Venue: The Meadow, Gardens By The Bay, Singapore
Date: 24th January 2015
Promoter: Chugg Entertainment
Review by: Fadhil R.
Special Thanks: 19sixtyfive, and the Laneway Festival Singapore team
Photos by Kenneth Lee
ASSESSING LANEWAY FESTIVAL SINGAPORE 2015
It’s not often that bands such as Pond grace our Singapore shores, never mind with another incredible act like Jungle, and after Lykke Li’s supposed trip to Singapore was unceremoniously cancelled before she made it over, it’s still obvious that today is quite the event. With the Laneway Festival selling out in advance, people are hunting down spare tickets and hoping for the best on the door, but the packed-out, overheated venue contains the lucky few hundreds who snapped at the chance to see this lineup. It looks like an aftermath of a battleground from up the hills, and that was the first thing I thought. Riddled with snack bars and hundreds of picnic mats lying around which is a standard protocol for most of us, you’ll start to wonder whether is it time to focus on crowd’s demands of a fine showcase of the many talents, which enable us to sing-along in unison or just being laid back, looking forward to meeting cool friends instead of appreciating the different angles to the actual show. Unfortunately there’s already evidence that music festivals may be cursed.
Has Singapore ever truly produced a well-made music festival? I don’t mean those with fancy food stalls and recreational mini-games at the side to ape the best and worst aspects of their musical culture, but a festival to bring something new that can so often feel stifled by history. A music festival that can convey the microcosm of the Singapore experience in the context of universal themes. Spirituality. Survival. Freedom. Many (festivals) have contributed to this – most notably Mosaic Music Festival and Music Matters Live – but few, if any have truly nailed it. Happy days, nevertheless. I headed down to Gardens by the Bay, Meadow to get the lowdown of Laneway Festival, held here in Singapore for the fifth time.
OVERVIEW OF PERFORMANCE IN DEPTH BY GRADE RATINGS
Opening for Laneway Festival Singapore is no easy task, but Malaysian band Enterprise [A-] made it look so. Their compelling introduction isn’t to everyone’s liking but the double drums attack has poise, purpose, and power. While this band was a new experience to some, they actually have the balls to pull off exquisite, slick materials by them, which consist a few glimpses of The Telephone disco tunes. A state of numb and disbelief by a few numbers of fans at the barriers of Garden stage, this story is far from over.
Eagulls by Kenneth Lee
Given the circumstances, it’s a tough task too for Eagulls [B+], whose more streamlined crust assault fails to garner much of a reaction. The Joy Division worshipping riffs and frontman George Mitchell’s piercing vocals tick all the right boxes but the muddy sound turns it all into a pretty one-dimensional indistinguishable quagmire. Even though they open up the proceedings and bravely introduce themselves to the crowd, it’s clear that they’ve yet to attract a number of fans with their take on indie/punk rock genre in the early stages of the festival. Their self-titled album was nearly played in full and “Coffin” was masterfully executed.
Pond by Kenneth Lee
Still, at least 70% of attendees this afternoon are here for Pond [A-] and the huge Waiting Around For Grace begins a 45 minutes of beautiful psychedelic rock. Nick Allbrook’s voice soars where it’s needed and his affected vocal curls around “Elvis’ Flaming Star” before “You Broke My Cool” crushes my brain and “Giant Tortoise” takes us back to the start of their outrageously fast-moving career. It’s a set of trippy and genuine reflection, one that Nick somehow manages to surpass. The magic of Pond’s set lies in the centerpiece of the band’s latest album, Man It Feels Like Space Again and man, it does feel like we’re in space. Talking about feelings, when you say it out loud there is something oddly off-putting about the idea of Mac Demarco [B+] creating songs that are reduced down to a single acoustic guitar and his low-throated blues howl – in fact, it’s hard not to listen to his recent album, Salad Days – from which most of his setlist are culled, even though there’s definitely something missing. Whatever that vague, intangible ‘something’ is, however, Mac has clearly found it. Interspersing new tracks like “Blue Boy” with renditions of Coldplay’s classics such as “Yellow”, it’s charisma that fills the venue as much as the tangling sound of fingers that emanates from the six-stringed instrument slung over his shoulders.
