Come Together 2006

Andy J Ryan Mar 20, 2023

Come Together Day Two – Luna Park, 11 June 2006

At its third instalment, the previously purely all Australian festival opened the borders. Three international acts featured on the hard rock and emo focussed Saturday and Trans Am chiming in late in the afternoon Sunday. Snowman appeared early on the red stage, and t’was near cold enough to expect some more outside too. Their angled bouncy sounds led well into The Exploders, who opened with a sprightly cover of the Easybeats’ Sorry and continued with a tuff wholesome set of bare unaffected rock. The band’s unassuming attitude allowed them to deliver a potent set on a day where time was scarce. They also provided two examples of follicle frivolity, as it seems beards are the new black within the Oz-rock community. Those registering for a future of inbox information from Coke got themselves an invite to an “Up Close” live set and Q&A session with You Am I. With a new album under their hats, their first since 2002 and widely considered a strong return to form, the TV cameras and Timmy’s appearance in a black leather jacket will equate this set as the bands ’06 comeback special. Similarly side-tracked from their core business, You Am I put the distractions of recent times to the background and removed any doubt of their power as a live band. Their strength, a tightness as a band both as a musical driving force behind Tim Rogers’ magnetism as a front man and as a platform for his worldly themed but locally tied lyrics. A barrage of new songs, with eight being aired amidst lashings of spit and sweat, the set ending with Tim shirtlessly delving into the crowd like a scruffier Iggy Pop. The band returned to speak to the crowd, somewhat more civilly than the previous between song baiting, which reinforced the aura the band have even amongst the younger generation here today, for whom they are the real Australian Idols.

Back to the action and the Devoted Few were really starting to fire, their sweeping electro tinged epics could barely be restrained to half-an-hour, their singer as excitable as the kids outside on the rides. Bit By Bats showed that a little time spent accessorising can yield great results with the fetching matching cherry red boots, scarf and guitar of singer Owen. It has previously been noted that standing still at a Bit By Bats show is “not only sacrilege but virtually impossible” and they sure walked the walk and danced the dance in an impressively urgent set.

A quick spin on the Tango Train and then was struck by the imposingly tall, ever grinning vocalist of Trans Am. Using all manner of vocal effects, samples and keyboards dancing between incessant drumming and biting guitar, pulling poses that saw legs spread to yoga class standard, the only accented band of the day sure lifted proceedings a notch.

More bands, more beards. The Mess Hall have, if possible, become even tighter after European and American tours and beat out an almighty din in the main room whilst the mysteriously masked Damn Arms spelled out some troublesome noise at the Purple Sneakers stage. The Panics, somewhat more delicate with deep rich layered melodies and another classic Oz-rock cover, the Church’s Under the Milky Way. Gerling were buzzing from the outset, whilst re-embracing their punkish guitar laden beginnings, they effortlessly get more people bouncing than Berocca, the room was brimming and the hands sailed upwards. The energy dissipated as Ratcat began with a slow burning instrumental. Although Simon Day was surprisingly dextrous, their buzz-saw pop fell somewhat flat, missing that touch of mischief that took them to the cusp of worldwide greatness. Magic Dirt reverted to their early feedback drenched days, playing Ice and He-Man off their chartbusting ’94 EP Life in Danger. I now wish to join the nearby apartment owners in trying to close down “The Ranger” ride, cripes. Augie March, fittingly high on the bill with a splendidly received new album and sell out shows across the country. An atypical festival band, they were almost apologetic for their less rollicking, somewhat more substantial songs. certainly no shouts of “How you doin’ Sydney?” but instead “Half of you bastards probably don’t know who we are, but that’s okay, it is a pleasure to play for you ladies and gentlemen” along with involved narratives as to the origins and meanings of their songs. Finishing with the crowd voted choice of an acoustic version of There is no such place introduced with “I know what that song ‘I Like your old stuff better than your new stuff’ is all about now, and that is something I’ll have to deal with...”. So it was left for the penders of that very tune, Regurgitator to bring it all to a close and they were labouring away whilst I called stumps and sought a heater and a seat without a safety harness.