Despite the icy conditions a good number turned out to celebrate the release of Idly By’s new single ‘Talk Me Down’. The band tore through a high energy set of old and new songs, three of which will be on their forthcoming new album. They opened with ‘Come Unwound’ and then quickly hit us with a couple of great new ones – ‘Have a Nice Time’ and ‘Feed the Machine’. Both songs feature catchy tunes and strong instrumentals – excellent signs for the next album. The band ran through a selection of old favourites (‘Concerned Realists vs M&Ms’, ‘Have You Got Enough’, ‘Eat the Rich’, which featured trumpet, ‘Dagget’ and ‘Don’t Want You to Die’) before we got to the new single.

Singer/guitarist Leith James is a charismatic and hyper front man (see his punk jumps!) – he’s clever and quick witted as well as being empathetic. His advocacy for breaking the stigma around mental health issues comes through in his lyrics as well as in his banter between songs. New single ‘Talk Me Down’ illustrates this perfectly in the guise of a pop-punk banger that gets you thinking as much as it will make you want to dance.

Idly By are a great band to see live, and tonight they were augmented with Mat Morison on keyboards for the full set and Clarrie on trumpet for a couple of songs. Morison’s keyboards added a layer of lush melody to the sound while the trumpet enhanced the ska feel of ‘Eat the Rich’. Drummer Luke Davies and bass player Tom (it was his last show before leaving the band) are a versatile rhythm section, giving the punkier songs sharp energy and the slower songs a danceable lilt. The melodic interplay between the guitar and bass adds to the memorable and catchy nature of the material.

Though Friday night was the end of an era for the band, it was also the beginning of a new one. The new songs sound great and they were as energetic as ever – anticipation is growing for the new album!

Sunday afternoon shows at the Grace Emily always turn out to be something special. The Midnight Mares performed a brief but excellent set of acoustic tunes, and then a longer run of electric songs.

The acoustic set began with two new songs – ‘Empires’ and ‘Grim Robert’ – memorable tunes that suited the acoustic treatment but would also work well with full electric arrangements. The acoustic set was mellow, but the performances still had grit – the stripped back Gothic folk arrangements allowed the songs to shine. Guitarist Matt Swayne, keyboardist Elizabeth Reid and drummer Peter Owen’s voices melded in spot on harmonies throughout the afternoon. Album tracks ‘Heads I Stay’ and ‘Too Dark for Me’ also benefited from the acoustic treatment, highlighting the melodic interplay between the keys and guitars. Bassist Denni Meredith is the band’s secret weapon – he plays a melodic style all his own that enhances the songs – they wouldn’t have the same impact without his contributions.

The electric set opened with ‘Endless Nights of Rock and Roll’, a song with a stately Bad Seeds feel to it, with Swayne’s sombre and atmospheric baritone vocal perfect for the lyrical rumination on the passing of time. ‘Sparks!’ is jangly and catchy guitar rock delivered in the style of the band that gave the song its name. ‘Lethologica’ was a highlight – Swayne and Reid traded lead vocals over swirling guitars and keys while gorgeous vocal harmonies accentuated the haunting chorus melody before ending with an epic, shimmering guitar solo from Swayne that captivated the crowd.

Though the band favours dark subject matter, they’re warm and friendly, engaging in banter with the audience and enlightening us with the stories behind some of the songs. It was fitting that ‘Heads I Stay’ originated at the Grace Emily and final song ‘The Don Cesar’ tells the story of lost love that inspired the building of a hotel in Reid’s native Florida. The sadness in Reid’s vocal performance on this song was palpable. The Midnight Mares are a dynamic and engaging live band whose performances are rare. If you ever get a chance to see them, don’t hesitate!

Street Legal opened the Umbrella Festival in style at the Cranker on Friday night. Though this was only the band’s second show, you wouldn’t know it, being a local super group of sorts. They play a mix of new wave, funk, punk and garage rock that had the enthusiastic crowd on their feet and moving.

Singer Matthew Hayward knows how to engage with the audience, and his timely political rants were accurate and well received. Subject matter for his songs ranged from FIFO dating to anti-vaxxers and one being a dig at our reprehensible previous Prime Minister. The band has written and arranged some excellent songs and they put in a dynamic performance. A fired-up cover of the Buzzcocks’ ‘Ever Fallen In Love’ wasn’t out of place among the originals.

Musically the band was tight and inspired. Guitarists Shara and Libby mixed spiky new wave and funk riffs with punky garage rock power chords while drummer Max and bass player Kyron held it all together and drove the grooves for each song. Used sparingly, percussive backing tracks added to the danceable nature of the bands’ sound but never overpowered the live instruments.

Street Legal may be new to the scene but each individual member’s experience playing in some of Adelaide’s finest bands has given them a head start. There’s a definite chemistry that comes across in their performance. They’re fun to watch, engaging and I guarantee they will make you want to move.

Sines are one of a growing number of world class bands that have popped up around Adelaide in the last few years. Their melodic post metal/alternative rock sound is deceptively complex – their dynamic songs are built on the intricate rhythms and locked in grooves of bass player Lenny Regione and drummer Zed Crawford. Guitarists Matt Gelling and Caspar Hawksley create effects-laden sound-scapes that often explode into heavy and distorted chords and riffing in the choruses and bridges. Their well constructed solos alternate between jazzy and melodic fare to fiery shredding.

