There’s only one type of ticket. Everyone flies First Class.
The newcomers, oldtimers, no-brainers and go-againers. The Bluegummers, Bush Campers, West Kevins and Outer Spacers. The Silent Wedgers, Tucker Tenters, Meredith Gifters, Couch Sippers and Sunset Strippers. The Tai Chi-ers, Arch of Lovers, Fancy Dressers, Inspiration Pointers, Pink Flamingoers and Sky Show-ers. The Dawn Convoyers, Wristband Wranglers, Campsite Fluffers, Designated Drivers and Gazebo MacGyvers. The Boot Raisers, CleanUp Songers, Things On Stickers and Sunrise Saluters. The Red Tree-ers, Fell-Asleepers, and all Postcode 3333ers.
Same size, same shape, still BYO everywhere, still independent, with no commercial sponsors, and one stage fits all.
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Same size, same shape, still BYO everywhere, still independent, with no commercial sponsors, and one stage fits all.
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Custom-cut for The 30th Meredith, for the Supernatural Soundsystem, for specific times of day and night. For Adventure. For Celebration. A crack squad of sonic mavericks, beyond the sum of its parts. More than a list, more than a register. A three-day-two-night odyssey supreme, with a beginning, middle and end in which to lose yourself, find yourself, expand yourself and feel feel feel feel feel feel feel. Then do it again, twice. Magic O’Clock strikes at any time – sometimes selected, mostly unexpected.
All on the One and Only Stage, with the Evolving Atmospherics of the Supernatural Amphitheatre, and Mother Nature on the lights.
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Seldom has there been a more anticipated guest. In the beating heart of Saturday Night, all Supernatural paths lead to this. It’s taken some spectacular planetary alignment and, finally, here we are, for the first time ever. Lighting every candle on The 30th Meredith’s cake: Caribou. Home.
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Dan Snaith leads a four-piece band who flip out through every flavour of fun. They huddle around centre stage in a buzzing coil, powering up a gigantic aural adventure to make us dance and feel. And feel and dance. Can’t Do Without You. Odessa. Never Come Back. Our Love. You Can Do It. Sun. Communal levitation for the Meredith massive. Dan is a chameleonic character who has wondrously weaved his sonic inspirations – from Beach Boys and Dilla to the Coltranes and Aphex Twin – over two illustrious decades and counting. The kaleidoscopic back-cat trips through 10 records of blissful folktronica, sun-kissed psychedelia and surging house bangers.
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Latest LP Suddenly is expansive, exultant pop music that sifts through life’s sharp turns: grief, love, loneliness and all the goop in between. They were meant to be here for MMF 2020, but it wasn’t to be. 24 full moons later, the vibrations are just right. Baby, I’m home, I’m home, I’m home Someday we found it, the reindeer connection. The lovers, the dreamers and you. (Special treat: it won’t be the last we see of Dan this weekend)
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It’s a Tokyo bouncy ball
It’s an Oslo bouncy ball
It’s a Rio de Janeiro bouncy ball
Filter, I love these mighty oaks, don’t you?
Do everything and feel nothing
I highly recommend you pick up your Dry Cleaning, Saturday arvo. No docket required.
I’ve come here to make a ceramic shoe
A squalling, ragged post-punk force walking in the ghostly shadows of Wire, Magazine and Joy Division. Emerging from South London in 2018, Lewis Maynard, Tom Dowse, Nick Buxton and Florence Shaw produced one of last year’s best in New Long Leg.
I’ve come to learn how to mingle
A collection of searing, surrealist distillations propelled by the extraordinary weight of Flo’s poetic beats and dents, her Sprechgesang-esque delivery and tricky, slippery words at the thumping centre of it all.
I’ve come to learn how to dance
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“The lyrics infest your brain with quotables that reverberate for days.” – Simon Reynolds I’ve come to join your knitting circle Their next, helmed again by John Parish, already sounds like something else. A more melodic and personal turn, its first single Don’t Press Me feels like a rune for the year, filling the cavity with each guitar squall, each pointed phrase. Why don’t you want oven chips now? Hypnotic, propulsive and pure. We can’t wait.
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Well I heard it on the radio
And I saw it on the television
Back in 1988, all those talking politicians
Treaty.
Djapana.
Tribal Voice.
Songs that altered the very fabric of this country. That re-shaped the way we saw ourselves, the music we made, the stories we told.
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In ’86 Yothu Yindi brought together Yolngu and Balanda musicians to forge a sound like nothing we’d heard before. Blending rock ‘n’ roll with the traditional song cycles of the Gumatj and Rirratjingu clans of north-east Arnhem Land, they shared Language and Dance with the world.
