Splendour In The Grass Day Three Review

The first two days of Splendour In The Grass left the final day with a lot to live up to. Thankfully there were some simply massive names on the bill, including a particularly nasty clash between three great acts towards the end of the day and a ton of local acts starting the day, which ensured that I had no down time at all, but also that I witnessed some of the best music in the world.

The lineup of this day could easily be the entire lineup for a lesser festival, and I woke up knowing that I was in for one hell of a day. Part of me just didn’t want Splendour to end, but I was also really looking forward to the day’s music, so I jumped right into it and saw some of my favourite Australian bands straight away in the early afternoon.

[Boy And Bear]

Starting the day was local Australian act Boy And Bear in the GW McLennan Tent. It was crazy, I had seen these guys just a couple of nights ago opening for Mumford And Sons, but yet it seemed like a lifetime ago. In fact I had seen Boy And Bear live several times prior to this, however their performance at Splendour was their most complete and satisfying set to date.

The guys didn’t look nervous at all, which is a far stretch from the first time I saw them, at last years Homebake. Instead they seemed like they were in their element, playing to an absolutely enormous crowd packed under the tent. Boy And Bear’s rise to popularity has been fast, but they have the live show to back it up.

I’ve said it before and I’ll say it again, when all of their vocalists harmonise, these guys are in a league of their own in Australian music. These moments are just magic, reminiscent of The Middle East without being overly similar. To their credit they easily filled their 45 minute timeslot as well, while other smaller Aussie bands struggled.

The Storm was as sublime as always, and the beginning of Rabbit Song was greeted with such loud applause that it left no doubt whatsoever about how devoted Boy And Bear’s fanbase already is, before they have even hinted at releasing a debut album.

However the guys did say that they had been away recording for a while, and they had the fruits of their labour to show off at Splendour. There was nothing as instantly memorable as some of their EP tracks in the new songs, but they still sounded great and are full of potential.

Their cover of Bon Iver’s Flume made a welcome appearance, and was much more than just a time filler. It would be pointless to compare anything to the original, but this cover really does do Justin Vernon’s version credit, which is pretty extraordinary given that the original track features such sparse arrangements and the cover is driven by harmonising vocals.

“This is the longest set we’ve ever played,” said the band, but it didn’t seem like it to the thousands of adoring fans in the crowd. This was surely the performance of an established band with several albums under their belt, not the new kids on the block with just the one EP. The band were extremely appreciative of the crowd, and you couldn’t help but get the feeling they have many years of playing any Australian festival they want ahead of them.

Finishing their set was of course the extended live version of Mexican Mavis with the slowly building introduction that led into the wonderful opening of “As they came out of the sunshine, the flowers nestled in their hair”, which was greeted with rapturous applause by everyone in the near vicinity. It was awesome, and provided the perfect finish for what was a thoroughly enjoyable and professional set.

[Cloud Control]

Next up at the at the same stage was another Australian band, Cloud Control. I made my way towards the back of the tent, knowing that I would want to leave halfway through their set in order to get to Miike Snow. No sooner had I moved away from the front than the tent got stampeded by a hoard of people, rushing to get to the front of the stage.

The crowd that assembled for Cloud Control was just enormous. I’ve seen them six times live and even I couldn’t possibly have anticipated this response to their debut album ‘Bliss Release’ which has saw international attention as well as a groundswell in local support. I would imagine that this was the biggest crowd for any Australian act at Splendour, packing out the tent and spilling out onto the slopes on either side.

Appearing on stage and looking temporarily shocked at the massive crowd, Cloud Control played a set that justified every single bit of this support and then some. They wasted no time in opening with the wonderful Meditation Song #2 (Why, Oh Why), which saw Al bouncing around on stage like always, and was met with deafening applause from those in the middle of the tent, who were clearly very hardcore fans.

The brilliant There’s Nothing In The Water We Can’t Fight was next, and it was absolutely amazing, getting the entire crowd moving around with that wonderfully gliding chorus of “You wake up, and you’re on fire”, which was sung with enthusiasm by everyone.

