Review: Bluesfest at Nikola Estate

Bluesfest at Nikola Estate
Saturday, April 1, 2023

Thousands of music fans descended upon Nikola Estate on Saturday for the first ever edition of Bluesfest to come to the west coast. Set in the heart of Perth’s Swan Valley, people travelled from across the state to nestle themselves amongst the natural bush and vines for an afternoon and evening display of specially curated and road-tested blues artists, on a line-up boasting plenty of homegrown talent and international stars.

On a beautifully overcast day the heat came on early in the form of sonic rhythms, driving riffs and heavy soul. When you add in a mix of great people, positive energy, and chilled vibes you know you’re in for a treat of a day.

After a short walk through the natural growth of the Nikola Estate, via fresh bushland and over gravelled paths, the sweet serenade of raw blues and folk could be heard permeating over the vast stillness of the encroaching valley. It was a warmly inviting setting encompassing three stages, facilities, merch, shopping stalls and the usual drinks and food trucks.

New Orleans veteran bluesman Eugene Hideaway Bridges kicked things off on the Main Stage, showing everyone how it was done with his pure, soulful voice and electrifying riffs. It's hard to imagine a more wholesome gesture from an international star than writing a song about our fair town, with the crowd showing him plenty of love in return for his 2015 tune Take Me Back to Perth.

On Stage Two Blue Shaddy brought the crowd to life with an upbeat, a high-energy set. Hailing from the small Wheatbelt town of Kellerberrin, the band's reputation as a supreme live act has become well known right across the state, and it's easy to see why. With a plenty of flair and fun, they had everyone cheering with sizzling guitar licks and a boppy double bass.

On top of the hill, and with a serene view of the estate and bigger stages, Stage Three was the place to catch local talent. Ben Catley greeted the growing audience with an enjoyable set that showcased his captivating skills both vocally and on the guitar. Catley has been in fine form the past few years with a steady output of new singles, culminating in set that was fully-stocked with his freshest, and best, music to date.

First Nations singer-songwriter Boox Kid was also a fantastic highlight early on. While Boox Kid may may be a solo artist, everyone in the band was important in bringing his innovative and expressive music to life on stage. The style of music stood out on the day, particularly with the use of arpeggiator and other electronic elements coupled with flourishing violins, however the deep sense of feeling and compelling melodies are at the core of Boox Kid's music. With a unique voice reminiscent of  Yeasayer's Chris Keating, When I was A Young Boy is as good as any music to come out of WA in the last few years.

Owning the Main Stage from early afternoon, Roshani delivered a masterful set of captivating and experimental beats drenched in pure soulful harmony. Tunes such as Sweet Addiction cocktailed into the electro-fused stylings of Lay My Burdens Down with some added channelling of Chaka Khan’s Ain’t Nobody (loves me better), affectionately dubbed by Roshani as “house-blues.” The range and power of her voice was transfixing, and she had enough talent to command the attention of the crowd alone whether it be with intricate finger picking, driving blues riffs, harmonica or acoustic guitar (or several at the same time), especially on the rousing closer Freedom. 

Aussie veteran rocker and ARIA Hall of Famer Russell Morris was another standout. With a catalogue of songs that spans back to the sixties, his one hour set was packed with great moments. He dedicated one of the tracks to The Masters Apprentices' Jim Keays for the song they wrote together, Black Dog Blues, which featured a blistering solo. Another highlight was Hush, a Joe South song popularised by Morris' band Somebody's Image in 1968 which has lost none of its power in the years since.

Towards the rear of the arena Siobhan Cotchin proved to be blossoming as a local treasure in the country-folk scene to a small army of fans with a set of pure twang and deeply matured song writing. She introduced the new song Reckless saying she was listening to a lot of Courtney Love at the time, adding a bit of grunge to the mix, before steering the set back to the blues with a cool version of John the Revelator, of Blues Brothers' fame, to the cheering crowd.