Their hope: maintain culture by showing culture.
Words are easy, words are cheap
Much cheaper than our priceless land
Powerful, political, potent. Yothu Yindi blazed a trail that burns bright to this day, lighting the way for generations of First Nations musicians.
But promises can disappear
Just like writing in the sand
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Of course, there was one song that would break boundaries unlike any other.Treaty changed the game. Treaty yeah treaty now treaty yeah treaty nowIts iconic remix took off in clubs all over the world. Dancefloors heaved to the sounds of yidaki, bilma and Yolngu Matha. Nhima djatpangarri nhima walangwalang
Nhe djatpayatpa nhima gaya’ nhe marrtjini yakarray
Nhe djatpa nhe walang gumurrt jararrk gutjuk A Trojan horse, of sorts. As it hit the charts it gave voice to Indigenous Australia’s continued struggle for recognition. Today, the legacy continues. Yothu Yindi in The Sup’. So live it up
Live it up
Live it up
Live it up
With sunset dreaming An honour.
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Hometown Hero. Courtney returns to the 3333. It’s been seven years since she last took to the one-and-only stage, and nine since her first Meredith set, back when the world was just catching on. Since then all those songs, the wit, the quietly virtuosic guitar playing, the live shows, and the magnetic, enigmatic character she is have become adored all over the globe. A once-in-a-generation songwriter telling her story, and sometimes ours too. We figure there’s no better pilot for our first night flight back together in the Amphitheatre, to help us all find out how we Really Feel.
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Four acclaimed records deep, her latest, Things Take Time, Take Time, is one for The Moment. A shuffle sideways of sorts, CB ruminates on all of it. Mellifluous melancholy and harried hopefulness emerge over springy beats and guitar that wanders, spacey and gentle, with newfound purpose.
Courtney, of course, is still doing what Courtney does so well: tracing our racing minds with exquisite detail. Flip-flopping inner monologue into outer dialogue. Making sketches of the world that seem drawn especially for us.
This record celebrates the art of getting lost. Where better to do just that, side-by-side, finally, in The Sup’. Things take time, take time.
Erase History. Write a List of Things to Look Forward to. It’s time to Get Lost. Friday night. First night back.
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As the great Sun Ra once said: space is the place.
Inner space, outer space, super space, natural space – The Comet Is Coming are equipped for journeys of this sort.
Transcendental instrumental three-piece outfits are always given priority clearance for take-off from the sweet grove of the Nolan Farm.
The Comet Is… Danalogue on keyboards, Betamax on drums and, on sax, the mighty King Shabaka, aka Shabaka Hutchings. You may know him from Sons of Kemet, Shabaka and The Ancestors, as a don of the UK’s new groove and one of the most exciting modern jazz messengers going around.
Story goes that Danalogue and Betamax were playing as a duo when Shabaka just appeared at the side of the stage – saxophone at the ready – and proceeded to send their music into hyperdrive.
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As a trio, they mix jazz, funk, dub and rave-ready electronica with a heavy dose of psych rock. Case in point: their latest missive, from new album Hyper-Dimensional Extension Beam. We’ve been lighting up the landing pad for years, hoping for a visit. Now it’s time to point the Webb Telescope inwards and dance on the monster stars of the Carina Nebula.Trust in the life force.The Comet Is Coming.Excuse us while we kiss the sky.
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Since her last Supernatural touchdown the celestial sphere has beckoned. Stella Luminata. A chameleonic pop prodigy has risen, and the world is asking: what can’t Tkay do? I been going hard and I ain’t slept
And they ain’t even know it
I’m a threatWhether rhyming on technicolour house, shimmering on breezy R&B, turning all-the-way-up with ice cold rap, or even covering the Pixies – it’s always always always A1. Her vision. Her way. Quintessential Tkay. Shook, 24k, Kim, Awake, You Sad, Syrup, Cashmere. Certified globe-rattling bangers, ready for full body absorption.
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The last couple have been a wild ride for Adelaide’s own. Vibing with Killer Mike, Billie Eilish, nabbing a BET nom, then backing it up with a top-drawer triptych of genre-bending, rep-making EPs, each its own virtuosic version of Tkay Maidza: refracting a new light, sprinkling a different dust, flexing another bow. Tkay re-enters the MMF atmosphere in stupendous party-starting form. We are rolling out the red carpet and preparing for orbit. Saturn Return. Saturday night.