Their set consisted of their first single ‘Til It’s Over’ and a selection of songs from their forthcoming self-titled album. ‘Til It’s Over’ builds to an explosive chorus featuring singer Caitlyn Hearne’s powerful and bluesy vocal. She has a keen ear for a melody and adds a soulful aspect to the band’s sound. Set highlight ‘Rescue’ is reminiscent of European Gothic metal bands like Lacuna Coil or Delain.  The chorus vocal melody soars over a bed of atmospheric guitars and builds to a catharsis driven by Zed Crawford’s machine gun like double kick. Set closer ‘Hold On’ is a heavy alternative rock song with an anthemic chorus that will stick in your head for days.

The band is tight and well rehearsed and their intensity was right on from the opening notes of their set. The crowd in Jack & Jill’s Basement Bar received the band enthusiastically and most were on their feet and moving by the time the last song finished. Fans of bands like Deftones, Lacuna Coil and A Perfect Circle would find plenty to enjoy here, as would anyone who likes their music heavy and melodic.

On the Flip Side has a knack for organising inclusive festivals that are safe and fun for everyone involved. The second Skate Daze festival yesterday was no exception. Stellar local bands plus skate and roller blading demos and various art activities made for a fun and engaging all-ages day out.

Slippery People opened musical proceedings with their smooth and tight brand of catchy, funky pop. Their songs are danceable and well-constructed, and they slipped in a very cool cover of ‘Money’ by Pink Floyd. A band to watch, they’ve only played a handful of shows, but you wouldn’t know it.

Sunsick Daisy followed up their brief set at last year’s Skate Daze with a full one yesterday. The promise that was shown in those initial two songs is coming to fruition. They’ve developed a shoegazy pop/rock sound and have grown in confidence. Despite their young years they know how to write and arrange a good song and their musicianship is strong. I think these guys will go far.

Tonix followed with a set of instrumentals that alternated atmospheric saxophone and keyboard movements with some upbeat sections propelled by rocking beats.

Sets from Hey Harriett and then The Vains finished the day and showed once again why they are two of the best bands on the Adelaide scene. Though they’re sonically and musically quite different, they both bring the good vibes, and their performances result in an exchange of positive energy with their enthusiastic audiences. There hasn’t been much dancing going on lately, but it was back in full force yesterday, the crowd revelling in movement and the joy that both bands exude. Hey Harriett’s set consisted of spirited versions of indie rock favourites (‘Honest’, ‘More’, ‘Not Allowed’ etc) and more recent bangers like ‘Hearts in the Ocean’ and ‘Ventolin’. The Vains threw their brilliant cover of Hendrix’s ‘Foxy Lady’ in among their killer rock/punk originals (Low Expectations, Strut, Pussy Power etc). The day ended with a fiery run through of ‘Mother/Martyr’ that left us all wanting more.

Full credit must go to On the Flip Side and their team for organising such a great day. Let’s hope it’s back next year.

The Fallen Chandeliers opened proceedings with a neat set of bluesy folk tunes. A three piece with two singers and two guitarists, they fleshed out their sound with keyboard backing tracks and a drum machine. This was their first show together, and they didn’t seem to suffer any nerves.

Sundiver’s set was the last for bass player Michael Petkovic before he heads overseas to live in Japan for a year, and they sent him off in style. The band knows how to construct a set with ebbs and flows and waves of intensity. Despite playing for well over an hour for nine songs, it didn’t feel drawn out. Guitarist/singer Rob Del Col alternates between atmospheric augmented chords and crunchy riffs, his guitar distorted and sustained, with occasional attacking solos. Michael Petkovic’s bass drives the sound, always in motion as he plays, alternating between hard-hitting rhythmic lines and more melodic sections. Drummer Richo shares an almost telepathic connection with his bandmates, keeping solid time (no matter how unconventional the time signature) throughout but also pummelling his kit with great dexterity when called for.

And the epic songs. They’re heavy and atmospheric, the vocals melodic. Rob Del Col has a powerful voice, with great control and emotional range. Highlights of their set include ‘Little Bird’, a ballad that builds to a soulful final verse where a bluesy bassline locks in with Bonham-esque drums. ‘He Did Wander’ is sludgy psych rock driven by a gargantuan Sabbath style groove (at one point during the set I thought we were getting a cover of ‘War Pigs’…). ‘Hard Lines’ is the ideal set closer. It could be the heaviest song they played, and the 6/8 time signature drives the song towards an explosive and cathartic conclusion.

Sundiver are the real deal. Their set was tight, dynamic, and they show great creativity and song writing chops. The band has the kind of chemistry you can’t fake – if you took anyone of the three players out of the equation it would drastically affect the sound. They also have some recordings coming out soon so stay tuned, I reckon they’ll be great.

Some may remember Rowena as singer/guitarist for excellent local indie band Stacy Says.  Rowena’s band is larger now, with two additional guitarists allowing her to play keyboards or even pick up the mic and roam the stage, as she did for an excellent cover of No Doubt’s Don’t Speak that I prefer to the original.

Rowena’s set covered much stylistic ground, and her nimble band handled faster and more upbeat punkish songs as well the slower more emotive material.  She opened with a lively number that had the crowd moving from the introduction.  A couple of solo piano numbers in the middle of the set slowed things down before finishing the full band part with Scared of the Dark, another fiery song with a great melody that should be the next single.  Rowena concluded the set with a couple of acoustic songs accompanied by Luigi Donnarumma (Cat Lucky) on vocals and guitar.  Like a latter-day Gillian Welch and David Rawlings, their voices blended in sweet harmonies that carried the show to it’s conclusion.

The highlight of the afternoon was her stunning first single, Your Mother’s Clothes.  The song chronicles the end of a relationship with disarming honesty.  Her emotive voice gives additional weight to words that cut right to the bone.  It was one of the best songs released last year and a strong indication that Rowena has a very bright future in the indie rock world.