No stranger to the festival scene and long-time pioneer of his own brand of acoustic folk/alt rock John Butler still commands attention from the masses, and rightly so. Any self-respecting WA festival-aficionado over the past 25 years would have had the pleasure of seeing Butler perform and cultivate his magic live. The set consisted of folk-favourites Zebra, Ocean, and an on-stage duet with his partner Mama Kin. He displayed all the technical intricacies of his finger picking, slide-blues and fretting to an audience of captivated families on lawn chairs and lovers on blankets sharing wine against the backdrop of the Swan Valley stage as the sun gently descended below the trees to usher in the evening. After the late withdrawal of co-headliner, Counting Crows due to illness, an extended set by Butler and Michael Franti were the gifts that we truly didn’t know we needed until it was in front of us.

Only being allocated a 30-minute slot to prove his stature as the local live powerhouse he is revered to be, Vdelli wasted no time getting right to work and ripping it up on top of the hill laying down a set of high-octane energy via infectious hard guitar licks and wandering bass solos. Forever proving to be the artist’s artist, Vdelli played to an adoring crowd before him hungry for his pulsating, motoring beat of pure blues rock n roll.

Next up another icon of the local music scene, Abbe May powered through a set of hits including Doomsday Clock, Karmageddon and her cover of Ginuwine's My Pony. Abbe May is always irreverently entertaining with her banter, talking about her new life being sober, and how the song F*ck You was for anyone, who like her, had ever once fucked a narcissist, conceding “okay maybe more than once."

Mississippi big man Christone “Kingfish” Ingram showcased his incredible shredding skills as a unique contemporary blend of soul-driving delta and electric blues and pure adrenal guitar playing. Obviously deep within his element in front of the gathering live audience you could feel the enjoyment he takes from sharing his craft with set staples She Calls Me Kingfish and 662. The 24 year old Grammy winner flawlessly held the attention and favour of his audience, with his guitar tones reverberating long after he’d left the stage.

Back on the Main Stage with lights warmly beamed over the field and the evening fully crept in, Michael Franti and Spearhead hit the stage, and if there’s one thing Michael Franti wants you to know, it’s that life is truly amazing. With an extended setlist projecting atmospheric tones of togetherness, spirituality, acceptance, and restless wandering, it was hard not to be swept up the positivity of his music. His messages and encouragement of unity were woven between crowd favourites Everyone Deserves Music, Brighter Day and Follow Your Heart, as well as new track Big Big Love, showing Franti and his fans have lost none of their love for each other over his enduring career.

Major label pop stars sometimes feel overproduced and superficial, but not Jessica Mauboy. She radiated warmth and honesty, expressing how grateful and delighted she was to perform at her first ever blues festival. Mauboy has a voice that is simply like no one else, and when it locked in harmony with her two backing vocalists it sent shivers down your spine.

It’s more than just staying power and timeless hits that keeps you on the road and together as a band for 50 years. With over 40 million records sold worldwide, its exceptional musicianship and the ability to transcend generations, and The Doobie Brothers have used these tools to keep that ‘long train runnin’ for decades. With distinct vocal harmonics, super tight hooks and dual percussionists the eight-piece closed Bluesfest in glorious style. Tearing through 70s era staples such as Working Hard in the City and Jesus is Just Alright, their set gave each of the members moments to shine, with saxophone solos, flourishing piano suites and more building to the rousing closer Listen to the Music.

Despite some fan disappointment at a late headliner withdrawal, the inaugural launch of the WA leg of Bluesfest was a huge success. It was an event where it was okay to let loose and party, take your mum, enjoy a first date or just vibe on great tunes with the ones you love. With plenty of positive vibes (and customary ‘doobie’ smoke) in the air, music fans were treated to an unforgettable day of elite performers from different generations and genres that all owed a debt to the blues, while doing it in their own way.

BRAYDEN EDWARDS & ZAC NICHOLS

Photos by Nicola Robb