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Indie rock icon. SVE, radiating a force field of triumphant epicness as the sun sets on a Meredith summer’s eve. The emotive warmth and vulnerable beauty of her voice. Part rock show, part seance. All pure transformative delight.Seventeen. Comeback Kid. Mistakes. Every Time The Sun Comes Up. Your Love Is Killing Me. Our Love. Porta. “I don’t know a single musician or songwriter in my world that has not been completely influenced by Sharon Van Etten,” – Torres “A rule to live by: Never miss a song by Sharon Van Etten.” – Random Youtube comment.
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She is one of modern music’s most formidable songwriters and, six records in, her output continues to go to new places. An undisputed institution, she is adored by her contemporaries: Nick Cave, Fiona Apple, Bon Iver, Angel Olsen, the list goes on and on. Lose yourself in ’22’s We’ve Been Going About This All Wrong to remember why. A record of dramatic peaks and devastating emotional turmoil, it riffles through domestic anxieties and relationships while staring resolutely out at the Big Messy World. Seeing the exterior through the interior. Or, in Shazza’s words: “…a collective ‘What the f**k?…an emotional journey that documents the rollercoaster of the last two years we have all experienced in our own ways. I hope you will take that ride with me.” It is music to be shared. BYO mates. Velvety peaks, bare bones folk and Every Time The Sun Comes Up when the sun goes down for the second time at The 30th Meredith.
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The loosest units on the block. Dysfunctional dissidents daring to get a little bit weird. And then weirder still. Stumbling upon a Private Function d-floor is like taking a detour into the primordial soup, you never know what will spring forth: resurrected Gobbledoks, flaming walls of pyrotechnics, even Daddy Cool covers. Upside down punks, subverting the perversion to give us one helluva freaky deaky rock show. It simply has to be seen to be believed. Buckle up. Saturday night.
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Crown prince of Compton. The OG of G Funk. West Coast’s own. From the school of the sly, wicked and the slick Quik is the name. In ‘87 a mixtape was doing the rounds in South Central. The Red Tape was filled with slick, insouciant rhymes repping the freaks and geeks of Compton. Its creator, David Marvin Blake: emcee, producer, DJ Quik to those in the know. From the DNA of these underground joints an album would emerge. Quik’s debut cracked the bedrock. A stone-cold G-funk classic, jammed-up with charismatic barbs and silky grooves. It changed the game. DJ Quik broke the mould and shaped the future. Through nine solo records and countless collabs he charted a course all his own. As a producer his fingerprints are all over rap’s finest: Jay-Z, 2-Pac, The Game. Tyler, The Creator studied him. Kendrick Lamar sampled him. And he is still dropping his own late career masterpieces. Quik is on the mic. Pitch in on the party, Satdee.
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I wanna get intimate with you
Do you mind if I take you there?Narcotic shades of R&B, served with a side of wink emoji. Slow-burning her way outta the bedroom, straight to the club. And to these shores, for the very first time. Sensational.Erika de Casier is a child of MTV. Moving from Brazil to a tiny town in Denmark aged 10, it was there, amid that arresting forcefield of fluorescent static, that she absorbed the greats: Missy, Aaliyah, Janet, Sade. “MTV was a place where I could turn it on and it’s like, ‘Oh, people like me’, and feel a sort of relief or a sense of belonging,” A blueprint was laid. What came next was all Erika. Okay, so we are alone in my room
I’m putting my phone down
Nobody’s tryna reach us on a Sunday afternoon De Casier’s breakout Essentials stuck hard – those shy-girl vocals feathering up a mix that melted the floor and spread like wildfire. Her next, Sensational, hit all the lists. Woozy, hyper-real textures. Extra evocations rippling with introspective retrospection, yet pulsating with something entirely new. Post-love missives putting the vulneRaBle in R&B. For the existential lovers, old and new. Dusk Friday.
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There’s something in the punch in Byron Bay. Bringing their palm tree boogie and celestial grooves to Aunty’s party, Babe Rainbow vibe on blissful bop for far-out minds. A sun-soaked force in today’s psych-rock generation, the Babes reach new heights with their latest, Changing Colours. All Aquarian grooves and drop out pop, it’s a deep trip along the cosmic highway, with a tight right at Haight-Ashbury. The Real Deal. “The Babe Rainbow is a rococo palace built to the most powerful God of all – mass entertainment.”Peel the mandarin and set your compass to Planet Junior, BR are going Supernatural.