This Is What I Said, and The Rolling Stone, as two of ‘Bliss Release’s lesser known songs, signalled a slight lull in the atmosphere, but things picked up again with the sublime Beast Of Love which saw Heidi take over lead vocals and captivate the tent.

Triple J favourite Gold Canary saw the crowd chanting that opening of ‘Na na’s to stunning effect, but unfortunately I chose to leave the tent soon after in order to get to Miike Snow. Despite Cloud Control’s stellar performance up to this point I didn’t feel too bad about it at the time, knowing that I had seen them plenty of times before and would see them plenty of times again.

In hindsight however, I feel pretty disappointed about missing Buffalo Country, which they presumably closed their set with, for what was for me an unenjoyable set from Miike Snow. What I did see of Cloud Control however was excellent, and these guys are all set to take the world by storm.

[Miike Snow]

There’s no doubt that many people were opting to see their favourite Australian bands (The Mess Hall had just finished playing at the Ampitheater Stage as well) rather than international acts Sunday, but the crowd for Miike Snow at the Mix Up stage was still very sizeable.

I’m not really a massive fan of Miike Snow- I was there for one thing and one thing only, Animal. Sure enough, the band’s live performance reflected my opinion of their studio album in that there wasn’t really a lot to like apart from that one song.

Others have said this was one of their favourite sets of Splendour, but I don’t really get it. The band clearly tried to ‘dance-up’ their very chilled tracks for their live show, but this only served to ruin the surreal element to a lot of their music, while not really getting the crowd moving at all. It was a compromise, and I would have preferred to see them go one way or the other; either make their live show a real electro performance or a chilled out one in line with their studio music.

This being said there were a few good moments: Silvia was fun, as was Burial, and there can be no denying that those at the front of the crowd were very excited to see the Swedish band playing their first festival in Australia. Banter was kept at a minimum however, and the songs that faded into nothingness for me on their debut album did likewise live.

Animal was fucking great though. Miike Snow opted to close their set with it, which was probably a wise move, because even I, who was actually bored during their main set, left the stage with a smile on my face. It was hard not to, the song was just that good.

It turned into an epic track, topping 10 minutes of bouncy, electro fun that got the crowd jumping up and down together, chanting every line, in particular “There was a time when my world was filled with darkness, darkness darkness” and “I changed shapes just to hide in this place but I’m still, I’m still an animal”, which saw a deafening sound erupt from the crowd, overriding even the dominating speakers of the Mix Up stage.

It was so very fun, and made up for what was, for me at least, a very lacklustre set on the whole.

[Last Dinosaurs]

I made a quick rush back to the GW McLennan tent, beating most of the crowd who were either heading to the main stage or wandering amongst the markets. The crowd at the tent was sizeable while not really comparing to the mass of people who watched Cloud Control, but I would imagine this was one of the biggest crowd local Brisbane band Last Dinosaurs (who have just the one EP under their belt) had played in front of.

It was kind of strange, watching them from within a crowd that half-filled the enormous tent, and thinking that just a few months ago I had seen them in a room with only a handful of people. The bigger crowd definitely lifted the band onto new heights, and when I arrived they were just beginning to put on a great show.

Alps was wonderful, but the highlight of their set definitely came in the form of Honolulu, which is just an enthrallingly fun track that deserves all the attention it is getting. It got the crowd moving and singing, especially when lead singer Sean asked the crowd to get out their condoms and blow them up into balloons.

It was undeniably a strange request, but Splendour didn’t let him down, and soon enough there were dozens of condom balloons floating around the tent, in what was one of the strangest sights I have ever witnessed. It was nice to see a crowd so deeply appreciative: “We are so pleased to just be here, surrounded by such a great lineup and so many amazing bands”.

Then came another surprise, as the band suddenly produced a birthday cake on the stage and invited the crowd to join them in wishing bassist Sam happy birthday. The crowd warmed to the task with gusto, and a resounding rendition of Happy Birthday soon filled the tent, as condoms floated gently around us in the breeze. That’s a sentence I never thought I’d say.

