Review: In the Pines 2024 at Somerville Auditorium

In the Pines at Somerville Auditorium
Sunday, April 21, 2024

In a year that has proven to be a nervous time for music festivals, RTRFM's annual live music fundraiser In the Pines felt all the more special and important on Sunday.

Musical murmurs of a droning minor chord guided arrivals through the maze that is UWA, before eventually the beige buildings led to the cool shade from pine trees towering above Somerville Auditorium, or ‘dappled light', as master of ceremonies Pam Boland put it.

Ruby Pettit’s wispy voice sat softly in the air as the audience members strolled around to find a spot of shade. A haunting, bowed double bass suited the natural lighting conditions of the early afternoon.

At the conclusion of the opening act, punters nearest to the stage moved over to the right side for TAB Family. The band provided a bouncing groove for the lead singer's introduction before they delved into a stimulating and very danceable set of tunes. 

Having supported Tom Jones and Jack Davies on consecutive days last month before a support slot for James Taylor the previous weekend, Ullah continued to keep her calendar colourful with a cheerful afternoon set, adding melody to her greeting as if desperate to play her first song. Her performance radiated light and warmth, mirroring the increasing sunlight filtering through the pine trees. Whether one of her compositions or banter between songs, Ullah’s radiant vocals proved a welcome constant.

As with most music festivals, the attendees were a show within themselves, and Corella Saxophone Quartet served up a perfect score for people-watching. Performing music inspired by scenes of Western Australia, the intricately layered horns effortlessly complemented the goings on of patrons: children swirling streamers, animated conversations, and the audience as a whole basking in the sunlight cracking through branches. They closed with a version of Tame Impala’s Let It Happen, turning it into a song suitable for a noble funeral procession.

As more fans took to the musical stomping ground, the earth began to move under their feet as the loose dirt surface rose above the natural auditorium. The dusty vibe was the perfect welcome for the last-minute addition, Axel Carrington; his black hat dark enough to hide any dust that sprinkled on him. Stories of suburban bins told in the style of a stockman accompanied his fingers rolling along the guitar strings in that flamenco style heard in the Dollar’s Trilogy.

By the time De Cuba Son took the stage, the growing multitude of picnic rugs strewn across the dirt appeared mostly deserted. Spurred on by infectious rhythms, many audience members kicked off their shoes, with many a foot resembling Margot Robbie’s in Once Upon a Time in Hollywood. One couple wisely chose to do their pseudo-salsa dancing on the fake grass to the side.

The setup of quad boxes suggested a shift in dynamic, away from the relaxed folk and funk that had been setting the tone for the day. Low and gritty rumblings explained the larger amplifiers; Suneater had come to life. Without apologies, they quickly went about shaking the already-loose ground. A comical lack of change came from the audience, showing polite attentiveness and appreciation.

Nor were they undeterred by Gaoled, whose sports jersey-clad lead singer treated each song like a rally cry with rousing, echoing chants.

Transitioning to a more mellow atmosphere, it was now Odlaw's turn to take the stage. Described by their frontman as 'Perth's premier party band'—with eleven members they certainly have the numbers to bring the vibe. With easy-to-learn singalongs about old men loving AC/DC and failed album launches, they certainly provided another integral aspect to any party.

A wave of calm from the silky-smooth Hector Morlet and the rustically chugging Heathcote Blue timed perfectly with the sunset. As the sun receded, so did the picnic blankets, replaced by ever dirtier feet, with any remaining blankets becoming trampling casualties. Fears of dark smudges had hardly stifled people’s style: frilly mesh kimonos, brightly coloured trousers, and the most intricate patterns of all garment types—all now several shades darker.

With night in full embrace, Didion's Bible instantly returned the brightness of day. Their stage presence was enhanced by a vocalist that commanded the limelight like a game show host, positioned prominently within the indie band line-up, his deep and reassuring voice served as a contrast to the upbeat music. A lead singer switch mid-set brought about a comical rivalry between the two stars, with the latter frontman taking a much more down-to-earth approach to the job. Regardless of who was fronting at any given moment, the band's capacity for catchy hooks and choruses was always on display.

Towards the end of Rat Columns’ galloping set, people had already started to gather around the left-hand stage like a hive for recent busybees, Butter. Their drummer took to a groove before slowly being joined onstage by his band mates and a constant flow of chaotic energy ensued, along with the smooth, soulful sounds. Their mucking and dancing about as they played fuelled infectious joy and some ridiculous moves in the audience.

SUPEREGO ushered in the darkest point of the night the festival would reach. Intensely hunching over electronics and furiously leaping about the stage, the band members generated another heatwave. Even with extensive sonic manipulation, the strength and fervour of their messages remain clear amidst the noise.

All the remaining fatigued bodies in attendance hunched inside fifty for closing act Dennis Cometti. The band raced through their trademark unapologetically Western Australian brand of punk at a pace that was challenging to keep up with after ten hours of music. An audience member was invited on stage to chant alongside the band, with a confused security guard attempting to escort them off before the band intervened and a full choir reconvened for On the Sauce.

The fairy lights surrounding the auditorium twinkled peacefully for the people exiting, as In the Pines once again proved itself a solid institution in the Perth music scene. It was a wonderful day out to remember while cleaning layers of soil off your feet.

AJ MAHAR

Photos by Linda Dunjey and Anthony Jackson