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You only turn 30 once.May as well invite one of the best to ever do it.Raised in Chicago, the birthplace of house music, Derrick Carter started out mixing in his bedroom at age nine. By his teens he’d been pulled into the city’s club and ballroom scene. By the 90s he was known as one of dance music’s true professionals – a man who connects to the joy of the dancefloor and can work up heat with seemingly effortless flair.“Can only really be classed as holy.” – Mixmag “This is the man who’s sustained a quarter-century career as one of the coolest and best DJs on the planet.” – Fact His sets seamlessly blend house with disco, soul, R&B, hip hop, jazz, blues, techno, and whatever else he’s feeling. His productions have a legacy all their own. “I’m mischievous as part of my bend,” he said. “I would go even further. I’m a f**king… rascal.” – Derrick Carter Secure your sequins, tighten your shoes, and hydrate your body.It’s time to celebrate.
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Never mind the molluscs. Here’s CLAMM – an excellent young punk band from Melbourne.They built a reputation as a ripper live act before selling out their first tape in a matter of minutes. New LP Care is hot off the press, and they are carrying the local torch like a pint through the crowd to the good spot. Their music is loud and dark. It’s tightly wound and tuneful. It’s anxious. It’s honest. It’s got spark. It’s got heart. Tighten the toggle on your floppy hat and find catharsis in the confusion.
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Repetition freaks who dig deep into the way-back canals of kraut’s finest, Minami Deutsch sprung outta the Tokyo psych scene with an ear for the Neu! and an eye for the Can. Leader Kyotaro Miula is a free spirit seeking out original chemical reactions in familiar compounds. Conjuring up sounds that imprint and unravel. Deep, chugging, hazy riffs rolling in and out and over and under. Each record so far has been a new exploration of cosmic momentum. Fortune Goodies, their freshest, is a wild trip, careening through space-haze and psychedelic fuzz, infinitely expanding like a black hole of hypnotic grooves and popped-out waves. Minds will be melted in the Minami milieu. As the evening starts to stretch, Friday.
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Naples moves to its own beat.
A quixotic cocktail of Campari-sunset grooves and squelchy molten basslines.
It’s here, in the dusky shadows of Vesuvius, that generations of Italo funkateers have concocted a magnetic alchemy of rhythm and mood.
From this house Nu Genea was born. Wild and humid: Disco alla Napoletana.
Crate-digging romantics, Massimo Di Lena and Lucio Aquilina, tap into that lush Sud Italia lineage: tropical funk, deep disco, jazz fusion, Mediterranean boogie, Afrobeat.
It’s a steamy cruise along the Amalfi Coast, vibrations tuned to the vast Vesuvian frequency.
Nu Genea pull in upstream on the Yaramlok (Yarrowee) River with full 8-piece live band in tow.
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Their Nuova Napoli LP was courted with cultish fervour. Before that, a string of 12”s and Tony Allen re-works. ‘22’s Bar Mediterranean is something else. A new destination, they say, to which we’re all invited. Saturday Golden Hour. This will be a party.
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SHOUSE is Ed Service and Jack Madin, a couple of friends who like to hang out and make weirdo-house and the occasional international hit. All I need… Love Tonight was Melbourne’s anthem first. An interstitial fave in Postcode 3333 since it started putting hands in the air five years back. Then, with uncanny fervour, it belonged to the world. Its gravitational pull spinning out everywhere from the beaches of Ibiza, to the raves of Eastern Europe and the carnivals of Brazil. Made with 18 of their nearest, dearest and favouritest singers, Love Tonight was always about the pure and simple celebration of coming together. The indelible energy of communitas. The SHOUSE manifesto.
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Bringing their new live-house happening to Friday Late Nite, expect a network of analog synthesisers, sequencers and drum machines, new hits, deep cuts, choir en masse, and plenty of special guests, along with bizarre instruments tinkered up in Jack’s dad’s rural shed. Together under one SHOUSE.
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Fierce emcee, mastering his craft since day dot. Son of the legendary Wire MC, as a kid Tas flexed with his cousins in a makeshift studio at the Bowraville rec centre and sold his first mixtape out of the back of his mum’s car. A move to Sydney and 2018’s incendiary Mission Famous EP announced the arrival ofTasman Keith as the real deal. A Colour Undone, his debut album, landed this year. Bold and complex, it glides seamlessly through soulful R&B, gritty beats and neo-funk, the vivid sonic shape-shifting mirroring TK’s coiling stories. A journey of grief, love, family, expectation and life as a Gumbaynggirr man. One of the year’s best. Stepping up, Friday.
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Pure, hard rock & roll. The kick-off energy we need.
Rot TV have the swagger and the tunes to match the occasion. Their debut record, Tales of Torment, is a red-hot stew of 70s rock and punk, and their live show is known to flick a lit match into your go-go receptors.