Last Dinosaurs closed with another track from their debut EP, Saturn, and by this point the crowd were just in love with the local guys, who I’m sure won over a lot of fans with this confident and fun performance that channeled a whole range of great artists, from Phoenix to the band that preceded them at the GW McLennan stage, Cloud Control.

It was cool seeing the band members just jump down from the stage after their set and wander around the crowd, giving the impression that they were just as thrilled as everyone else to be involved in the festival and to be able to watch so much great music.


To my surprise the tent pretty much emptied out after Last Dinosaurs, which signalled the end of a very strong run of Australian acts at the stage. Next up however was Swedish band Fanfarlo, who were one of the biggest drawcards of the festival for me.

Ever since I first discovered them, when they had just released their debut album ‘Reservoir’ as a $1 download, I have been in love with their fusion of folk and electro music, especially when it features a mandolin. ‘Reservoir’ in my mind remains one of the most underappreciated albums of recent times, so I was slightly disappointed to see so many people clear out of the tent.

It meant I could secure a front and center spot on the barrier at least, and the crowd slowly built as the band’s arrival drew closer. After a brief break the band took to the stage, looking as indie as hell, with some band members adorned with the finest moustaches I have ever seen.

Wasting no time, they broke into Atlas for means of an introduction, followed by the wonderful Finish Line from their debut album. Straight away it was evident that this was going to be a live set to savour. The sound they produced was simply memorising, a magical combination of traditional folk instruments, keys, horns, and lead singer Simon Balthazar’s sublime vocals.

To my surprise, next up was my favourite song of theirs, Harold T. Wilkins, Or How To Wait For A Very Long Time, which was greeted with loud applause from the front section of the crowd, who were clearly all very big fans of the Swedish outfit. It was brilliant, and was easily one of the many highlights of the festival for me.

Thankfully Splendour punters seemed drawn to the music emanating from the GW McLennan tent, and the crowd rapidly grew, just like the musicians on stage deserved. They all seemed so very happy to be there, and shy smiles rewarded the crowd’s enthusiastic clapping and wooing at the end of every song.

For a band with only one album, they had no problem whatsoever in filling the full hour slot that had been allocated to them, and for that I was very glad. There is after all an amazing depth to their debut album, and deeper cuts such as Drowning Men and Fire Escape were even more enjoyable live.

The Walls Are Coming Down was wonderful, and gave the band an excuse to really show off their horn skills, creating a captivating and unique sound when these resounding horns gave way to the soft sound of a mandolin. “The walls, the walls are coming down” was chanted by every single person at the front of that crowd, and there was the very real sense that we were witnessing a truly special live performance here at Woodfordia.

I’m A Pilot was similarly wonderful, and their set finished with a run of one-word song titles, including Comets, Luna, and Ghosts, the latter of which was particularly magical and gave Simon a chance to show off his clarinet skills.

The softly spoken and heavily moustached band were absolutely charming, and I’m sure that many of the people who witnessed their set at Splendour will agree with me when I say that they were one of the highlights of the festival. This was a set as captivating as it was utterly unique, and as special as it was fun. There was nothing not to like here: not a single disappointing song, plenty of charming banter, and simply great musicianship.

Even I, who went into this set with huge expectations, was blown away by the performance of Fanfarlo. I’d say that they should by all rights have been on the main stage playing to ten thousand people, but their smaller billing at Splendour was part of their charm, and their unabated joy just to be in Australia was contagious, as each and every single person in the tent grew to share their happiness and to just live in the moment.

And what a moment it was.


The lure of dinner was very tempting indeed, but ultimately I decided I would hang around to see Australia’s own Whitley (aka Laurence Greenwood) play his last ever festival set in Australia under that moniker. Last time I saw Whitley live it was at The Corner Hotel and he played an acoustic and very chilled set with as much awesome banter as there was music.

He was a different beast at Splendour however, playing to a deservedly enormous crowd under the tent that looked slightly surreal in the dying light, with a full band behind him. His songs took on a new power when they were played with a band, even if I still prefer him acoustically.

