Golden Plains, the iconic two-day festival held annually in regional Victoria, offered a much-needed escape for music lovers this past weekend. Despite a turbulent political backdrop over the Labour Day weekend, the festival managed to deliver unforgettable performances from Marlon Williams, The Gnomes, and Basement Jaxx.
By Saturday morning, the festival site, affectionately known as “the Sup,” was bustling with activity. Car lines had eased, but spaces to pitch tents were scarce, and the Meredith Supernatural Amphitheatre was already drawing crowds. The anticipation was palpable, even as passes continued to sell at face value despite the hefty $514 price tag.
The Opening Acts Set the Stage
Melbourne punk rockers Public Figures kicked off the festival with an energetic performance. Frontwoman Evie Vlah set the tone by reminding the audience of the “no dickhead” rule and reflecting on the impact of colonization. Their closing track, “Onto Something,” received the Golden Plains mark of approval with shoes raised in the air.
As the day progressed, the crowd’s energy fluctuated until Nigerian artist Obongjayar, known for his genre-blending style, revitalized the audience with his dynamic performance. The evening truly came alive with Marlon Williams and his band, the Yarra Benders. Williams captivated the crowd with ballads sung in te reo Māori, highlighting the language’s struggles in New Zealand and dedicating a song to Prime Minister Chris Luxon. The performance was elevated by the participation of the Maori performing arts group Ngā Mātai Pūrua, whose haka left a lasting impression.
Weather Challenges and Musical Highlights
An unexpected rain shower threatened to dampen spirits, but Canadian instrumentalists BadBadNotGood kept the momentum going with a high-energy jam session. As midnight approached, hometown heroes Cut Copy took the stage, igniting the crowd with their signature anthems “Hearts on Fire” and “Lights & Music.”
Sunday promised a more compelling lineup, starting with The Gnomes, a rock quartet from Frankston. Their 40-minute set, rich with influences from The Beatles and Jimi Hendrix, became the weekend’s most talked-about performance. The energy continued with This is Lorelei and Atlanta punk band Upchuck, whose frontwoman Kaila “KT” Thompson made bold political statements from the stage.
Cultural Reflections and Festival Crescendo
German-Turkish singer-songwriter Derya Yıldırım and her band, Grup Şimşek, provided a poignant reflection on colonialism and displacement, themes that resonated throughout the weekend. Her commentary on Australia’s colonial history and the sight of Palestinian flags in the crowd added depth to the festival’s atmosphere.
The festival reached its climax with the much-anticipated performance by Basement Jaxx. The British electronic duo delivered a visually stunning set, complete with costume changes, live percussion, and a brass band. Opening with “Romeo,” they powered through hits like “Bingo Bango” and “Red Alert,” culminating in the euphoric “Where’s Your Head At?”
Looking Forward: Challenges and Opportunities
While Golden Plains 18 faced challenges, including high ticket prices and political tensions, the festival’s programming and curation still provided a memorable experience. However, as other Australian festivals struggle or shutter, Golden Plains must continue to innovate to maintain its status. With better weather and strategic planning, future editions could transform from good to great.
As the festival concluded, attendees left with memories of powerful performances and a renewed sense of community. The spirit of Golden Plains endures, promising more unforgettable moments in the years to come.