Mac DeMarco by Kenneth Lee
Pastel Lite [B] get off to a slower start and might not be much to look at, but proved rewarding nonetheless. The electronic duo kicks started the Cloud Stage and takes entertainment to a new level with their mischievous outfit. Heart Drum is a winner, proving that concertgoers will impersonate a crab literally anywhere. Eff and Faliq didn’t look confident at times onstage but their slow building and swelling songs still have a definite and powerful emotional pull.
Courtney Barnett by Kenneth Lee
Courtney Barnett [A+] offers one of her strongest shows to date, I believe. She has been long on the ascendant, not merely in terms of her growing fanbase but the quality of her performance and songwriting. Her rise to fame still mystifies vast swathes of the indie world. She forces everyone’s brains to explode with “History Eraser” and featuring a few new songs that were seriously infectious. The same can’t be said for “Avant Gardener”, though it has a lesser of an emotional weight when played live. There are quite a few empty patches by this time as evening is beckoning as the brother-sister duo steps up.
Angus & Julia Stone by Kenneth Lee
Angus and Julia Stone [B+] was born with the ability to melt hearts in a single syllable. Their husky serenades drift over the country shuffles of tracks like, all treated with so much reverb and delay pre-amplification, you could almost swim in the soil once natural elements take place. While Julia snakes around the stage with her trusty trumpet and that all too familiar grin we know and love, Angus brings an entirely different energy to the experience: a combination of wide-eyed innocence and genuine appreciation towards each and every one of its patrons. Not only do they leave having really made a name for themselves on that stage, but they give so much that come within a whisker of stealing a defining moment.
.gif by Kenneth Lee
.gif [B+] have been fairly frequent performers on our shores. With Weish’s unrestricted vocals despite a bad throat and Din treating us with his emphatic beats, accompanied with two more members to their domain on drums and bass respectively, the caliber ought to be high. The last few jaunts have been pretty shoddy disappointments, probably due to sound technicalities. By no means perfect, they have at least managed to repair the damage to such an illustrious name and supporting members seem to have given them a new sense of purpose; far tighter and together than in recent live shows.
Royal Blood by Kenneth Lee
The biggest thing you can take away from tonight is that Royal Blood [A] and their audience has struck the kind of bond that doesn’t come around very often. Not only do the crowd scream every chorus like their lives depend on it, but there is a man waiting to do a crowd surf out of the pit before the band have had the chance to hit a note. The full throated sing-along to the opening of “Come On Over” and the frantic reaction to the band launching into “Figure It Out” can’t help but make you feel energized to take on the world and the sheer enthusiasm from band themselves is captivating. With one of the outstanding breakthrough albums of the year, it showcases about half of that potential and is still measurably better than most of the rock shows you’ll see in the near future. That in itself is very promising so far. But Hanging Up The Moon [B] have been forced to grow up just a little and amid established favorites being played, they don’t exaggerate, and it quickly becomes evident that total domination is very much within their grasp. Although they started with real intent, they never really spark into life but still, the crowd seems in tune with their friendly throwdown formula.
Jungle by Kenneth Lee
The Bay stage isn’t anywhere big enough for this dynamic, charismatic young band. Jungle [A+] really needs a bigger arena to convey their talent. However these Londoners gave the awestruck audience a solid taste of what they can deliver in a 45-minute set that’s a whirlpool of 70s inspired beats and a dirty blues groove. Their combined vocals catapulting through a cascade of influences from Bee Gees to Chicago, led by their frontman Josh, is the focal point. They even break out into choreographed dancing for songs like “The Heat”, adding an extra dimension to the band’s blues funk-drenched style. The other touring band members like their backup vocalists, were tearing into some slick moves of themselves in tune. Highlights litter the performance; from the heated “Julia” to the more measured tread of “Time” and it climaxes with “Busy Earnin”, a rousing way to leave everyone panting for more.