Poison In Our Pocket was a brilliant opener, with that wonderful line of  “And as the bombs fly overhead, we’ll dance ’til we see red. We’re becoming shadows, and we’re becoming silhouettes”. Killer and Bright White Lights were similarly enjoyable.

Whitley was as charming as ever, telling the massive crowd that “You guys must have read the timetable wrong and not seen The Vines are playing now, huh?”. His band departed midset and left Whitley on stage, accompanied only by Chris Bolton (aka Seagull) for a period of songs more in line with his solo first album.

This for me was a stunning half-hour of music, from More Than Life, to The Submarine, to the great I Remember. The band then reappeared on stage for the final few songs, which saw the entire crowd absolutely screaming the main lyrics of Head, First, Down!, almost as if we were determined to give Whitley a suitable send off.

There was no grand goodbye from Laurence- after all, he still had his final tour ahead of him (“You can still buy tickets… haha trust me on that, you can still buy tickets”). But he left the adoring Splendour crowd with the sound of Lost In Time, so it’s hard to complain.

I have no doubt that we’ll see Laurence Greenwood playing a festival in Australia again, even if it is not under the name Whitely. But if this means losing his first two albums as live music, then Australia has lost something great with his departure. This being said, there are few better ways to bow out than while still well and truly at the top of your game, playing to a packed out and lovestruck crowd at Splendour In The Grass.


I had 45 minutes to spare between the end of Whitley’s set and the beginning of Jónsi at the Mix Up stage, but I decided to dedicate this time solely to getting a spot right at the front for Jónsi, who was my most anticipated act of the day.

The decision between Broken Social Scene, Jónsi, and Passion Pit was easily the hardest of the festival, but the great thing about the situation was that I’m sure no matter what someone chose, they wouldn’t be disappointed. For me, Jónsi was the best act of the festival, and that is really, really saying something.

Thanks to a friend who opted for K-os instead of Whitley, I managed to get a spot at the center of the barrier, and spent the next half hour fighting off the incoming rush of people and almost literally trembling with the anticipation of seeing one of my favourite musicians live.

Even the stage setup looked magical, full of ancient looking wooden instruments, colours, and feathers. The DJ music blaring out from the smaller stage a bit to the side seemed almost inappropriate given what we were about to witness.

And then, Jónsi appeared on the stage. The Mix Up tent, which was completely packed, erupted with cheering, screaming, and confessions of love for the shy man at the front of the stage. Jónsi’s music was perfectly encapsulated in his clothes, and even his rustic looking guitar seemed to just add to the atmosphere.

His live sound was that of magic, pure and simple. I have never heard anything like it before: at once powerful and restrained; triumphant and brooding. Just like his music, Jónsi was a living contradiction. He was clearly a very introverted performer, but yet he got so lost in his music, prancing around the stage and just owning Splendour In The Grass for an hour.

He opened with a few quieter songs, including Hengilás from his debut album. You couldn’t really understand him when he was singing, but somehow what he was conveying through music was on a plane above normal human interaction; above what mere words could ever hope to convey.

When he decided that he would let his vocals loose and wail into the microphone for as long as he could hold his breath, the world stopped. It was such a surreal moment, and nothing else mattered as the thousands of people watching his performance lost themselves in the sound of his voice just like he did.

Any other band would be dominated by Jónsi’s presence, as he swapped between instruments with extreme ease, but Jónsi’s band members added to the performance while not detracting from the man everyone was there to see. The drummer in particular was awesome, and was one of the most energetic and passionate performers I have ever seen. He had the crowd in the palm of his hands, and his more energetic moments on the drums were even met with loud applause.

Jónsi was here to let his music do the talking however, and the run of Tornado, Go Do, and Boy Lilikoi did just this. It is hard to describe just how enjoyable this run of songs was. Somehow Jónsi made each one take on a presence all of its own live, but yet did so without losing the familiarity of the studio versions. Go Do in particular was sublime, with the crowd doing their best impression of Jónsi’s voice as we sung “You know, we can do anything”.

