When asked how to describe the Meredith Music Festival, my camping neighbour, Phoebe, told me it could be summed up in one word: “collaboration.” Examples abound: Campers negotiating space and interacting with their neighbours. Jostling for prime couch position on the banks of the Amphitheatre Supernaturale. Improved wi-fi access at the Meredith township (making for a more seamless entry experience). The community in the Tucker Tent making a mountain of steak sangas. The small army of volunteers, and the dedicated team to support them. Not forgetting the overarching generosity of the Nolan family, whose farm hosts the event, which Chris Nolan himself started. Much of the profits generated go back to supporting local community groups.
For an event to be successful for some 33 years, it takes all of that collaboration and more. For those unfamiliar with Meredith, it’s an annual camping event on Wadawurrung Country that is known for pushing the envelope in a safe and caring way. Their catchphrase “No Dickheads”, enforces an accepting and inclusive space, where people of all persuasions can feel free to be themselves in a fun and expressive way.
The event begins with a smoking ceremony and “Welcome to Country” in the Amphitheatre from Wadawurrung Elder Uncle Barry. This year’s mascot is the frog. Tiny frogs could be found in the surrounding countryside, in dams and creeks, in a range of colours from red to green, orange and purple. It’s a message of hope and celebration.
The music is diverse and eclectic. Arnhem Country musician Drifting Clouds has a deep and introspective take on life. He powerfully tells the story of the land in his native language. Northcote locals, Folk Bitch Trio, are as fun and sassy as you’d expect from a trio with that moniker. A birthday celebration. A relaxed yet fiery set that won over many new fans. They are jetting off on a world tour. Next up Canadian songstress, Saya Gray is hypnotic and surreal, playing songs from her debut album SAYA, described as a “breakup record for romantic misfits”—a sublime start to proceedings.
There is plenty of walking back and forth to the campsite for food, refreshment and clothing changes for Victoria’s notorious change of seasons. Which means that not all of the action happens in the ‘Sup. At sunset, there’s a collective migration to the hill to watch the sunset. It doesn’t disappoint, absolutely stunning.
Back at the main stage, Perfume Genius is in his element as he prances and preens. His sonic twists and turns mimic his contorted body as he simultaneously elevates and cries in despair. Like a tortured soul attempting to communicate in a vain yet captivating way, backed by a wall of sound.
Melbourne-based, psychedelic jazz fusion group Mildlife have an early Pink Floyd vibe that sits comfortably aside the variety of acts already played. They played Meredith back in 2018 and have since gone on to create albums with ARIA recognition. This is an easy way into the party ahead, which includes Sam Austins and Ninajirachi. The beats go on till very late. It’s just the first night, and it already feels massive.
It’s become a tradition for the City of Ballarat Municipal Brass Band to open Saturday morning. The band is 125 years strong and love their participation in the event. June Jones describes herself as a Naarm-based alt pop singer, songwriter, producer, and shapeshifter. Reminding this reviewer of an early Renee Geyer, Jones struts and dares the audience. Melbourne pop-punk band Radio Free Alice then plays a solid set of gritty danceable tunes. Legendary singer Colin Hay had to cancel due to illness, but The Peep Temple jumped in to cover with a banging set that culminated in an intense version of “Carol”.
Just when you thought it couldn’t get any quirkier, Detroit trio Dames Brown present a fascinating blend of Motown and House classics. Next up, techno king Omar Souleyman “just wants us to have a good time”. His middle-eastern techno pop music is instantly danceable. The ‘Sup becomes a seething mess of movement, colour and light.
The evening entertainment includes Chet Faker, who manages to blend sad love songs with a more upbeat feeling of hope, culminating with New York’s TV on the Radio. Rhythmic alchemy that defies definition. Songs such as “Staring at the Sun” and “Wolf Like Me” felt sublime and surreal. A truly powerful performance that left the audience in awe.
The music continued through the night – Atarashii Gakko!, RONA. HAAI, Wax’o Paradiso until dawn.
Sunday morning arrives and Master Song starts the day with some gentle Tai Chi. The Central Australian Aboriginal Women’s Choir performed an uplifting series of songs blending Western Arrarnta and Pitjantjatjara languages with traditional western hymns. These hymns were bought to central Australia by Lutheran missionaries in the 1800’s and live on today.
The gentle mood continues with Florist and their indie folk vibes. Sydney born but Vancouver based Jack Harlow is the driving force of Jack J, an artist who thrives in the new wave, synth pop genre. His songs were complex yet listenable house hooks.
Within five minutes of the Meredith Gift opening for registrations, the field was full. Eighteen people to race naked around the ‘Sup for the honour of collecting the coveted golden robe. Hosted by Melbourne based drag artist, Lazy Susan, the finalists were whittled down to the final six. It’s not just about speed, although that is one category. Impressing the judges (giant “worms”) also leads to a trophy. Clearly some had practiced all year – tumbling and rolling tickled the crowd’s fancy.
Just like that, it’s time to pack up, collect the sofas and head home.
Really, it’s the audience who are the real stars. Check out the photos from John Goodridge below (there may be some slightly NSFW images)
For more information on the Meredith Music Festival visit their website
