are you looking forward to seeing at Meredith?” they all asked. My instant reply, “Close Counters”. The Tasmanian duo played their biggest crowd to date and utilised their deep synths and drilling basslines to get the Friday night party started with their crazy good fusion of house, jazz and soul. Mmmm Moog synths rule. Elle Shimada also made an appearance to slay the violin, as well as Francesca Gonzales who leant her vocals.
Logic1000 whose debut EP dropped only weeks before our supernatural adventures carried us into the early morning, floating between deep house and ambient electronic moments.
Oops! Bed time for me.
Closing out the night was Vanessa Worm. I was meters away from my tent when Vanessa’s wacky vocals permeated through the campsite. It sounded too good to be true, and impossible to miss. I made the trip back to the dance floor to witness her set in the flesh. Gritty electronic beats provided a background to some incredibly silly vocal stylings that appeared to be emanating from a puppet who had gained awareness of it’s strings and was making every attempt to rid itself of it’s puppet master. They definitely expelled some of their inner demons. Fantastic, I wanted to put my boot up but held onto it for some strange reason, which I have now come to regret.
“Time for you to be still” – listening to Vanessa Worm, I hit the hay too.
SATURDAY
Scott and Charlene’s Wedding was the most wonderful soundtrack to waiting in line for coffee. A very blissful morning indeed.
U-Bahn was up next and boy, not only did they look good (hats off to outfit coordination and killer eye makeup) they sounded bloody brilliant. Having caught these synth-punks around Melbourne town a few times previously, their moment on the Sup’ stage may just be my favourite performance of theirs yet.
“Where are you camping?” is apparently every third question asked at Meredith, so for the sake of this article.. I ran back to our castle/camp at Bluegums to refuel and unfortunately missed seeing River Yarra, but thanks to there only being one super loud stage, I was able to listen to their pops of percussion fuelled, experimental electronica. Wobbly, wonky, I liked what I heard.
Cate Le Bon on a sweet Saturday afternoon was sublime. Uniquely impassive in their own kooky fashion, Le Bon and her band in their performance slip in twinkles of magic and stubborn eccentrics. It was truly dazzling and full of heart. Plenty of boots up in the air for this set.
It seemed like the entire festival flooded the amphitheatre for DJ Koze on Saturday afternoon. An incredible turn out for a last minute addition to the lineup. Koze must have raided the local Meredith nursery, going full bush on the set design – it looked and sounded amazing. Potentially the crowd favourite? Sally, please blast ‘Pick Up’ as you scatter my ashes through a forest somewhere.
Can do! Bec and I both gave our boot to the German DJ, as we boogied our bums off to Koze’s impeccable selection of beats and bangers. I’m having flashbacks. Might go cry to the memories of Meredith right now…
Following Koze’s wild hour and a half were some marvellous afro house beats, courtesy of Digital Afrika. I didn’t realise just how much dancing could be squeezed into one afternoon. The Eqyptian Lover then whipped the crowd into a frenzy with their powerful stage antics. Forcing the crowd to scream “eight oh, motha effin, eight”. They proceeded to play nothing but that drum machine for fifteen minutes straight while thousands of smiling faces ferociously shook their booties.
I was also one of those booty shakers and I aspire to dance as The Egyptian Lover dances… He’s got the moves I tell ya. *Flicks hands left and right*.
Viagra Boys. WOW. The five-piece punkers from Stockholm, Sweden, had everyone in the palms of their hands as they bashed through their catalogue of witty post-punk belters. Frontman Sebastian Murphy is a crazy character, he threw himself around the crowd and all about the stage as he sang and shouted his lampoons on life. Push ups into a microphone as he yelled “sports!” during the ‘Sports’ outro, very, very impressive. Special shoutout to the saxophonist of the band who bloody slayed that thing all set long. I admire a punk band who indulge in using bongos. Absolutely wild times. I may have given DJ Koze my boot but Viagra Boys have my heart.
Photo: Viagra Boys frontman Sebastian Murphy singing into the front row of people.
Dead Prez were up next, who blew us all out of the park. Gangsta Brooklyn political-rap pairs very nicely with samples of Red Hot Chili Peppers and Pink Floyd.
Amyl and the Sniffers came in stinkin’ hot (and slightly late) with an ARIA tucked under their mullets. Two years ago the local punks opened Meredith on Friday night. This year they cut loose during a headline time slot. My. Oh. My. They delivered. A set equally as punchy and wild as it was wholesome. In between heavy breaths the band made it pretty clear how special it was for them to be playing another Meredith. Props to Amy for creating a safe space in the mosh for everybody except creeps. She is a force to be reckoned with. Footage of buff kangaroos fighting while Amy sung “I wanna be your little angel” along with a live Chat Roulette video stream displayed throughout the set, sent me (and I’m sure many others) into fits of laughter. The joy of short and sharp punk songs is that nearly every single Amyl and the Sniffers hit can be squeezed into a 45 minute set; ‘70 Street Munchies’, ‘I’m Not A Loser’, ‘Monsoon Rock’, ‘Gacked On Anger’, ‘Cup Of Destiny’. All killer no filler.
Photo: Amy Taylor of Amyl and The Sniffers on stage during their Saturday night headline slot.