Animal Arithmetic was great, however the highlight of Splendour for me was Grow Till Tall. The song began with a very stripped back and almost icy version featuring Jónsi on piano, which had me thinking that he might play a different version of the usually very upbeat song live. It was stunning and sublime of course, but part of me was a bit disappointed.

But then, Jónsi slowly walked from the piano to the center mic, before breaking into the more familiar, extremely warm sound of the song. It was just amazing, impossible to describe. The juxtaposition between the icy piano rendition and the warm segment of the song that was full of life was spellbinding. It was an epic song that defied words.

Somehow, Jónsi had managed to utterly charm the crowd, even though the only words of understandable banter he spoke was a very soft “How are you?”. There was just something very endearing about the way he got completely lost in his music, which was demonstrated perfectly when he finished his set with a wail of noise (and by this point he had  previously disappeared temporarily to retrieve a towering feather headdress), one microphone in each hand, singing into both of them at the same time, and making his way around the entirety of the stage.

He departed the stage immediately after finishing this, head bowed, almost as if he was slightly embarrassed by his own actions. But the thunderous noise of approval from the crowd asserted the fact that the world loves this man and the music he creates. He was a spellbinding frontman, including all his quirks like shaking his head repeatedly in time with the music and sticking his tongue out when he was playing a particularly tricky bit of music.

Jónsi was, in a way all his own, the perfect frontman.

This was an otherworldly performance. Surely music like this just doesn’t exist in this world. For an hour Jónsi transported everybody in that tent to his own world, and we fell in love with that world. The music was beyond magic, but this performance was also about so much more than the music.

For that hour, nothing else mattered except Jónsi (and his awesome drummer), and as the crowd left the tent it was surreal to see his spell slowly wearing off and people gradually returning to this world, slightly stunned but also purely thrilled at what we had just witnessed.

[Passion Pit]

I was expecting a mad rush after Jónsi towards Passion Pit playing at the Ampitheater Stage, but it was more a relaxed walk, so content were we all at what had just witnessed. All the same, I arrived at the Ampitheater towards the end of Passion Pit’s set and made my way to the slope, feeling in no mood to force my way through the mosh in the ground area.

It was good timing as well- no sooner had I secured a spot with a great view of the stage on the slope than the band broke into my favourite song of theirs, Little Secrets. What followed is impossible to describe. The massive ground area was full of people, packed together ridiculously tight, but the slope towering all the way around the area was also equally packed, as people crowded together in an attempt to get the better view.

The scene during Little Secrets was unlike anything I have ever seen. Tens of thousands of people, all jumping in the air higher than normally possible, arms stretching out towards the black sky, screaming at the top of their voices “Higher and higher and higher”. This included people on the slope, whose moshing was undeterred by a muddy and slippery ground and the steep incline.

I would have dearly loved to be in the middle of the ground area, but there was something to be said for witnessing such a sight from the slope. The atmosphere was still electric, and the view was stunning. Surely this wasn’t the sight of an Australian festival. This looked like it was a scene straight out of Glastonbury.

“Thank you for being one the best crowds we have ever played in front of,” said Michael, to huge applause, before breaking into Passion Pit’s tried and tested cover of Dreams, followed by a pretty damn decent closer in the form of Sleepyhead.

[Mumford And Sons]

Somehow I don’t think many people left the ground area of the Ampitheater after Passion Pit, which made attempting to get a spot there pretty futile. Instead we settled for a spot on the sloped area, but closer towards the stage in an attempt to get an even better view.

Up next was one of the biggest bands that could possibly tour Australian at the moment, Mumford And Sons. After a cold wait, the four guys took to the stage, looking surprisingly nervous, even from a distance. But then this was a massive crowd, even for a band such as Mumford And Sons, who have played in some of the biggest festivals in the world.

This was my third time seeing the band live, which is surprising seeing as they have only toured the country twice. However it was just as enjoyable as the first couple of times I saw them, even if it was on a significantly different scale.