Future Islands by Kenneth Lee
Future Islands [A+] on the other hand, explode onto the stage, assaulting the crowd with their brand of accurate distinctive indie pop. The whole band looks like they’re really enjoying themselves, leaping around the platform, while vocalist Samuel whips the Garden Stage into an absolute frenzy. Unlike many other bands, Future Islands exceed all expectations as a live act, with an effervescent show sure to please any fan of indie tunes. They are a reminder that songs like “Balance, Tin Man” and especially “Seasons”, the moment you see Mac DeMarco crowd surfed; not all bands need to be metal to be truly effective. On another night, Future Islands would have blown the fucking super trees out.
Surprisingly, despite a frenzied following and two albums to his name, this is Chet Faker’s first Laneway Festival in Singapore. As if that isn’t enough to induce a united coronary, the day it’s halfway to a closing night. Still before our hero hit the Cloud Stage, Rustie [A-] step up to promote his new album Green Language. Flying the flag for UK, he has great songs, distinctive basslines and someone who won’t stop until the dancing is constant and he’s drowning in sweat. Chet Faker [A-] has little to fear, though. His all-for-one spirit, unapologetic values in himself and massive talent for making smooth, tight rhythms impossibly accessible has a vice-like grip with fans. Despite being without his fellow compatriots, every beat is mimicked and every melody sung in ear-splitting unison as he moved through the short but varied setlist. “1998” and “I’m Into You” drag a little but “Gold”, complete with its wild dope samples, are awesome and the melodic “No Diggity” was quite hypnotic. It is this combination of these songs that give this man such drug-like appeal, and all driven wonderfully by the beard he owns. The amount of space and location of the stage was a letdown however and that might affect Chet’s performance as well.
Little Dragon by Kenneth Lee
Little Dragon [A] are an unfamiliar name to many at Laneway, but three quick-fire songs is all it takes for their hook-laden brand of electronic music to get the crowd jumping around. Frontwoman Yukimi Nagano has an exceptional voice, as “Turn Left” and “Ritual Union” reveal where she learned her best tricks. Anyone whose interest was piqued by their style of music can sleep easy. The band’s recent album, Nabuma Rubberband should be worth looking out for. Though often derided as an angsty group, onstage they pack a whopping Swedish punch and if Yukimi can be persuaded to cut back on her yakking, the sky’s the limit for this band. Her atmospheric tunes were played with total commitment but Banks [A+] was hanging by a thread to roar down on a crowd that sadly doesn’t seem to realize how excellent what they’re watching really is. By the time the sell-out crowd is packed in, there’s no doubt she is going to go down like a house on fire and Banks duly obliges, whipping up “Brain” and “Waiting Game”. Abrasive and effective, she permanently banished any suggestions she can’t rule without autotune.
Banks by Kenneth Lee
Without pause, FKA Twigs [A+] blasts into an epic, uncompromising “Preface”. Sonically her strongest influence is still the XX, evident in the harmonic soaring vocals and mind-bending beats of “Pendulum” and “Water Me”. She saves “Two Weeks” for one of her final two songs and the instantly recognizable tune reignites the crowd which now fills more than half of Garden and Bay stage combined, setting the stage for her unprovoked slithering moves, that bars resemblance of late Aaliyah’s Queen of The Damned role. Twigs has earned her position at the top of the BBC chart, but she hasn’t forgotten how she got here and reminisces about her early days being a dancer and working as a bartender were all she had. Despite knowing her shit, her competitive nature keeps her from settling for excellence.
FKA Twigs by Kenneth Lee
Pretty musician Jon Hopkins [A-] lives every moment as he poses and preens his way through a faultless set. He even can get away by messing around with his samples just to prove his sex appeal. Even in a scene where a ‘feel good’ attitude is the norm, there’s nothing quite like him. Mashing together “We Disappear” and “Collider” with the subtlety of heavy basslines and trance really counts as ‘progressive electronic music’ in the traditional sense. A thrilling one to end the set with “Open Eye Signal” is pure class.
