Bluesfest 2008

23 April 2008 by Richard Wilson

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As the first year in a long time without a Franti, Harper or Johnson on the lineup at Bluesfest, it was clear from the get-go that the festival's organisers were aiming for something slightly different.

Director Peter Noble noted in the Bluesfest edition of Rhythms magazine that right now festivals are a hot commodity, and in true Bluesfest fashion, they appear to have once again stepped ahead of the rest in delivering a festival experience that only they could. Legendary would perhaps be the only way to describe Bluesfest's monumental lineup.

As a change of pace from the past few years of sellout audiences and sardine tin crowds, the move from Red Devil Park to the expansive Belongil Fields, the festival's former home and current Splendour in the Grass venue, allowed for a larger crowd while providing the much-needed comforts and space sorely lacked at the previous site, while meaning tickets were available at the box office.

The Thursday night of the festival saw Bluesfest's three larger stages offering the pinnacle of blues and roots to cater for any tastes. The younger audience was taken care of with Xavier Rudd and John Butler Trio at the Mojo Stage; Keith Urban present to throw something different into the mix. Meanwhile for the more diehard blues fans it didn't get much better than Crossroads. Blind singer-songwriter Raul Midon kicked off the evening with his unique style of soul guitar; fitting given the guitar centric evening ahead. Blues legend and three-time Grammy winner Keb' Mo' was back for his fifth appearance at Bluesfest, this time solo but delivering his audience-winning smooth blues, taking pages from Robert Johnson's era but delivering them with an unmistakable contemporary finesse.

With his 2006 Bluesfest performance going down in history books as one of the festival's best, 71 year old guitar god Buddy Guy headlined the stage in a way that only he could. His name frequently pops up in the fiercest of debates about the greatest guitarists of all time and though he might not win that title every time, there's no others who play with such enthusiasm and apparent effortlessness. The Big Book of Buddy Guy Tricks was given a true working, with crowd walks, tooth playing, buttock playing and much more. If you're only as old as you feel, then it'd seem that Buddy Guy hasn't aged in 50 years.

At Jambalaya Stage the night took the blues in another direction. Mamadou Diabate played the first of four performances at the festival (which must surely be a Bluesfest record) playing the kora, a guitar-cross-harp of sorts from his native Mali. Next up was Seasick Steve. Now here's a true modern day example of a bluesman. Playing an odd assortment of junkyard instruments from the single-stringed Didley Bow to his infamous 'Three Stringed Trance Wonder', a guitar with three strings in the wrong places that he claims to have overpaid for at $75. The natural charisma and energy of Seasick Steve quickly won over the crowd and is sure to make the favourites list for those who witnessed this special treat, either in the small confines of Jambalaya, or the next day at Mojo.

Civil rights took centre stage with Mavis Staples. Gospel has never sounded grittier or ballsier, with Staples delivering a full set of traditional gospel and blues, of course careful not to leave out a trip back to her early days with Pops Staples and The Staples Singers, regailing the audience with tales of their days with Martin Luther King, Jr. along the way.

Friday saw the festival kick into full swing with ukulelist Jake Shimabukuro, quickly becoming one of the most talked about acts of the festival. Those that saw it couldn't help but be captivated by the Music Maker Relief Foundation. It's a treat only Bluesfest could provide, with audiences treated to some of the most authentic and unassuming Americana out there. Loudon Wainright III delivered a magical afternoon set in his typical revealing and ernest way. Flight delays meant that Daughter Lucy Wainwright-Roche missed her midday slot, but the two performed a few songs together. That lazy afternoon vibe was carried on by San Diego's Jason Mraz followed by jazz guitar sensation Lee Ritenour. Truly the sort of cruisey warmth that Byron Bay's spotless weather dictated.

As the night continued Bluesfest took a decidedly nostalgic turn with Don Mclean's trip into the past. A somewhat cookie-cutter affair predictably summed up with a roaring rendition of 'American Pie', the song that rocketed him into fame in the early 1970s. Sinead O'Connor proved that Australia has waited far too long to see her in person. Capping off the night was Ray Davies, perhaps better known as The Kinks front man. New tracks were mixed with a journey of some of the most influential rock 'n roll ever created; Ray's showmanship clearly ablaze. Between the two acts there was time to stop by Bluesfest's smallest stage, The Juke Joint, to check out Hat Fitz and Itchy. With perhaps more consecutive appearances to their name than any other act, this Bluesfest institution didn't let down, delivering the dirtiest delta blues you'll find.