They started with their typical opener of Sigh No More, which was basically perfect. It built to a crescendo which saw thousands of people chanting “Love, it will not betray you, dismay or enslave you, it will set you free”. Awake My Soul kept the amazing atmosphere going, and Roll Away Your Stone took on a whole new feeling when you were surrounded by so many people singing every single word.

“There sure are a lot of you,” said Marcus, “We’ve been pretty nervous about this gig for a long time, but we figure now we’re here we may as well just enjoy it”. They were refreshingly honest words, but even though they were definitely much less laid back than they had been the last time I saw them, Mumford And Sons still put on a hell of a show.

A hoedown saw Boy And Bear, half of Angus And Julia Stone, and two members of Passion Pit join the band on stage temporarily. “We’ve made some friends while we’ve been here,” explained Marcus, and you really did get the feeling that this band had been embracing the festival and its atmosphere.

“We have to say what an honour it is to play this festival with such an amazing lineup… this is quite easily the best lineup of any festival in the world this year,” said the band, and there were no arguments from anyone in the crowd.

Winter Winds was great, and two new songs made appearances, the highlight of which was Lover Of The Light, which was as powerful and enjoyable as when I saw them play it at The Palace. “We got here on Friday,” they explained, and it was very endearing to hear how much they loved this festival.

Little Lion Man was deemed ‘Splendour grade’ by Marcus, and sure enough it gave me goosebumps to see tens of thousands of people lose themselves in the song, screaming every single word perfectly at the top of their voices, and even getting a very healthy folkmosh going. It was mesmerising, so much so that I almost forgot I was singing at the top of my voice as well. The ending refrain of ‘Aaaaah’s was deafening, and Marcus couldn’t resist smiling slightly as he let the crowd sing the final chorus.

A brief interlude saw Ben point towards a huge blow-up Zebra floating above the crowd, and say “If you can get that zebra all the way to the stage, I’ll buy everyone in the crowd a drink”. Typically, Splendour In The Grass took this as a challenge, and a great group effort saw the zebra reach the front of the stage halfway through the next song, greeted with huge applause. “Looks like Ben’s going to owe a lot of people a lot of drinks. Idiot,” said Marcus.

“I think this is our biggest show ever,” said Marcus, “and without indulging too much, I think you have been the country that has been the most kind to us, so we genuinely can’t thank you enough”. White Blank Page and Dustbowl Dance kept the hits going.

With typical grace, the band finished their set with Marcus saying “Thank you so much, we are Marcus And Sons, goodnight”, and The Cave. It was brilliant, and ended the set suitably. They left the stage to the sounds of adoration coming from the crowd, and left even doubters saying “They were actually really good”, as a few people around me did.

This isn’t an over-hyped band, and even if part of me wishes they were still as small as they were when I first heard Little Lion Man, before it had been played five million times on Triple J, there’s something to be said for being able to see a band surrounded by this many loving fans, in such a great and massive setting.

This was a bit of a different side of Mumford And Sons for me. The last two times I saw them they were very relaxed; in their element, and this time they were just slightly nervous. It didn’t show too much in their music, but there was less humourous interplay between band members. It wasn’t better or worse, it was just different. No matter what way you look at it, this was a brilliant performance.

But I’m still waiting on that drink.


I was halfway through watching the Pixies from the distance when I realised that I didn’t like them and had to question why I was watching them at all. It just seemed like the proper thing to do: to watch one of the festival headliners as the last act of Splendour, along with tens of thousands of other festival-goers for the last time.

But they really don’t do much for me, and I found it very cynical when they said “So did you guys drive here or are you camping? I dunno man”. This was in direct contrast to the previous two bands, who seemed to have a genuine knowledge and love of the festival they were playing.

I tried to wait it out for Where Is My Mind?, but didn’t make it. However I’m not one to speak about the performance of the Pixies, because I just don’t really like them, so they may have been absolutely wonderful for all I know. Plus I hear Richard Ashcroft was real entertaining.

