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Caxton Street Seafood Festival
13 May 2008, 05:28
Sun 4 May – Caxton St Seafood Festival
You'd be hard-pressed to find a more popular example of binge drinking culture than Brisbane's annual seafood festival. Upon arriving mid-afternoon, the expectations that my accomplice and I held of a dignified soirée attended by respectful adults are exploded the moment we enter through the backdoor and find rolling-drunk punters spewing into the gutter. Allegedly there's seafood at this glorified, overcrowded piss-up; it's probably hidden amid the abundant alcohol advertising.
Local heroes Butterfingers have an amusing history of poorly taking criticism from Brisbane street press that I won't mention in this review. Their contributions to the Australian hip-hop canon include crass gems like Everytime and Yo Mama that were funny the first time you heard them in 2004. Nothin' Much Happenin' onstage is as funny as watching the crowd applaud abusive drunk girls with ankle injuries being wheeled out by ambos.
The sun sets as Urthboy and DJ Elgusto damn near start a riot in Caxton Street. Urthy's joined by Herd singer Jane Tyrell this evening, and her feminine touch is much appreciated in a rare remix of 2004's Come Around. I'm certain that no-one else notices their fluffed lines throughout the set, but it doesn't matter in the slightest: their performances tonight are red-hot.
Resin Dogs finish with a directionless half-cover of The Power And The Passion that's entirely unrehearsed, judging by the questioning looks frequently being thrown around stage. This time-filling exercise is unfortunate, as the band could've indulged in the excellent Caught Up from 2007's More. That album is well-represented tonight; indeed, their ill-advised closer is the only slight on an otherwise enjoyable set.
By this stage we've had entirely enough: one might have described our exit as 'fleeing in horror'. It didn't have to be like this. A big XXXX-sponsored 'cheers' to the organisers for valuing ticket sales above the comfort and safety of their patrons.
Rave Magazine (an edited version of the above review)
You'd be hard-pressed to find a more popular example of binge drinking culture than Brisbane's annual seafood festival. Upon arriving mid-afternoon, the expectations that my accomplice and I held of a dignified soirée attended by respectful adults are exploded the moment we enter through the backdoor and find rolling-drunk punters spewing into the gutter. Allegedly there's seafood at this glorified, overcrowded piss-up; it's probably hidden amid the abundant alcohol advertising.
Local heroes Butterfingers have an amusing history of poorly taking criticism from Brisbane street press that I won't mention in this review. Their contributions to the Australian hip-hop canon include crass gems like Everytime and Yo Mama that were funny the first time you heard them in 2004. Nothin' Much Happenin' onstage is as funny as watching the crowd applaud abusive drunk girls with ankle injuries being wheeled out by ambos.
The sun sets as Urthboy and DJ Elgusto damn near start a riot in Caxton Street. Urthy's joined by Herd singer Jane Tyrell this evening, and her feminine touch is much appreciated in a rare remix of 2004's Come Around. I'm certain that no-one else notices their fluffed lines throughout the set, but it doesn't matter in the slightest: their performances tonight are red-hot.
Resin Dogs finish with a directionless half-cover of The Power And The Passion that's entirely unrehearsed, judging by the questioning looks frequently being thrown around stage. This time-filling exercise is unfortunate, as the band could've indulged in the excellent Caught Up from 2007's More. That album is well-represented tonight; indeed, their ill-advised closer is the only slight on an otherwise enjoyable set.
By this stage we've had entirely enough: one might have described our exit as 'fleeing in horror'. It didn't have to be like this. A big XXXX-sponsored 'cheers' to the organisers for valuing ticket sales above the comfort and safety of their patrons.
Rave Magazine (an edited version of the above review)
