Bluesfest 2007: a lesson in blues

Across the five days of the festival was the cream of the crop of many different genres. The first night alone demonstrated this with young singer-songwriter Ben Kweller showing just how far he's come since his first venture on our shores four years ago, ending the set with some blistering guitar-work that would be just as at home in American blues artist Tony Joe White's fine set over at the Jambalaya stage.

The night at the large Mojo stage was capped out with John Mayer's pop-rock infused with blues, before Wolfmother's hard rock set closed out the night. Over at Crossroads stage reggae legend Lee 'Scratch' Perry - at age 71 - delivering a dub sound up there with the best. The reggae theme continued with Ziggy Marley who played an amazing traditional reggae set dotted with many of his great father's songs.

Friday saw a late shuffle in the line-up with Dave Matthews Band cancelling their appearance, to be replaced by Joss Stone and The Magic Numbers. A huge crowd in the afternoon headed to Crossroads to see the enigmatic Rodriguez make his first appearance on our shores in decades. The man delivered an obscure set, clearly uneasy in front of the huge crowd, filled with his many psychedelic-folk classics of the 1970s, including the sublime Sugar Man. From an obscure legend to one of the greatest, Bo Diddley was up next. The cheeky blues artist nearing 80 years young, who has the honour of inventing the beat that kick-started rock 'n' roll, delivered a classic set with his trademark rectangular Gretsch guitar.

Murmurings throughout the day were that Jack Johnson - who had already been spotted around town and at the festival - would be performing with the Animal Liberation Orchestra that evening. With an empty microphone at centre stage and his Cole Clark guitar behind it, rumours were proven correct with Johnson appearing midway through ALO's set to deliver a range of his own songs, including a rendition of Breakdown that was doomed from the start, with Johnson forgetting lines and repeating verses. The humble artist played to an ecstatic crowd and remained on stage for the remainder of the show.

Bela Fleck and the Flecktones were second to last on the evening. The four-piece instrumental bluegrass/jazz/rock/anything else group showed why they are regarded as among the best at their respective crafts. Between Victor Wooten's energetic bass playing, Fleck's unparalleled skills on banjo, Futureman playing half a drum kit and his own invention, the drumitar, and Jeff Coffin on woodwind, at one point playing two saxophones simultaneously. It would be impossible not to be mesmerised by this clear festival standout, and be drawn into one of the tightest and most talented bands out there. It was hard to resist the rock blues of Brisbane local Mojo Webb at the tiny Apra stage. I missed Buddy Guy's legendary performance last year, but by all reports this is the next best thing. He may be 40 years younger and white, but Webb delighted a small crowd with his amazing guitar skills, even throwing in some saxophone for good measure.

Saturday was the party night at Mojo. Bela Fleck's second appearance kick-started an afternoon of grooves, to be followed by New Zealand's Fat Freddy's Drop delivering their signature dub sound. The group was followed by ska great Fishbone, who led the night into Ozomatli and The Roots, two bands which have carved a name for themselves on the Australian festival circuit in recent years.

Sunday by contrast was Australia day at Mojo. Ash Grunwald kicked off the afternoon with his unique brand of groovy delta blues, before a disappointing set from Jackson Jackson. This side-project from The Cat Empire's Harry is gimicky, but without the music ability to pull it off in an amusing fasion. Things did improve with Aboriginal troubadour Kev Carmody later charming listeners with some of his many anecdotes and showing just why he is regarded as one of Australia's best songwriters. The set was topped off with an appearance by fellow songwriting great Paul Kelly to play their classic collaboration From Little Things Big Things Grow. Kelly was up next, delivering a mixed set of old and new tracks. Opting to avoid Mojo for the big night with Kasey Chambers, Xavier Rudd and John Butler Trio on the line-up, I found myself at Crossroads for blues legend Taj Mahal. Dedicating seemingly every song to the ladies in the crowd, he delivered a set from across his 40 year catalogue.  The 65 year-old Taj Mahal shone with his unique vocal style and trademark smooth guitar sound. Over at Jambalaya, Katchafire set the house on fire with their reggae grooves.

Close your eyes at C.W. Stoneking and you'd be forgiven for thinking you were listening to Robert Johnson, Leadbelly or any early blues greats. The Northern Territory artist was without his normal honky-tonk band so instead delivered a solo set armed with a resonator guitar and a voice and demeanour so authentic you're not sure if it's real or not. Eric Burdon & The Animals headlined at Crossroads for the evening. The legend of rock played many of his classics with The Animals, including We've Gotta Get Out of This Place and the stunning House of the Rising Sun. The Kill Devil Hills topped off the night with their intimidating stature and equally as intimidating style of blues.

Monday saw The Waifs make a triumphant return to the festival with a packed out Mojo, the group delivering many of their classics. They were followed by a set from a Missy Higgins who has come a long way in a few short years. Taj Mahal took stage in front of a crowd who had no idea who this was and just wanted Ben Harper on stage. By the end there were few that hadn't been blown away by Taj Mahal.

The final day of the festival was for many built around Ben Harper's appearance. A decade ago this unknown from California cemented himself as a rising star at this very festival. This evening for most it was a choice between female blues legend Bonnie Raitt and Harper, but the majority who chose the latter were not to be disappointed with an early appearance from Raitt to perform a chilling version of Well, Well, Well from Harper's collaboration with The Blind Boys of Alabama and Dressed in Black. The heavier set from Harper was dotted with appearances from Jack Johnson, Piers Faccini and John Butler. Leaving the microphone for Where Could I Go, Harper showed a passion and intensity seen in few artists, singing clearly to a 10,000-plus crowd unamplified. The epic Better Way finished off the set, as it often does. When the cheers subsided Harper left the stage with a few simple words:

"Byron Bay has given me and this band a present that will take a lifetime to open. For which I can never repay."

Truly the greatest music festival in Australia, Bluesfest once again delivered its trademark blend of legends young and old, adored and forgotten.

Comments