A lot has changed for St. Vincent [A+] in the last few years since she last hit our town. Not only has she completely revamped her slick riffs, but she now has a lot to offer with her brand of rock. Indie is still much the order of the day but perhaps a little more frantic. Encouraging the audience to move about, her between-song patter is cheesy enough to cater to a thousand pizzas, but her other female compatriot forged a remarkable connection with their audience. She has some damn fine riffs and sweet solos in “Cruel” and “Cheerleader”, adding on to her attempt of dropping in a new number that sounds brilliant epic to boot. No, this is not truly St. Vincent as we know and remember, but the warmth, passion and sweet mother of guitar fondling she inspired around The Meadow evoked everything that was great about her performance.
St. Vincent by Kenneth Lee
The hits are endless and tonight is exactly what Laneway Festival Singapore 2015 is all about: a celebration of technical precision.
HEROES AND VILLAINS OF LANEWAY FESTIVAL SINGAPORE 2015
Heroes
Future Islands frontman was a beast and he is twice as beefy live. Samuel T. Herring is the real hero and he vastly improved the band’s overall sound. Not only every single chorus greeted with total euphoria, but Samuel’s vocals have been the biggest improvement. Even there’s been something a little restrained about his vocal performance here and there; it’s now a moot point as Samuel is able to convey the conviction, vulnerability and honesty that come across. The guy is turning into a genuine national treasure and quite simply, he is unstoppable. If you’re going to any of Future Islands gigs, make it a point of watching him.
People have travelled from all kinds of improbable places to be here to be part of Laneway Festival and judging by the roar that erupts when it’s officially started, I can’t think of a better venue than Gardens by the Bay, The Meadow to hold a very large scale event. Attendees won’t be struggling to find reasons that the residing place it’s too farfetched or lack of transportation to get there. To be honest, sometimes it does feel like our human rights are being violated, and yet there is still much joy in the air. Completing a sold out day conquering this venue, I thank god that Gardens by the Bay exists and will be featuring many more music festivals or concerts in the near future.
Everybody wants to rule the world, but it’s the female counterparts who conquered Laneway Festival. Call them pretenders or over-the-top display enthusiasts, it was tighter than it should have been and was only a one-day event, but the likes of Courtney Barnett, Banks, St. Vincent and even FKA Twigs deserve great credit for uplifting power tunes in between their sets. The last Laneway Festival’s success was powered by a fearless and inventive brand of electronic music with confident, talented musicians expressing themselves. This time however has been like a dispiriting sales conference; no one knows anyone’s name, everything felt like is going wrong, and the word is that it was much more fun last few years. But here, in flashes, there were signs of brilliance from them trying to get out and every one of them mentioned was a particular delight.
Villains
It says that you are allowed to bring empty bottles passed the gates, but what are the reasons for? Water is the most prominent asset in our lives, so to have a water dispenser at certain points of The Meadow would be highly recommendable. It’s pretty funny and a helpful reminder that sometimes you should just go to the nearest toilet for free water to avoid any further unpleasantness. But an event like this looks considerably more comfortable if most of us are not quenching of thirst.
Despite Gardens by the Bay being an apt venue, Cloud Stage set up area undoubtedly wasn’t. Well, yes it was understood to be specially only for DJ sets but the thought of only getting few glimpses of our favourite musicians, having to squeeze through the rabid crowd and certain bands performing with technical difficulties and sound issues; really says it all. Imagine thousands of passengers to be squeezed on board this mammoth train and there wasn’t a plenty of space to move around to see what’s going on around you. Instead you get twatted, you can only hear speakers ringing into your ears and the only way out is where you came from. God have mercy.
What could possibly go wrong if demands of the musicians/bands you want to watch were met? One word. Time. Band performance schedules and designated performance area can be either fair or unfair. Usually the case would be unfair, and any hopes we might have had of easing gently into the day are soon forgotten, as the unmistakable band clashes blow away our expectations. Duh. It’s the most unbearable thing ever. Jungle on the other hand would have been the perfect curtain call to end off Laneway Festival. Just a thought.