Ukulele maestro Jake Shimabukuro started Saturday afternoon. A packed out Apra Stage crowd in awe as he did things on the uke most guitarists couldn't pull off. An afternoon of traditional American blues followed. With the grace and style of any number of early blues cats like Robert Johnson or Rev Gary Davis, Guy Davis took his audience on one of the most enjoyable experiences of the festival. Piedmont style blues is well and truly alive in Davis, invoking a particularly Mississippi John Hurt-esque sound. Bluesfest newcomer Ruthie Foster followed and quickly won over the crowd with some of the sweetest vocal sounds of the festival. If crowd reactions are anything to go by, we can be sure this won't be her last Bluesfest appearance by a long shot. Delving into the roots of African-American music one step further, Vusi Mahlasela, a South Africa native delivering his characteristic Africa-infused folk, armed with a guitar, one of the most soaring voices out there and a back catalogue of uplifting, politically and socially conscious music. New Orleans funk followed with Jon Cleary & the Absolute Monster Gentlemen, perhaps one of the tightest and most downright funky bands you'll hear. It wasn't hard to see why the likes of Bonnie Raitt and Taj Mahal extensively tour with Cleary, who proves he knows his way around a keyboard. A night of traditional American music capped off with harp legend Charlie Musselwhite. Perhaps the only thing wrong with Saturday was that while Jambalaya delivered this blues heaven, four other stages with their own packed lineups delivered the likes of Jools Holland, The Cruel See, Ozomatli, G-Love and many, many more.

The traditional all-Aussie Mojo lineup was back once again this year on Sunday. The true depth and breadth of Australia's roots music scene becomes quite apparent, from small acts like Carus & The True Believers to ARIA winners The Audreys and Gotye. At times upbeat with The Beautiful Girls, True Live and The Cat Empire rounding out the party element, while songstress Clare Bowditch and the soaring vocals of Lior adding some quieter moments.

Elsewhere in the festival the non-stop action continued. While Wally de Backer's (AKA Gotye) side-project The Basics plays to a younger crowd at the jam-packed Apra Stage, a smaller and decidedly older crowd at Crossroads was there to see Chain, veterans of nearly 40 years of the Australian blues scene. On their second visit to Bluesfest -- this time quite well known -- an absolutely packed Crossroads checked out Rodrigo y Gabriela delving into classical guitar, heavy metal and everything in between in their unique percussive style.

Monday hit it hard early with Brisbane blues artist Mojo Webb, a Bluesfest favourite thanks to his staggering guitar skills and Buddy Guy-esque showmanship. Jambalaya became country central for the final day of Bluesfest, The McClymonts, Troy Cassar Daley and The Lost Dogs (featuring Kasey Chambers) rounding out a local lineup of country, while legendary singer-songwriter John Hiatt and Patty Griffin delivered from abroad.

The UK's Newton Faulkner delivered a surprisingly unassuming and refreshing set. It's clear Australia hasn't seen the last of this artist; the virtual unknown quickly winning over the audience with a mix of originals and covers of everything from the Baywatch theme to Bohemian Rhapsody. For many the Monday night was all about the headlines. Between Patty Griffin, blues-rock jam band The Black Crowes and John Fogerty -- all only appearing once at the festival -- it was an exercise in compromise. Weighing up the options, it seemed that a few minutes of The Black Crowes followed by John Fogerty's set would be the best way to go.

All in all, a night of American guitar-driven rock and roll was ahead. The Crowes seem to deliver a fan-oriented set; hard to approach if unfamiliar as the subtleties to the guitar work can be easily overwhelmed by the wall of sound being pumped out. John Fogerty on the other hand seems to be the exact opposite; those that weren't already fans quickly realising just how many songs of his they known and love. Though touring his latest album, it's clear that he knew what the festival crowd was there for and he didn't let down. With Bad Moon Rising coming out second, he acknowledged quickly that this was going to be a best of affair. In truly fine form -- enthusiastic and clearly enjoying himself as he delivered classic after classic with bravado many of his contemporaries could only dream of. Making his second tour to Australia in recent years a family affair with wife and children in tow, he shared a drawing by his six year old daughter from an aquarium visit, and invited his teenage sons on stage for a song.

A solid 90 minute set by Fogerty saw the Mojo stage come to a close for another year with the obligatory Michael Chugg thankyou and farewell. The night continued however with saxophonist Maceo Parker at Crossroads. Perhaps better known for his work with James Brown and Prince, the jazz/funk/soul legend leads one of the tightest bands you'll come across. Perhaps an odd choice on paper, but there's something just perfect about a solid night of classic guitar rock capped off with some seriously smooth jazz.

Once again a phenomenal lineup of musicians from across the globe. And once again Bluesfest delivered it with near-perfection as every stage runs like clockwork. The refreshing move from Red Devil Park highlighted this festival as a more relaxing, less intimidating weekend than previous years. As the festival turns 20 next year, one can only imagine what tricks director Peter Noble will have up his sleeves in delivering what is truly a monumental anniversary for Australia's best music festival.