Irish alt-pop/disco sensation Roisin Murphy who you’d recognise from Moloko (‘Sing It Back’) blew us away with an impeccably controlled vocal delivery and performance. It was a real treat to see her delve into the sonic world of her solo endeavours – swaying between chiming, glittery, lush synths and the squelchier sounds of ‘Overpowered’. Upwards of 4 costume changes? What a party. There was also some kind of silver alien that Murphy hugged and danced with. It was confusing but I loved it. After that, I only remember dancing.
Two hours of solid dancing to incredible house followed, soundtracked by Eric Powell. Thank you. Just, thank you. German producer and DJ Helena Hauff, whose appearance at Meredith had been years in the works, mixed the entirety of their set on vinyl. Starting dark and brooding, we were quickly plunged into dark, fast and heavy selections accompanied by intensely curated visuals.
“Are you ready to RAMBL?!” … No, I’m so sorry but by body can’t do it. Dancing for upwards of 15 hours had me beat. I did however enjoy the local DJ’s diverse mixes of house, disco, funk and techno from the comforts of my tent AND as I woke back up at 7am for a cheeky run to the loo. There was no better way to wake up Sunday morning than with another lil’ dance.
SUNDAY
We all rolled out of our tents slowly late Sunday morning with sore heads, full hearts, and dropped jaws, recovering from the breathtaking talent that graced the Amphitheatre the night before and we headed down to catch Gordon Koang. As much as he insisted he loved the crowd very much, I think we loved him more. Koang had the amphitheatre standing up and clapping their hands (despite how rough we all undoubtedly were feeling at this point in the weekend) before he even played ‘Stand Up (Clap Your Hands)’ which on stage featured a string of the cutest dancers possible. Two disco ball headed dancers also joined the party on stage and now I need a disco ball head toot sweet.
I’m not going to lie, I had no idea what The Gift was. I didn’t even think to ask. Holy. Moly. Not only is the Sup’ the perfect place to let your hair down but also, your pants. Nude racing around the Amphitheatre by those with brave souls and bare bums. Meredith truly is a magical place. Speaking of…
MAGICAL MOMENTS
Interstitial DJs – the unsung heroes of the dancefloor. Adriana selects the most wonderful international boogie gems and only FEE B2 can get away with mixing ‘Come on Eileen’, into drum and bass, into disco.
The People – Ingrained in its philosophy, everyone is welcome at MMF. With open arms Aunty Meredith and the Wadawurrung people allow festival goers to indulge themselves in music, art and community. The people at MMF are united bunch of loose bananas who have the best fun, and who importantly look after each other while doing so. No dickheads. No worries.
The amount of ‘overheards’ and ‘seen ats’ could be endless. I loved seeing the endless array of dolled up punters and groups of friends in highly coordinated outfits; women in 80s business attire passing around a cheese board in the midst of a Swedish punk set, a crew dressed in life jackets and helmets carrying their mate on an inflatable raft who paddled and parted the Sup’ like the sea, netballers, cricketers, flight attendants, birds, disco dancers, you name it and someone was probably dressed like it at Meredith.
The Return of Doof Sticks – This year the doof sticky things were removed from the banned items list (as long as their heads were no larger than that of a cauliflower). They lined the Sup’s horizon to make a spectacle of lights and crafty work. Even some cauliflowers on sticks were spotted.
The Boot – My first time at Meredith, I was relieved and heart-warmed by the concept of giving an act your boot/shoe. Thankfully not a suggestion of a shoey, but an act of admiration.
Cricket – Who doesn’t love an impromptu game of bat n’ ball in the rise of the Sup’? Meredith is the only place the police and punters sporting ‘eff the police’ shirts can come together for an over.
Couches – How have I survived past music festivals without one? A place to chill out and enjoy the music from afar, or dance on top of, or start a party at, or make as a meeting point. Genius.
Also, I hope the guy we found asleep on our couch Sunday morning is doing fine and found his friend Sarah.
FINAL THOUGHTS
Despite comments in the lead up that MMF 2019’s lineup wasn’t as strong as previous years (which we never once bought into) and the ticket swapping page being swamped with heavily discounted tickets – it is pretty damn clear by the success of the weekend that; 1) don’t ever doubt Aunty, 2) She knows how to throw a party, and 3) those who sold their tickets missed out on a stellar weekend. During every set there were boots being held up left right and center. With every twist and turn someone beside you was having the time of their life.The Supernatural Amphitheatre is without a doubt the most magical place for live music in Australia.
Thank you Aunty Meredith. Thank you to the Wadawurrung people for sharing your land. Thank you to the lovely friends we met and made. We are already counting down the days ‘til Golden Plains.
The post MEREDITH MUSIC FESTIVAL 2019 appeared first on SYN Media.
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Basically I had drunk booze all day without any food (after I ran into old friends in the middle of le Marais!) when I stumbled into le Caveau de la Huchette. It's a delightfully touristy yet historic venue that deserves a drunken shoutout because: it's where young and old people joyfully dance to jazz that makes you hopeful for the future of it; and where, when the singer says "samba!" suddenly, a very sensibly dressed man appears from nowhere with a set of bongo drums like he was just waiting for this moment to arrive; where you meet Americans from Louisiana, Minnesota and London within 10 minutes, the last of which fills your glass of wine because you helped them pick their bottle; where local musicians rally to celebrate their favorite saxophonist with a dedicated show open to everyone to the wee hours of Monday night; and where you realize Paris is perhaps the best place in the world right now and you want to stay forever and ever and ever. #paris #lalaland (at Le Caveau de la Huchette)
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