Gig pigs will recognise faces from Deaf Wish and Rabid Dogs, with Miss Destiny’s Harriet Hudson-Clise back on the mic, bringing her gravel-voiced cool. Graham Clise is over from California on lead guitar duties. He’s a storied axeman. For lack of a better description, a shred lord of the highest order. You’ll soon find out why.
First on.
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Coburg’s finest. Cooking up mercurial movements and iconoclastic spin since ’17. College of Knowledge graduates, these cinematic soul journeymen just love to stretch riiiiiiiiiiiiiiiight out, then reel it back in. Turning it up, simmering it down. Their first two LPs are 3058 classics. The postcards are being sent from further afield now, with a new album on Big Crown and remixes from Masters At Work. Their latest widescreen escapade is a kinky groove up Sydney Road, past A1, straight to the Velodrome: shades on, shoes off, ready to boogie. The Surprise show is a joy ride through dark synth-laden landscapes of jazz-funk and left-field library music-esque scenes, a flowing puzzle of vivid minor-key expressions. Groovy baby.Friday arvo.
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Laying down dynamic bars with serene swagger is the POOKIE MO.With debut single Tuesday, the Footscray local had already arrived. Dinka Girl and her debut full length, FLick, followed: a remarkable one-two. Afro-jazz and soulful hip-hop melodies bump and glide as POOKIE untangles and rearranges, lyrically swerving through vulnerable navigations of her South Sudanese roots and life’s unruly turns. Real and serene. Unguarded and unapologetic. A POOKIE show will summon the steam.
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Our Carlson is a sexy disabled man who doesn’t shy away from the big questions:
Is god a cappo dog? Do your thoughts influence your ideology? Who’s that there, in the bathroom mirror at kick-ons? Looks rough. Looks good. Looks ready to make an impact. Like piss holes in the snow.
DJ Cash Daddy (Cash Savage) is on the decks, backing Carlson up with breakbeats, jungle and dub.
Roll down the window of your inner-VL Commodore, and let them in.
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Bringing tranquillity to the booth, D.J. has quite the opposite effect on any dancefloor. Butter Sessions staple, Bait Shop monger and host of RRR’s ‘Moody’, Darcy moves effortlessly between genres with a masterful touch. From R&B to rave, slow-mo-techno to soul, her presence and palette are one of a kind.
Celebrating her own milestone as the Sunday dawns on Meredith 30, we are handing her the keys.
After Derrick, until the last dance.
Darcy Justice. Sunrise is served.
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OK EG is Lauren Squire and Matthew Wilson – two Naarm-based producers who build live sets out of left-field techno, breakbeats, drum & bass and ambient soundscapes.
Picture a campfire at the bottom of a distant canyon.
Or condensation forming on the tip of angel fern.
Or a shaded creek in the heat of the day.
It’s like all that.
But it makes you dance like a demon.
Find a spot. Make some space. Get immersed.
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Murnong, yam daisy, yam, tuba,
Nutty, nutritious, delicious.
Grandmother, mother, children,
Uncle Bruce, lies, confusion…Going to start a murnong farm
In my rental in PrestonAllara is a Yorta Yorta musician, composer and poet. A natural storyteller who uses double bass and loop station as the foundation of her musical exploration. Murnong Farm. Rekindled Systems. diyalana. Inspired by oral traditions, Allara will take us on a path of reflection and empowerment: cultural, spiritual and environmental. Sunday.
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A reggae dancehall queen from across the ditch.Dubbing out the Sunday session: Aotearoa’s Rubi Du.Her Caribbean heritage and Rastafarian childhood have helped to shape her signature style. Boasting and toasting on heavy basslines and melodic vocals, this will energise any wibbling heads and wobbling bass bins. Back Up before you pack up.
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Ye Ye. A rare treat indeed. Returning to the stage once he’s packed his Caribou gear away, Dan Snaith will don his club-minded alias for a prime time Satdee night deejay set. Absolutely Sizzlin. A supreme selector, a musical journeyman, a good times merchant. With a new album in his briefcase to boot. It’s a Supernatural first and we thought he might think us crazy for asking, but who better to kick off the late night partee proper. He said yes. Cherry on top.
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There’s some more to come, in a month or two.
LineUps at the Meredith Supernatural Amphitheatre are always subject to change. We will do everything in our power to roll out the odyssey supreme as planned.
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We guarantee that we will continue to listen, fix things if they don’t work, not fix them if they do, and Keep On Making Meredith Meredithy.
Every ticket helps regional organisations do great things in the district. We are grateful to the wonderful people of the region, who so graciously help host Meredith.
I hope to see you in The Sup’.
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