For me, Splendour In The Grass ended with the last notes of Mumford And Sons.

[Final Say]

Splendour In The Grass was the best weekend of my life, as well as easily the best music experience of my life. It was just so complete, from the lineup full of up and coming international bands of the moment, established huge bands, a great range of Australian acts, to the awesome festival grounds, to the awesome and diverse range of food, to the great market stalls.

I think I’ve said enough about the music, although in the days after the festival I’ve decided that my favourite acts were Jónsi, The Strokes, Fanfarlo, Two Door Cinema Club, and LCD Soundsystem. What I probably haven’t said enough about is how cool the festival grounds and the people were.

Where else could you see a Mango Shack, a giant blow up sculpture of a hand forming the peace sign, a slurpee stall specialising in ‘rose’ flavoured ice drinks, a massive and intricate sand castle, a stall selling whole coconuts cut open so you could drink out of them with a straw, a burger place with one staff member permanently employed as some kind of stand up comedian, a massive bubble machine over a lake with an arbitrary boat in it, a mexican themed bar complete with DJ and dancefloor, a tipi village, and members of great Australian bands just wandering around chilling to the music.

There were so many small things like this that helped make the festival so very very special. The music was impeccably and constantly awesome throughout the three days, and the organisation was just perfect. Also it was just so cool seeing Brisbane airport temporarily transformed into a Splendour hangout for hispters who just sat on the ground chilling, sleeping, or even playing cards, as everyone waited for their plane home.

I didn’t want to leave, and now that I’ve left, I want to go back. It was a magical experience. It was perfect. It was all about the music, but yet it was also about so much more. I don’t have a single complaint from the entire weekend, and I have no regrets whatsoever. Splendour was the time of my life.

Bring on next year.

7 Responses to “Splendour In The Grass Day Three Review”

  1. fucking so good.
    I can’t deal with it being over.
    time of my life.

  2. brings back so many memories, I’ve got shivers just reading this!!!

    couldnt agree more, Jonsi was simply amazing and the the festival finished with M & S, the pixies were horrible!!!

    great words lachie

  3. Saw alot of shows at Splendour!
    Miike Snow was by far the best! Noone could even touch them!
    Doin that type of electro pop mayhem without computers! come on! thats insane!


  4. I had the heartbreaking choice between Broken Social Scene, Jonsi and Passion Pit made slightly easier because I was seeing both BSS and PP side shows in Melbourne – good move meeting BSS in Melbs :). Jonsi absolutely blew my mind and left me floating on a cloud of bliss for days afterwards.

    My friends who decided not to come to Jonsi, regretted that decision a few hours later when they had heard people raving about how amazing he was.

    The thought of it still sends shivers down my back.

  5. This is a particular vivid and highly elaborate review (along with the other two days). i thank you for making me relive the whole thing again. it was amazing. i took to the photos and videos straight after reading these. i can’t even remember how i got on to these reviews, to further my point of being ‘lost’ in your splendour descriptions. well done and i’m glad you shared many of the same emotions and opinions such as mine (pixies one agreed, although i didn’t leave as my friend texted me saying that richard ashcroft had buggered off the gw stage).

    MY ONLY QUIRK IS….. small! :p that mumford did infact NOT play dustbowl dance, despte your statement of them doing so. i only know because of two reasons… a) i was virtually sober by this point and b) it’s my favour m&s song and was guttered not to see it played.

    other than that stupid little over-observant quirk, good writeup!

    • Haha thanks a lot man, pointing out stuff like that is good. I was probably confusing their Splendour setlist with their sideshow, I wrote this review a good week after the festival. Thanks again!


  1. Splendour In The Grass Day Three Review « And Pluck Your Strings | iPhone Groups - October 10, 2010

    […] Splendour In The Grass Day Three Review « And Pluck Your Strings 10.10.2010 · Posted in News Update The first two days of Splendour In The Grass left the final day with a lot to live up to. Thankfully there were some simply massive names on the bill, including a particularly nasty clash between three great acts towards the end of the … splendor in the grass – Google Blog Search […]

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